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Structured in three parts, "On the Material" is a meditation on how language holds the materiality of the physical world.
Written in the midst of wildfires and atmospheric rivers, The Middle extends award-winning poet Stephen Collis's investigation of threatened climate futures into a poetics of displacement and wandering. The fulcrum of a trilogy begun with A History of the Theories of Rain, The Middle hikes the shifting treelines of our warming world to reflect on the way all life is in motion, fleeing the rising heat. Taking up the human-plant relationship in particular, each of The Middle's linked sequences finds itself somewhere on a mountain, in the company of trees (or the ghosts of now absent trees), climbing in altitude, or heading north. Across the poem's three sections, Collis employs various forms of citational practice, rooted in his long engagement with the idea of a "poetic commons" where writing is made out of what one is reading. This practice is a kind of entanglement, a form of literary seed dispersal, where words are blown, carried, and scattered from one textual field to another, akin to the mammals, fish, crustaceans, reptiles, rodents, birds, insects, plants, grasses, and trees in motion on our dangerously heating planet.
Explores the strange effect our current sense of impending doom has on our relation to time, and asks what resistance to the tenor of these out-of-joint times might look like.
Phyllis Webb is a poet around whom archetypes tend to cluster: the reclusive artist; the distraught, borderline suicidal Sapphic woman poet. While on the surface she seems supremely disinterested in the public sphere, argues Stephen Collis in this celebration of her work, Webb is no domestic, as a creator or a critic. Her work sweeps across politics, philosophy, and economics.
Origin of the Species left in five ecosystems for a year: a gorgeous photographic and poetic document of Nature's force.
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