January 9, 2012 § 1 Comment
The following interview was conducted by email in late January and early February, 2011 and was published by The Asheville Poetry Review (www.ashevillepoetryreview.com).
DW: In literary circles, you are best known as a Southern poet, an Arkansas native who founded the first M.F.A. program in Louisiana. The Southern Review called you “The most engaging and lucid of the postmodern southern poets,” and when you were profiled in The Chronicle of Higher Education, Lawrence Biemiller wrote that you were “as well rooted [in Lake Charles, Louisiana] as one of the city’s live oaks.” And yet, in 2007 you left Louisiana and the South altogether, retiring to Saxton’s River, Vermont. I am wondering, first, if you still (or ever did) consider yourself to be a “Southern” poet and, second, how your move to New England has affected you as an artist. I am struck, for example, by how deeply some of the poems in your new book, The Fictions of History, engage with Puritan figures like Cotton Mather and Edward Taylor.
JW: No, I never thought of myself as a “Southern” poet, but I certainly wasn’t going to tell The Southern Review I didn’t appreciate the nice compliment. I appreciated it very much. I don’t think of myself as “postmodern” either, but again who could complain in the same sentence with “most engaging and lucid”? Of course, there are some Southern characters in my work because I lived in the midst of them—nutty, dancing preachers and hysterical women and so forth. There was a church on the end of the block I grew up on. They got very loud there. We lived at the other end of the block but on Sundays and Prayer Meeting nights you could hear them clearly, and I would sometimes go peek in one of the windows and watch the show. My mother was friends with Pastor Jimmy and Frank, the man who lived with him, a fact my mother found wonderfully amusing. She would take them extra tomatoes, okra, and so forth from the garden, as she did other neighbors. I would go with her sometimes, and though I didn’t know the word at the time, their house was a masterpiece of “camp.” Pierre and Gilles would love to have photographed it. « Read the rest of this entry »
April 8, 2011 § 3 Comments
From Steven Albahari, Publisher, 21st Editions:
21st: The Journal of Contemporary Photography served a purpose far greater than most realized. Unfortunately, no one seems to have taken the baton and run with it. The state of photographic criticism today is a sad thing. 21ST Editions editor, John Wood, sent me the following essay. Some will agree with it and it will piss some people off. Read and decide what side of that aisle you are on. We’d love to hear back from you!
The Virus of Pomposity:
Why So Much Contemporary Photographic Criticism is Pretentious, Pompous, Boring, and Unreadable
In a forthcoming interview with me in The Asheville Poetry Review the distinguished poet, literary critic, and scholar Daniel Westover asked me about my work as a photographic critic. “You treat photographs as works of art—works that, like all art forms, require emotional engagement in order to be understood. . . . Can you say a little about your rather atypical approach to photography criticism? Does your work as a poet and literary scholar lead you to approach the discipline in this unique way?” This is part of what I said in response: « Read the rest of this entry »