C Pirloul

1 poem with audio

Pre-amble regarding translation of a Riga Pine

Ecological studies meter and language the translation of sun energy into, within and amongst interrelating
forms of energy. Energy never alters, only its state: frequency/activity/function/form/name.

In healing arts native to Asia, the energetic state of a life-form is understood by pulse-listening.

Sense via touch is translated to sound and image; sound and image are named and described: so the pulse
yields comprehension within the listener.

What/How is Life doing, being, wanting, speaking? HereNow.

These translations involve imagination. Correspondence and resonance form recognition: I know.

Meaning: We.

Can a tree, a season, a place, climate change, be translated to language? A human-like voice?

Rather than anthropomorphize, can the demand of translation translate me? The tree gives me ears?

Does word hold, volley, break down, absorb, assimilate, like a leaf? Language tree translating sun for all
the hungry world—


C Pirloul's poems have recently appeared in Lana Turner (11), Telepoem Booth Santa Fe, Written Here and Volt (24). In collaboration with jazz musicians Mel Graves and George Marsh she’s produced Transplant and Both, poetry sequences performed in San Francisco and the Bay Area. Her lyrics are featured in Janis Maddox’s (in process) chamber opera, Sueños de Medianoche. Holding a BFA from the San Francisco Art Institute, C also works in visual arts and installation. She lives outside Santa Fe, New Mexico. www.cpirloul.net.

Latvijan translation in Riga Pine by Dr.Inta Dzelme (1961-2011), psychotherapist, educator, social activist, author and adventurer.

Latvijan pronunciation: Google translate.

The phrase NOW KNOW MYSELF is from Mary (Mariko Ilino) Burmeister (1918-2008), who interpreted for a Western consciousness her translation, from four forms of archaic Japanese, of Jiro Murai's physio-philosophy and hands-on healing art, Jin Shin Jyutsu.


The English word translate comes from the Latin translatus, which means “borne” or “carried across”. While the verb to translate is usually applied to the process of bringing the meaning of one language over to another, we wanted to take a more unusual approach by looking at work where poetry had been translated, or literally carried across, to another artform. Often, writers begin and end their writing at the limits of the page. The sui generis work gathered in this issue of Interim pushes against the limits of genre to find the ever-newer spaces where poetry can and does exist. 

To that end, we invited artists and writers working to push boundaries and go beyond the limitations of their disciplines. Some poems in issue 36.3 present as dance and performance art. Choreographer Kota Yamazaki and his dance company Fluid hug-hug “aim to create a choreographic landscape where different bodies, cultures and perspectives come and go, or co-exist freely and equally” and they do so in their translation of the works of Deleuze and Guattari into dance. Other pieces, such as CAConrad’s (Soma)tic poetry ritual originate in a bodily ecopoetic practice. In their poem “Impaled by Sharp Points of Wonderment,” Conrad startles the reader with the ethics of communication, with lines like “telling someone who they are/instead of asking is where/ extinction gets its start.” C Pirloul’s poem “A conversation held over 5 days through 2 hands with a Riga Pine 60 km north of Riga…“proves it is possible to communicate with nature in a foreign language. There is a moment in Pirloul’s poem when the listener, in conversation with the pine, captures the disconnection from the natural world that humans struggle with in the lines “I push-up in to lay my neck upon you as prayer and see/ I’ve listened only through a single latitude.”   

To move beyond a discipline into the unknown pushes our artistic practice towards new ways of looking at our world. Such a practice can break through the monotony, fatigue and overload that constant access to information has produced. It can counter this by offering possibilities and potential solutions where the discipline offers none. There is something truly world-building when a writer, artist, or dancer can imagine the infinite possibilities with their words, thoughts, feelings, and movements. We are proud of all of the poems, dances, video art, and performance in this issue. The future exists now in each of these works.  


Autumn Widdoes

Ken Miyazaki


Cover Artist

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Ken Miyazaki_Art.jpeg
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Ken Miyazaki was born in 1980. He is originally from mainland Japan but now lives in Ishigaki, Okinawa. His drawings and paintings are exhibited in Saihodo Gallery in Tokyo, Japan.  

From the Saihodo Gallery website: 
“Ken Miyazaki's miniature paintings are full of overwhelming energy. His strong and sometime even intimidating paintings are a visual connection to ethnic and sacred symbolic art, Tibetan thangka, Japanese traditional 500 monks painting, or South Asian traditional handicrafts. Having his own imagination as the central power of his creation process, Miyazaki realizes his visions through hybrid expression which freely move back and forth among different times and styles.” 


Kota Yamazaki and Fluid hug-hug

1 video & photographs

Darkness Odyssey

Darkness Odyssey is a dance trilogy inspired by the written words of French philosophers Gilles Deleuze and Felix Guattari, and butoh pioneer Tatsumi Hijikata’s notion of “dance of darkness”. This series explored the idea of the body as a black hole, which absorbs everything, even seemingly unrelated things equally while examining man's process of "ever-becoming" without becoming anything.

Darkness Odyssey Trilogy (2016-2019) 

Part 1: Expose Your Feet to Dry Lights (commissioned by Japan Contemporary Dance Network, 2016) 

Part 2: I or Hallucination (commissioned by Baryshnikov Arts Center, 2017) 

Part 3: Non-Opera, Becoming (commissioned by New York Live Arts, 2019) 


Kota Yamazaki, born in Niigata, Japan, is a dance artist who was first introduced to butoh under the teaching of Akira Kasai at the age of 18 after trained as a music conductor, then graduated from Bunka Fashion College with BA in Fashion Design.Yamazaki with Fluid hug-hug aims to create a choreographic landscape where different bodies, cultures and perspectives come and go, or co-exist freely and equally.He is a recipient of The New York Dance and Performance Awards (the Bessie Award) of 2007, Foundation for Contemporary Arts Grants to Artists award of 2013, NYFA Fellowship of 2016, Guggenheim Fellowship of 2018, and two-time The Herb Alpert Award nominee. He also serves as Director of Body Arts Laboratory in Tokyo, and organizes whenever wherever festival. In recent years, he has been teaching at Sarah Lawrence College (NY) and UC Davis at California University.

