(a) Irina Moga, "The Poem in the Mirror" in The Continuous Poem. "This seems pretty straightforward. But what happens when a mirror - or a poem- inserts itself in the equation? How might our vision be altered then?";
(b) Claudia Samperi-Warren, "The Room Is My Refuge From Light" in poetfranksamperi. "I have waited/for the evil wind".
(c) Geof Huth, "write as you - read as you write" in dbqp: visualizing poetics. "It is called the silver book, and it is a book, not more than a chapbook and maybe less than that, by Jen Bervin."
(d) Ed Baker (in email correspondence) cited "David Antin: 11 games for eleanor (previously unpublished)" by Jerome Rothenberg in Poems and Poetics. "It seems to me that for Antin as for others of us, there has been a strong sense that what we do as poets (more simply: as people responsible for keeping language & reality together) is in danger of an inescapable, premature reduction as it’s forced to enter the unique entropy machine of the modern communications nexus."
(e) Ed Baker (in email correspondence) cited "It’s hard not to like John Phillips’ Language Is, from Sardines Press" by Ron Silliman in Silliman's Blog. "Phillips, a British poet who has spent the past decade in Slovenia & now returned home, writes with a precision, balance & grace that calls to mind the very best of Louis Zukofsky’s short poems, or Creeley’s early period, or Lorine Niedecker’s work";
(f) Dave Bonta, "Evidently Chickentown by John Cooper Clarke" in Moving Poems. "A film called Ochlofobie by Belgian artist Swoon, who also supplied the music. British performance poet John Cooper Clarke is responsible for text and voice";
(g) Jerome Rothenberg, "John Martone: Presence of All Colors" in Poems and Poetics. "This is the second set of poems by John Martone to appear in Poems and Poetics."
Sentence: If the traditional poem is a mirror inserted between a straightforward world and itself, then it is an ill wind; the contemporary poem, however, is in the mirror, a silver book of danger and music.
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