Unlikely 2.0


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Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz


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Writing out of Hell: The Practice of William Carlos Williams and the Opening of the Field
Part 2

Spontaneous Composition

Williams, perhaps out of necessity, developed a spontaneous writing style. He was a very busy doctor, delivering thousands of babies. You can imagine someone in the waiting room, and Williams gets a hit of inspiration and jots down this quick poem on the back of a prescription pad. After a couple of decades of doing this, the process is – if not perfected – at least polished to a certain degree. He taught himself how to recognize that poem welling up, perhaps with a starting phrase or image. He learned to trust that hit and go with it. The key is in the process with which he was creating – in the moment – the form and content. He was not as dedicated to that original take to the extent Olson would be, but a harvesting of that quick burst is what Williams' process was about. His escape from hell was undoubtedly that heightened state of consciousness the act of composing spontaneously gave him, which is why I have likened this to a hit. Certainly it was a respite from poor, sick patients, but it was more than that. It was reality heightened into a different, deeper state of consciousness that becomes addictive in the most positive sense of that word.

Continued...