Ravi Shankar and Nagae Yūki

2 translations with audio & video

Semiotics ー Spring and Cobalt


Sledging signifying tip of a sign

that slides from a layer of chill to blaze

with the residual warmth of experience

that like the nostalgic gloss of a lilac-wet 

aroma that's been moistened, shines 

from a gaze to a reflective, reflexive gesture

(It’s raining. Under a cobalt colored weave 

of cage rain burns, even when shining. 

I am thirsty. Hungry. I am alive. In the rain.)


This argument thins at its shore, alternates 

between equanimity and dispute. 

We are its postulate, as circumstantial as Spica,

Virgo's burning blue ear of grain.  

The distant lights fear the bear clear rhythm

of human speech, the appellations that reel  

end over end over generations before slowing. 


(It is raining. Lines burn cobalt blue in glittering layers, 

glittering brightly in supernal fields of sound) 


Speech should equate to behavior in the benign

formula that like algebraic geometry is pure 

abstraction. It's difficult to know I exist now, 

the cosmic tone no longer high spirited, 

but caught again in lifecycle's monotony. 

Every year, each spring, I will burn with rainfall.   


Go past several beginnings, where you flow

back into yourself beyond langue and parole, line-

break and grammar, where nothing thins 

into aphorism and where no one can watch 

anything all the way to the end. Where halfway 

to growing rich, we will all die. I know being 

in existence teaches fading. I know the voice

that mutters "I don't need nobody else."  

Even if we are together with someone. 

Even if we are lonely in our aloneness. 

Even sentiment. Even people. 

It's all just information. 


    (The voices sing “I am alive. I am alive.”

             The shining sounds of rain step on them) 

記号論 ー春とコバルト








































《生きてます、生きています という声を 

ひかりつつ踏む 星のあまおと 》 


Autumn Foliage Irony

Drizzling nickel-grey rain imitates our breath 

knitted into the fabric of daily consciousness. 

The green leaves up above veil thirst

in transparent water-soluble vacuolar pigments, 

colored anthocyanin-reds and lipochrome-yellow. 

The form is the name of its own hypothesis

of decay, an innate built in obsolescence.

Dreams crumble, veins thin, dark night

deposits cool autumnal air into the disappearing 

signs of Euclidean calligraphy. 

Then the drizzling rain stops. 

Ethereal moonlight congeals, expands, 

freezes into abstraction, a flush of memories

that dissolves into dim warmth.

A spiral collapse

flickers out over the patchy musical scales.   

The volley of rubidium-bright red and strontium-

yellow leaves fall in an afterglow of sound and light

that emanate where the atlas ends, 

where the nebula flashes with intense chromatic

tapering off flows that turn lambent waves 

and radiant rays mineral-hard.    


To winter.

To winter.






























凍え 抽象と成って


















音や光の残照を カーマインの









冬辺へ と



Nagae Yūki is a Tokyo-based poet. In 2012, she was awarded the Best Young Poet Award of the Poetry and Thought in Japan. Published two collections of poems, Absentee cities (2018) and √3 (2016). She has recently been invited to poetry festivals in Finland, Taiwan, Korea, Kosovo and Tunisia for multimedia poetry performances and installations, which frequently involve collaborations with natural elements such as water and technology such as original sounds and video art. She is developing this off-page poetic work around a concept she calls “Steric Poetry.” She also has been invited by Creative Writing Program of Iowa University (2018), and Institute for World Literature of Harvard University (Special Event at Tokyo University, 2018) for performances and workshops (video). In October 2018, she gave solo and collaborative Steric Poetry performances in France (video). In June 2019, produced multimedia/multilingual performance "Live Poesis"-retracing, rewriting and embodying a history of poetics from the dawn of primitive to the present and the future verbalization through the rise of literary criticism, with AR/Augmented Reality for people who are deaf in Tokyo (video).

Ravi Shankar has published or edited over a dozen books, including the Muse India award-winning Tamil translations of 9th century poet/saint, Andal, 'The Autobiography of a Goddess,' the 2011 National Poetry Review Prize winner, 'Deepening Groove' and the 2005 Finalist for the Connecticut Book Awards, 'Instrumentality.' Along with Tina Chang and Nathalie Handal, he edited W.W. Norton’s 'Language for a New Century: Contemporary Poetry from Asia, the Middle East & Beyond,' called “a beautiful achievement for world literature” by Nobel Laureate Nadine Gordimer. He has won a Pushcart Prize and a Glenna Luschei Award from Prairie Schooner, been featured in such venues as The New York Times, The Paris Review and the Chronicle of Higher Education, appeared as a commentator on the BBC, the PBS Newshour and National Public Radio, received fellowships from the MacDowell Colony and the Corporation of Yaddo, and has taught around the world, including at Columbia University, and City University of Hong Kong. Founding editor of Drunken Boat, one of the world's oldest online journals, he holds a research fellowship from the University of Sydney and his 'Many Uses of Mint: New and Selected Poems 1997-2017' was published by Recent Works Press in 2018 and his collaborative chapbook, 'A Field Guide to Souther China' written with T.S. Eliot Prize winner George Szirtes will be published in 2019 by Eyewear Publishing.

Peter Freund

1 video poem with translation

Acorus Calamus

همانگونه که برای سرگردان. یک بر فراز نهر

این نشان به دو آشتی نامه خدمت می کند

.و پیشتر نرفت سه مرگ رنگباخته آنجا

صورتک داران هید چیدند چهار لعنتی را علیه مان

از پنج های سفیدشان ظاهر شد

صلح بر ما آوردند

،به دفاع خویش برخیزید

آشکار کن شش لعنتی خویش را

.آنان با هفت بال آرام و خواب زده شان

بایدم بنمایم من یک هشت و نشان عشق را

.نشانی از شآن. یک نه پر جلوه


Peter Freund: Original text, picture edit and sound design.

