In Psychogeographical Romance, Leonard Schwartz speaks with four writers who are doing crucial work in the interstices between physical space, Orphic space, language and the sphere of the political. From the recognition of Venice as both a deep source of modernism and a prophecy for the future, as opposed to an avatar of the past, to the argument for Galician as a language that recalibrates our sense of European poetics, to the writings of the great Chilean poet Raúl Zurita as they conjure The Disappeared into a Nearness, these poets talk a miniature world into Being, and reveal it as our own.
Excerpt:
You go to Google Maps and see a satellite image of this phrase written in the Atacama Desert. And it’s still there, because they say that the children that live in that small town go every day and push up the sand so the words can still be visible.
—Magdalena Edwards on Zurita's associations between poetry and geology
In Psychogeographical Romance, Leonard Schwartz speaks with four writers who are doing crucial work in the interstices between physical space, Orphic space, language and the sphere of the political. From the recognition of Venice as both a deep source of modernism and a prophecy for the future, as opposed to an avatar of the past, to the argument for Galician as a language that recalibrates our sense of European poetics, to the writings of the great Chilean poet Raúl Zurita as they conjure The Disappeared into a Nearness, these poets talk a miniature world into Being, and reveal it as our own.
Excerpt:
You go to Google Maps and see a satellite image of this phrase written in the Atacama Desert. And it’s still there, because they say that the children that live in that small town go every day and push up the sand so the words can still be visible.
—Magdalena Edwards on Zurita's associations between poetry and geology