Archive | October, 2008

Filter II release at Richard Hugo House this Thursday at 7:30 pm


Filter is a hand bound journal produced and edited by Jennifer Borges Foster who produced last year’s Roethke Readings for ACT. The books feature screen-printed covers, an accordion-fold erasure booklet made from hand torn Rives Heavyweight paper, hand-torn endpapers, hand-tipped in original art, and a vast array of talented contributors including Mary Jo Bang, Rebecca Brown, Matt Briggs, Kary Wayson, Trisha Ready, Matthea Harvey and Amy Jean Porter, John Olson and many others.

Get your copy here! (From Etsy)

Readers: John Olson, Trisha Ready, John Osebold, Kary Wayson, Deborah Woodard, Corrina Wycoff, Brangien Davis, Erin Malone, Elizabeth Colen, Carol Guess, Brian McGuigan, David Mitsuo Nixon, Kate Lebo, Emily Kendal Frey, Adriana Grant, Tatyana Mishel, Roberta Olson, Bob Redmond

Music: David Mitsuo Nixon, Jose Bold (John Osebold and Kirk Anderson) — all of whom happen to be members of theater/music/art collective “Awesome”.

Original Erasures on display by: Rebecca Brown, Brangien Davis, Ariana Kelly, Jennifer Borges Foster.

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A Response from Jared Leising

A few months ago I wrote a short review of Jared Leising’s chapbook, The Widows and Orphans of Winesburg, Ohio.

At the time I wrote:

“Is he actually a regional poet? He grew up in the Midwest, and this is a chapbook of poetry rooted in the dirt of the Midwest, and really very few things could be as locally specific as dirt. In ” Loess” Leising writes ” But, this dirt made me, I can’t help it.” The poems are Midwestern poems. It seems odd to me that Leising would place himself so firmly in the Midwest. Doesn’t he risk seeming, well, provincial?”

Leising recently sent me this response:

I like how you’re able to call the concept of regionalism (or why anyone would want to be identified with a region) into question at a time when we can be as connected to people across the street as we are with people on another continent via the Internet. I also like the larger question of writer-identity (“who is anyone”) that you raise. I think that question is one I’ve been avoiding because it’s been easy for me to identify with the Midwest in terms of what I write about and how I write, plus as you indicated, there is a tradition of it; however my feelings about being a Midwest writer have changed the longer I live in Seattle.

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