Nasser Rahmaninejad: Farsi translation and recitation.

Peter Freund is an artist and writer, originally from the San Francisco Bay Area, now based in Barcelona, Spain. As an artist, he works in a variety of mediums, ranging from experimental film and video installation to conceptual printmaking and text art. His projects, which have been exhibited internationally, attempt to develop expressive forms for the untranslatable. Currently on a leave of absence from his academic post at Saint Mary's College of California, Peter is now collaborating as a visiting artist with the Faculty of Fine Arts at the University of Barcelona while pursuing curatorial and writing projects throughout Spain.

Nasser Rahmaninejad is an actor, theatre director, and writer, originally from Iran, who now lives and works in the San Francisco Bay Area (USA). Beginning his career in the theatre in 1959, Rahmaninejad founded an alternative, independent theatre group, Mehr, in 1966 (later renamed the Iran Theatre Association) in response to the authoritarian cultural policies and harsh censorship of the Shah’s regime. The group worked actively and influentially until 1974 when all members were arrested by the Shah’s secret police. Rahmaninejad was sentenced to twelve years in prison, only to be freed by the 1979 revolution that toppled the Shah’s regime. After resuming his work in the theatre, he also taught, wrote, and lectured on theatre and politics. Later Rahmaninejad emigrated to the USA, where he has continued his work as an actor, writer, and lecturer.

Sarah Green

1 poem

after Joseph Cornell

brass         sun                 makes   the   parrot             unperchable     perch

ring          a hung            color                                        nch

                     thing                                           bra                                      sea 

drawer          ajar            wishbonemap photo             shells un   

   for        nesting            graph                 drift                spoolspiral        into

string    in   beak                  wood   block                                 Hotel

                   whirls            stopped       spinning                         de la Mer

                world                                                  top

                     white           Houdini                                     duck mid-

                                           with     a    latchkey                                    quack



Sarah Green is an MFA candidate at Colorado State University. She received her MA in social work from the University of Chicago and works as a psychotherapist. Her work has appeared in grama, Ghost Proposal and E·ratio.

Abigail Levine

1 video

Restagings No. 2: Of Serra (to movement) 

Richard Serra’s Prop Pieces enact a moment in time. Steel plates and rods balance precariously against each other between wall and floor. Hal Foster reads the Props as an endpoint, the successful struggle “of rising up and remaining up.” There is another possibility, however, that the Props represent a starting point, the moment a figure acquiesces, releasing itself to the effects of gravity.  Restagings No. 2: Of Serra (to movement) takes up this invitation of the Props—that they could slowly give way to gravity, that if we watched long enough, they would come to look more like the bodies that first inspired them—leaning, bending, responding—somewhere between submission and resistance to the forces acting upon them.

Of Serra is the second work in Levine’s Restagings series, which translates iconic modern and postmodern artworks into performance. Restagings mine the choreographic logic and somatic ideas built into visual art works, unearthing bodies and labor implicit in objects, drawings, and texts, returning them to our experience of the original works. No. 1: Choreographing LeWitt (30 hours over 5 days) premiered in 2017 and No. 3: Fall (C.A.) (10 1/2 hours in one day) will be performed in October 2019. 

Choreography & design: Abigail Levine 
Sound design: Paula Matthusen with Dexter Dine 
Performance: Abigail Levine, Vitche-Boul Ra, Maho Ogawa 
Video: Esy Casey

June 11-14, 2018 
Fridman Gallery 


Abigail Levine is an artist working between New York and Los Angeles. Rooted in dance but moving across media—performance, text, drawing, sound—Levine focuses on the poetics of our body’s work, how we record and value it. Her latest work, the Restagingsseries, has been presented at Fridman Gallery, Vox Populi and The Knockdown Center, supported by Foundation for Contemporary Arts, New Music USA, and residencies at The MacDowell Colony, Center for Performance Research, Brooklyn Arts Exchange and Bemis Center for Contemporary Arts. Past works have been presented throughout the US, in Cuba, Canada, Brazil, Mexico, Venezuela, Greece and Taiwan. Levine performed with both Marina Abramovic (2010) and Yvonne Rainer (2018) in their retrospectives at the Museum of Modern Art.

Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. Her work often considers discrepancies in musical space—real, imagined, and remembered. Awards include the Walter Hinrichsen Award from the American Academy of Arts and Letters, a Fulbright Grant, two ASCAP Morton Gould Young Composers’ Awards, and the 2014 –2015 Elliott Carter Rome Prize. Matthusen is currently Associate Professor of Music at Wesleyan University.

Dexter Dine is an electroacoustic composer and songwriter, working primarily with guitar and laptop. He is currently the musical director of Roxy + Company, a dance company in Brooklyn.

Maho Ogawa is a New York based movement artist originally from Japan. With a background in ballet, traditional Japanese dance, and Butoh, she explores the origin of movement language. www.suisoco.com

Vitche-Boul Ra is an interdisciplinary performance practitioner based in Philadelphia, PA. University of the Arts 2018: BFA in Interdisciplinary Fine Arts, Sculpture and Dance.

Willa Carroll

2 poems with photographs

Willa Carrolll_1.png

Score for Body as Improvised Shelter


Begin with skin | haptic salutes | hot content | scorched chorus | zip the hazmat | fashion
yourself a houseboat | afloat on two inches of water | or a modern | ark on rising seas | the
dolphin was once | the name of a dance | all morning gone | swimming in the marrow | all
afternoon | practice meaty deliverance | errand into third eye | architecture between ears |
hands thoroughly measure | no place in particular | trade in this dream | for shouldered
stone arches | or strong thighs | navigate seminal encounters | misplace some names | find
more sticks | for the fort | index finger points west | sun melts what's left | bones are
glacial | skull a bowl | with delicious contents | now light exits | the shapely nebula

Willa Carroll_2.png

Score for Body as Terrestrial Experiment


Pledge allegiance to sixteen senses | milk the lion | to feed the lamb | siphon this river |
measure toxic index | collect stones | rolled in pollen | tell the moon, soon | dress the body
in honey | sawdust & asbestos | formaldehyde & dandelion | speak in feathers | tarred &
lettered | build a house | for the red bird | of the tongue | regard the body | as ghost meat |
spectral suit | skin a bridge | a flesh proof | equation | worked by centuries |
consumption, consumption | unhinge the jaws | swallow all | the black air


Willa Carroll is the author of Nerve Chorus, one of Entropy Magazine’s Best Poetry Books of 2018. Her poems have appeared in AGNI, LARB Quarterly Journal, Tin House, and elsewhere. A finalist for The Georgia Poetry Prize, she won Tupelo Quarterly’s TQ7 Poetry Prize and Narrative Magazine’s Third Annual Poetry Contest. Her multimedia performance work has been presented in New York City and she’s collaborated with numerous experimental dance and theater artists, musicians, and filmmakers. She lives in Manhattan. willacarroll.com

Photographs by Darrell Taunt and Andreas von Scheele, from Willa Carroll’s performance video series: PROJECT HAZMAT.

Charly Santagado

Translation Studies 4 & 5

Written by: Charly Santagado and Matthew Menchaca 
Choreographer: Charly Santagado 
Dancers: Charly Santagado and Emory Campbell 


~mignolo dance~ is a 501-c3 nonprofit contemporary dance company based in New York and New Jersey founded by sisters, Charly and Eriel Santagado, in 2017. They have been dancing and creating together for more than ten years and use this experience to continue to collaborate with each other and other dancers and artists to create new work that explores elements of various artistic mediums through movement. 
Charly Santagado
 is a dancer and choreographer originally from Orlando, Florida, living in Metuchen, New Jersey and working in NYC. She graduated with highest honors from Rutgers University in 2017 and founded a contemporary dance company that summer with her sister, Eriel Santagado, called ~mignolo dance~. She has performed at the Orlando Fringe Festival, at Peridance’s BLUEPRINT Intensive and Choreographic Development Project, at Axis Connect Intensive, with Monteleone Dance Collective, with Kaitlyn Halpern and Dancers, with Haven Movement Company, with Olivia Dwyer Dance Projects, and with Maiya Redding. She also regularly performs in her own work, which has been produced at more than twenty venues around the tristate area including Manhattan Movement & Arts Center, GK Arts Center, City Center Studios, The Secret Theatre, Ailey Citigroup Theater, Paul Taylor Studios, Peridance, Triskelion Arts, Suzanne Roberts Theater, and Baruch Performing Arts Center. She studied with Kibbutz Contemporary Dance Company in Ga’aton Israel from 2018-2019, was part of the 2019 Dance Canvas Choreographic Initiative, was selected for coLAB Arts’ new choreography commission, and was project leader at Earthdance’s 2019 EMERGE Collaborative Residency. 
Emory Campbell joined ~mignolo dance~ in 2019. Hailing from Brooklyn, New York, she began pursuing dance at age 13 at LaGuardia High School and the Taylor School. She went on to study dance at The Hartt School at University of Hartford, where she performed in classical works by Martha Graham and Jose Limon, as well as original pieces by contemporary choreographers such as Gregory Dolbashian, Nobert De La Cruz III, Loni Landon and Take Uyama. She also performed with Pier Group Dance, Full Force Dance Theater, and Opera Connecticut before graduating Summa Cum Laude in 2016. Since returning to NYC, Emory has performed with The Francesca Harper Project, Bryce Dance, Of Bones/Hollye Bynum, Zoo City Theatre Group, The Dance Collective, Depth Dance, Hatchworks, in Nick Cave’s “The Let Go” at the Park Avenue Armory and in Arcade Amerikana at Industry City. 

Matthew Menchaca grew up in Austin, Texas and graduated with a degree in philosophy from Rutgers University in 2017. He is now pursuing a PhD in philosophy at CUNY. He paints and writes in his free time 

Jenny Mueller

5 poems

from Postcards


My father (F) took
the round utopian
light of Buckminster
Fuller’s “skybreak
bubble” home to
place it in the square

—which “expresses equality,” as
does its brother rectangle.
He came home & built what
we always would call “the
new room.” Glass walls &
stone floor made squares, little
plazas of sunlight and moon
where one drew, warmed & gazed.
Evenings the spectacle turned
inside: the birds at the feeder
fell into the dark so we
saw a nuclear family move &
compose under lights in the glass

Expo 67 — Montreal, Canada (1967)
5.5 x 3.5 horizontal

“Habitat 67 — a revolutionary concept of
urban housing located on Cite ́ du Havre, this
unique complex of 158 dwellings is a
fascinating look into the future. The form of
the building permits the utilisation of many
roofs as gardens with a resulting maximum
benefit from fresh air and sunlight to the

In the manmade islands’
world city of new nows, crowds swept
into swaggering pavilions, / nation-
rides on the theme of man
in his world 
/ There I first met
the 2 pictograms sorting the doors /
modular, but for the triangle A
in her waist / M/F / male fe-
male mother father / who-
ever high / & the same held
my hand in the swirl


Expo 67 — Montreal, Canada (1967)
5.5 x 3.5 horizontal

The minirail dropped her
into the pockets of
buildings where movies massed
seething colors. They frothed
over her—she in them
growing: gazing: as stem.

Carte Postale
(Posting it now, slick w/60s
processes, Canadian Plastichrome.
Man the Creator! gathered
in the river, a micro state
issuing imagery, urbi et orbi.
To post—to place. To be carried.)

I searched for my sister, beacon
in the cinemas, patterns swarming
across her skin. She bore
lights of the spectacle toward
the exit, entangling them
with the real sun.

“Fireworks Across Dolphin Lake — On La
Ronde, this is a thrilling nightly spectacle.
The lights of Montreal are seen in the

To be carried in dark
to the marvel, to the night mumming
feathery, carnival masks / to be hoisted
like a gift to be split over crowds— /
under it flashing— / a smile of smoke
drifting on the emptied face after /

She lived in the tent city dirtily skirting
the fair. She awoke sealed and sticky
on its ground like a seed. Like
a seed she was lifted again into air—


John Cage, A Dip in the Lake: Ten Quicksteps, Sixty-two Waltzes,
Fifty-six Marches for Chicago and Vicinity
(felt-tip pen on map)
MCA Chicago postcard dimensions: 8.5 x 6

“After life has been conducted in a certain
way nobody knows it but nobody knows it,
little by little, nobody knows it as long as
nobody knows it."

To exchange roads for streets. Start with the long straight isolate I
arrowing into a cluster. There the one voice

splits & re-portions & mazes itself into rounds. Then return,
streets to roads, wavelike to-fro, composition of a matter new
brought back.
The way a groove forges its pull. Any child of the outskirts
knew a red spell in the air, that the tall freeway kiss

of the Magikist sign. Nights headed home you sat up for it.
A pair of lips floated and drained, the red neon flooding

in toward the crest of the bow, through the vermillion zone,
voiding then back to its corners.
Just so if different Man Ray
placed a pair of lips into the sky & rouged them, stroke by stroke
so they hung Cheshire repeated and full.
(Imagine the tongue
darting inside them like lightning!) In the tall mouth composing
by drawing itself and erasing, a red come and go,
feminine in errand, tending to.
In the car was another movie
of showing what is always happening: you lay in the back
like a pebble streamed over; headlight strokes banded the ceiling,
in phrases—a sped white web leaving the city, a roaming
sometimes figure in the slower nearing home. Swish swish.
is filled always filled with moving.” You being the and in a series.
Home, you stepped under the galaxy, another white band speeding.
You & the bugs being rattles in it, a noise of shaken sand.


“Taxco’s Narrow, Cobblestoned ‘Arch’ Street”
early 1970s (5.5 X 3.3 vertical)

an arch permits heads
to reach. Demonstrates,
to a child, the scale
of essay. Under its shadow’s
stone, sparing hand
you pass and aspire, the length &
the height & remove of a lesson—your
lesson. To study will lead
to proofs and a thesis, to study sets you straight
and perplexed away: so do the swallows
that brood below the arch
stream out to craze a small zone of near air.
To the church from the arch, to
the hot, thin street

where my mother bends, ringed
by children. They hold out
their warm and strokeable arms looped
with necklaces. Our guide flashes
glasses and teeth. He’s a student,
he’s nicknamed my humanist father
Padre for priest, but the teasing
means something more. Now he lectures,
Do that to your own children,
and my mother pulls back a chastised hand.
I am her child, struck cold with
injustice; I know the seared hand
is gentle. But she understands
how her own child must serve as example.


“Street of the Arch and the Santa Prisca Church”
Taxco, Guerrero, early 1970s (5.5 X 3.3 vertical)

Now she stands opposite—
as if past the arch on that side
of the church, in the postcard’s
tea-colored sunlight. Try
as I can, my mother will
not turn. I feel the heat of her back,
passed to me through the arch shadow
like word about someone taken.
She was lucky: her father had walked
out from a Nazi jail. He would leave,
he would teach, they would follow. Now
by remembering her in this picture
of Guerrero, nearby the child
martyr’s church (that spectacular
cathedral, built over a silver mine),
I tug her back into dirty war.

The famous stone streets
pitch at her feet. She can see
they must run to the mountains,
guess at villages, picture
high views at the coast.
She does not see soldiers
cobwebbing the roads, taking the learners
and teachers of the poor, stuffing
them into the earth, into jail, into fires,
into plastic bags dropped from heights
to the sea. They say hardly anyone knew—
what everyone nowadays does,
that the ground of Guerrero is gagged
by corpses of students. She does
not see, but I think she suspects,
and her back turns to keep me
from knowing her fear.


Jenny Mueller is the author of State Park and Bonneville, both from Elixir Press, and an editor of Moonie, a posthumous ebook of poetry by Brian Young (Fence Digital). This summer, her essay “One Part of the Main” appeared in Another Chicago Magazine. She lives in St. Louis and teaches at McKendree University. The selections from her series “Postcards” published here include quotations from Gertrude Stein’s “Composition as Explanation” and from “Symbolic Collapse: Utopia Challenged by Its Representations” by Laurent Gervereau.

Constantine Jones

1 poem with audio & photographs


[ recording badly damaged ]


Sing [

of the gifts appearing [
when it is the right time [



For this is all that [




] sheds [

] dream of the oceans who
] with thirst each lake [ ] river

] that empty their [ ] mountains
] waters into a dream

] reside hidden ]
] good


Constante Jones_2.jpg


For this is all that [

] sing in the forest
] and the sun
] has provided


] its love




For this is spoken [ ] is the first
word by every mouth [

] is all that

] who [

] all of nature have all been
] wild animals
] the moon [ ] stars [ ] the Good Lord

] refreshing [
] beauty the body [


Constante Jones_4.jpg


Sing [

] is all that
] for my mother



[ This found poem takes as its source material a poem titled “The Good Lord,” written by the translator’s Yiayia, Victoria Soliosi, in her native village of Pamfila on the island of Lesbos in July ‘98. The text used is a translation from her original Greek into English by his father, Peter Coromilas Jones. The bracketed arrangement of the poem echoes the aesthetic reproduction of Sappho’s papyrus fragments as translated by Anne Carson in If Not, Winter. This melding of content / form is particularly significant for the translator in that both Sappho / Victoriawere Mytiline natives—women whose lives are all but lost to history’s waters; women who loved, who offered, who impacted those around them; women who left behind only traces, fragments, intimate island talk, a language reserved for those who vibrate so closely they hardly even need a language to communicate. ] 

[ The photographs within are a collaboration between the translator & the artist Douglas Rogerson. The translator has superimposed images of himself over the figure of Sappho as represented by Count Prosper d’Epinay’s statue of the poet (ca. 1895) on permanent view at the Metropolitan Museum of Art, New York City. ] 

[ The accompanying sound recording features the translator’s own father, Peter Coromilas Jones, reading the poem alongside the translator’s mother, Zenovia Maria Sfakianos Jones, whose recitation of the poem is interrupted by voicemails of the translator’s yiayia,Victoria Soliosi, as well as found / recorded sound. Due to deterioration of the recording, the translator recommends use of headphones. ] 




Constantine Jones is a queer Greek-American thingmaker raised in Tennessee & currently housed in Brooklyn. They teach creative writing at the City College of New York. Their work has found homes in The PEN Poetry Series, Blood Tree, Hematopoiesis, & the HIV-awareness project, And So It Happened, & has been displayed or performed at various venues across the city, including Bowery Poetry, Smack Mellon (for the Brooklyn Poets Walt Whitman Bicentennial) & Bortolami Gallery (for the Visual AIDS Postcards From the Edge benefit exhibition).

Kevin McLellan

1 poem



“ an arrow
too far away…”
in the eyes.

a room, whose lighted window

My room

no memory of himself.

his limit

yet I was struck

less fixed,

the corridor
a white light, footsteps

folded back

Because of him, I was
almost too large.
two shadows


a shadow

already a little snow,

All the doors
white as the wall

that corridor.

in that tunnel. the door,


And yet,
a slope, a height

pushed me back

that chorus

The voice

between us

Already black,


myself in that chorus.

These words

the little window,

with shadows.

The space

the black that dies

the large me


Maybe you
and yet I

these words
between us

in harmony with “Later, he…


Kevin McLellan is the author of Hemispheres (Fact-Simile Editions, forthcoming), Ornitheology (The Word Works, 2018), [box] (Letter [r] Press, 2016), Tributary (Barrow Street, 2015), and Round Trip (Seven Kitchens, 2010). He won the 2015 Third Coast Poetry Prize and Gival Press’ 2016 Oscar Wilde Award, and his poems appear in numerous literary journals including American Letters & Commentary, Colorado Review, Crazyhorse, Interim, Kenyon Review, West Branch, Western Humanities Review, and Witness. McLellan lives in Cambridge, Massachusetts.


1 ritual & poem

This poem comes from "Resurrect Extinct Vibration," a (Soma)tic poetry ritual in 9 parts. The main ingredient involves inducing a trance by saturating my body with recordings of recently extinct animalswhile lying on the ground across the US. Another ingredient is drawing the animals on index cards with request for correspondence, leaving them across the nation in laundromats, coffee shops, etc., and I reply as ghost animals. "Saint Francis Safe Passages" is an activist ingredient,writing to elected officials to convince them we need thousands of land bridges across the US-highways for animals to cross into safety. This is one of 108 poems resulting from the ritual.


Impaled By Sharp Points of Wonderment

I should know
names of extinct species
as though taxonomy ever meant preservation
telling someone who they are
instead of asking is where
extinction gets its start
in a game of
Russian Roulette
I won a pair of
glasses that can see the wind
I walk around town each night watching the
slightest breeze approach dry leaves like a premonition
My Darling I watched you call tails while the
double-headed coin flew through the air
exorcise fly swatter covered in ghosts
at the concert someone dances with
abandon as only a true believer can
new furniture cannot combat
the death of your bedroom
study design of the owl's
feathers to study arms
race of the night
you started using
your therapist as
a weapon against your friends
another window into the
carefully ornamented shadow
flower as non sequitur for conversation that refuses to blossom
my uncle let the cow live another year
patted his ignoble self on the back
one year older congratulations he
told her through the bars of
her prison he calls a barn


CAConrad is a 2019 Creative Capital Fellow, and the author of 9 books of poetry and essays. While Standing in Line for Death(Wave Books), received the 2018 Lambda Award. A recipient of a Pew Fellowship in the Arts, they also received The Believer Magazine Book Award and The Gil Ott Book Award. Their work has been translated into Spanish, Greek, Polish, Norwegian, Portuguese, Danish, French and German. They teach regularly at Columbia University in NYC, and Sandberg Art Institute in Amsterdam and they can be found online at http://bit.ly/88CAConrad

Arthur Flowers


1 poem

Rickyydoc on the Conch (excerpt #1 from the Hoodoo Book of Flowers)

I am flowers of the delta clan flowers and the line of o killens, I am hoodoo, I am griot, I am a man of power, my word true word, my story true story, my lies true lies, I am mythmaker, voice of the old gods, come to call thru desperate hungers to me o mighty race, lord legba, it is I, rickydoc rootdoctor, ask that this gate be opened, let this work be done, in the name of the conqueror, attend me, divinity, come to me, ogotemmeli, speak and I will listen, grandfather nyikang, I spread the palms of my hands in prayer, oloddumare transcendent, know me, resplendent kwoth, grant me serenity, haragakiza, every day I pray, tilo, hear me, en-kai, lead me, I know the gods love me, they have given me prophetic dispensation to speak truth, I will not fear if you are with me, tamukujen, know me, owo, bless me, wondrous chieng, though all stand against me I will not be defeated, come asis, come ankore, come mutalabala the eternal, and lord ngewo, deliver me, and kurumasaba, sanctify me, mbamba kiara, grant us rain, and you deng, ancient one of surpassing greatness, do not forsake me, o imana, if only you would help me, khmvoun, hear our call, merciful nhialic, turn your eyes on life, o yataa, let blessings abound, leza, in your name, nyame, hear me, and unkulunkulu of the zulu, come come, mwene nyaga, come, soko, come, kyala, come, oyigiyigi, please come, ota aiku the mighty immovable rock that never dies, come nana of the akan, who seweth the heavens like kente, winnamof the mossi, who dare defy you, mungu, let me be a healing, ptah of memphis, who thought the world and said it in a word and then it was so, come down apedemak, wargod of de nubians, come down from jebal barkals peak, attend me amesami, she who grows in power, attend me asobe, I stand before you, attend me nzambi, there is sighing & difficulty, o abuk, patron of women and gardens, where are you, and you, androa of the lugbara, transcendent beyond experience and knowledge, I do not know what god is but I do know what god is not, no patriarch, no earth mother, no dysfunctional family, no dispenser of virgins, mawu-lisa, move me, nhialac, remove my pain, and that of all creature great and small, tomukujen, behold my victories, it is well, my enemies are scattered, it is well, lenana, I pray this be a good day, demoja day, earth day, dear mother earth, be gentle with me and I will be gentle in my turn, murungu, we gather in your name, rugaba, accept my offering, ruwa, take my hand, epilipili, hear my plea, o engai, grant us life, for it is you, nyankonpon, who alone is great, what you have made is good, once again I cry out, omari, let thy wrath cease, akongo come, demoja, bring aid, demoja, bring help, demoja, listen, aint gon knowingly lie to you about the nature of god just cause that's what you comfortable with, somebody to beg, cajole and look to for grace, dear jouk, judge me worthy, asobe, wash away my sins, let me begin again, demoja demoja, anna, in your care I cannot fail, up domfe, thy will; thy way, o ruwa, protect me, meketa of the kono, I am pure, asis, beat the drums, gather up the old gods, huveane, I have questions, alouroua of the baule, the great mantle which covers us all, I have doubts, I doubt the universe is conscious of us as,s we understand consciousness and yet and still I look for grace, bilikonda the everlasting eternal one, let the souls of the people cool, and dear mercifull imana, I am in distress, where will I go, what will I do, where is there room for me, ruhanga, see me, please see me, godfather were, know me know me, kalumba, kanu, let me be you, nyame, let me be me, nyambe, let me be all things in your universe, ala, let me see thru illusion, and chuku, thy instrument, demoja, though we have been trained from birth to fear the question it would be presumptuous to think we have encompassed divinity, woyengi, come, asa of the akamba, protect me, modimo, remove all evil from my path, abassi, bring joy, atai, protect me, just this once and I will never ask again, chiuta, bring rain, mbongo, bring rain, thixo of the xhosa, and dongo, thundergod of the songhay, wuni, shalabongo, shalabongo, please come, nommo of the dogon, help me, who am I to think I could found a Way, show me, tsui-goab, shape shifting thunderer, do not fail me, and you, most high enlai of the masai, and the babajohn, the great baobab under which we shelter, anoint me with the compassion of o killens, loving all god creature, great and small, cant just save your own, got to save them all, and nzame of the bantu, supplier of many cattle, rise up, young hoodoo, cast your vision as far as you can see, determine the challenges the tribe will face, prepare the tribal soul to meet them, rise up njambi, are you there, faro of the bambara, are you there, folk think prophecy is about foretelling the future, au contrary, prophecy is correlating current behavior with destinic consequence - continue to conduct yourselves in this manner and your generations will suffer, listen to me and they will thrive, god told me this, god bid me sing – sing atilo, all praises, sing qamata, all praises, sing mwari, praise, makongo, I come to praise, nasilele, we praise, lozi ngewo-wa, blessings abound, nyalitch, in your grace, ditaolane, are you there, kalumba, most high ngai of the kikuyu, come down from kilimanjaros seat, enekpe, come, rugaba, come, shilluk, source of all things, come kaang the wonder, come kwoth of the nuer, mysterious god of unknown things, and mbere, too and bantumodimo of the tswana, rise up, and mboko the great mother, rise up, and mukuru, the old one, rise up singing, rise up my children, shake the devil out your soul, rise up killens chillens, in the name of legba, oshun, and de conqueror, as if divinity could be encompassed by a name, demoja demoja demoja, gods blessings on us all, shalabongo yall, rise up, gods blessings on us all, rise up


Arthur Flowers, native of Memphis, is the author of novels, nonfiction and graphic works including Another Good Loving Blues, Mojo Rising: Confessions of a 21st Century Conjureman, Brer Rabbit Retold, (Tara Books, India) and the Hoodoo Book of Flowers. He is a blues-based performance artist, a practitioner of literary hoodoo, and has been Exec Dir of various nonprofits, including the Harlem Writers Guild. He is the webmaster of Rootsblog, a Cyberhoodoo Webspace and teaches MFA Fiction at Syracuse University, NY.


Hari Marini - PartSuspended

1 video

Spirals: As If

In Spirals project Hari Marini and PartSuspended group seek to articulate the female experience of time, movement, memory, nature and sense of belonging in a poetic and innovative way. The project consists of a series of performances, exhibitions, workshops and video-poetry. It employs poems written by contemporary female poets, recorded material, videography, music and movement. Hari has collaborated with female poets and has filmed video-poems in London, Broadstairs, Barcelona, Belgrade, Coventry and Athens. 

Spirals is a poetic journey that crosses geographical borders and unites female voices in an exchange of languages, cultures, personal narratives and modes of expression. Through the symbol of a spiral, the project explores thresholds, migration, path, nature, home and sense of belonging; the spiral acts as a sign of becoming, transforming and awareness.

Concept & Direction: Hari Marini

Poetry: Barbara Bridger

Videography: Olga Lagun

Music: Maria Chatzipouliou (viola), Fotis Karagiannis (guitar)

Sound editing: Fotis Karagiannis

Performers: Benedetta Castello, Maria Chatzipouliou, Efi Dementi

Special thanks: Coventry Cathedral, Sebastian Hicks, Natasa Stamatari, Sam Williams 


Hari Marini is an independent writer, performance maker, associate lecturer, and founding member of PartSuspended group. Her writing, practice and research are focused on poetics of spaces, performative architectures, urban space and women’s writing. Her work has been published in the academic journals Contemporary Theatre Review, Performance Research, Journal of Greek Media and Culture and Interim: A Journal of Poetry & Poetics. She has presented work in the UK, USA, Greece, Czech Republic, Serbia and Spain. Hari has taught performance courses and has delivered workshops both in the UK and Greece. Since 2006, she has been teaching performance at Queen Mary University of London (QMUL). She holds a PhD in Performance from QMUL and an MA in Advanced Theatre Practice from Central School of Speech and Drama (London), funded bythe Hellenic Scholarships Foundation (IKY). Also, Hari holds a degree in Civil Engineering from the University of Patras.

Barbara Bridger taught Theatre and Performance Writing at Dartington College of Arts between 1990 and 2010 and is currently an independent writer, director and dramaturg. Barbara Bridger’s writing has been widely published, performed and screened. She was Prose Writer of the Year 2002 (Writers Inc.) and has been shortlisted for several other awards including Asham and Raymond Carver. At Dartington, Barbara Bridger helped to develop Scripted Media. This explored experimental approaches to script and scripting and her research also focuses on women’s writing and inclusive dramaturgical processes. She is currently dramaturg for companies and individuals operating across a range of performance practices. https://independent.academia.edu/BarbaraBridger

PartSuspended In 2006, Hari co-founded PartSuspended as a dynamic platform on which to foster performances, installations, writing and collaborations with artists from a variety of disciplines such as performers, visual artists, writers, videographers and musicians. PartSus­pended is a multidisciplinary group, whose work seeks fragments, randomness and poetry in contemporary life.

PartSuspended has presented their work to a variety of venues such as Prague Quadrennial of Performance Design and Space (Prague), BIOS Tesla, National Theatre of Greece – Experimental Stage, Camden People’s Theatre (London), Arcola Theatre (London), Southwark Playhouse (London), Emergency 2013 (Manchester), Siobhan Davies Dance Studio, ]performance space[, ZealousX (Bargehouse, Oxo Tower Wharf), OPEN 2013 (London), Railway Carriage Theatre (Athens), Epi kolono, Vrysaki Fringe Festival (Athens), Invention Theatre Festival (London), DVM Theatre (London), NoGrayInMyDay Gallery (London), QMUL, RHUL, You & Your Work (Bristol). For more information about PartSuspended’s projects, please visit:  www.partsuspended.com

Mikaela Curry

1 poem


This poem is a “Golden Shovel” style poem with the last word of each line, in total, comprising the poem, “Awed by Her Splendor”, by the Greek poet Sappho

it’s not that she was immediately awed 

by any particular notice, by the angle of a jaw, by

the stretch of a neck, it was not so much her 

soft angular beauty, but more the complete splendor

by which she wore the world around her like stars 

their brilliance overwhelming when she was too near

anytime she poured music, both a ceramic pitcher and the 

hands that made it, clay-covered dirt lovely 

in her looseness, as she might swing to the moon 

inside her own shadow, there is no cover

for such a starlight, too full, without needing their 

approval, she was the rings of her own 

planet, circling mysterious and moon bright 

emerald stillness in the eyes of all her faces 

there is no calm before a storm when 

there is no storm, it could be ordinary that she 

moves this way, in the way that all extreme wonder is 

becoming something to get used to, meeting at the roundest 

intersection of two bodies that move on the edge of a night and 

when the clouds fill even the ground with their dew thick lights 

there is the curious disappearance of the separation of sky and earth 

an intertwining as if dancing, she with 

the sudden weight of a stone in her 

pocket, night blind reaching for gleaming strands of silver


“Awed by her splendor /stars near the lovely /moon cover their own /bright faces /when she /is roundest and lights / earth with her silver” - Sappho


Mikaela Curry is a published and award-winning poet, community organizer and environmental scientist living in Eastern Kentucky. She has received multiple grants from the Kentucky Foundation For Women, was a featured artist in the Women of Appalachia 10th Anniversary Project, and has had her writing featured in a wide range of publications from Cold Mountain Review to Spectral Lines: Poems about Scientists. She earned advanced degrees in biological sciences and has worked as an environmental specialist, consultant, conservationist and researcher. She is currently prioritizing the inclusion of voting rights, climate justice and the centering of indigenous values into her work and is always interested in collaboration. You can find out more at www.mikaelacurry.com.

Alexa Smith

1 poem with audio

Dear River Body Song Instructor

Is a river free 
if the banks are manmade, 
the flow regulated? 

I want so badly to make 
my face a mask of air 
for you, to unhinge 

and lift the roof 
off of my mouth. 
To catapult 

my gut’s bell 
to the back 
of the room. 

It’s all for a point
on the wall at the back 
of the room
, you tell me. 

As far as you can throw it – 
that’s your audience. 
That’s your public. 

My body, without edits, 
cannot reach that far 
without cracking. 

I am in need
of revision. It’s hard 
work to sound natural, 

effortless. A river 
never gets to sleep, 
but skims and carries 

everyone, everywhere. 
I try so hard to be a good 
vein, easily found, producing. 

I know you want me to
be better so more people 
can hear me, so I don’t break 

my heart and throat 
straining. The desire 
to please is self-imposed. 

Lie down to find your breath,
you tell me, and I do. 
Sync my rise 

to yours. 
How much 
are you holding? 

How much 
can the floor 
carry for you?

No body 
is ever finished, 
fixed. Like a river 

I’ll massage my rocky jaw, 
find my mouth, 

and open. 


Alexa Smith is a poet and performer from Washington D.C. She lives in Philadelphia, where she edits Apiary Magazine. You can find her poems online in Entropy, Peach Mag, Dark Wood, and Memoir Mixtapes.

“Dear River Body Song Instructor” is a response to the video exhibition 2 RIVERS + 30 YEARS by Laura Heyman and Luxin Zhang, written and recorded for the Everybody Ekphrastic Audio Tour at Vox Populi in Philadelphia as part of Just in Time: 30 Years of Collective Practice.