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Over the course of the pandemic, I have been writing a series of poems called "Slow Town Calendar Adventure." A "Slow Town" is another literary-municipal-alternative (utopian? maybe) to conditions we've been inured to, presumably where there's enough time for alternatives to be tried. This series is an epic-in-stasis wherein the protagonist, an unnamed "I" theorizes where and what a "Slow Town" could be over exhilarating and disquieting zoom-calls, park treks, and texts with the "Contemporary Propinquiter" (an opportunist/theorist). With Roundtable, I've been recontextualizing lines, writing and rewriting them again in differing meters and registers, and finding the space in the volumes they draw until I've wound up with a map to "Slow Town" again. It'd be good if we actually get there, but the risk is to catch a slow in action and not "familiar slow oblivionation."
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To move through a labyrinthine Slow Town sometimes, as in this specific project, one must select the links that are not familiar.
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CLICK HERE TO VIEW THE WORK
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Over the course of the pandemic, I have been writing a series of poems called Slow Town Calendar Adventure." A "Slow Town" is another literary-municipal-alternative (utopian? maybe) to conditions we've been inured to, presumably where there's enough time for alternatives to be tried. This series is an epic-in-stasis wherein the protagonist, an unnamed "i" theorizes where and what a "Slow Town" could be over exhilarating and disquieting zoom-calls, park treks, and texts with the "Contemporary Propinquiter" (an opportunist/theorist). With Roundtable, I've been recontextualizing lines, writing and rewriting them again in differing meters and registers, and finding the space in the volumes they draw until I've wound up with a map to "Slow Town" again. It'd be good if we actually get there, but the risk is to catch a slow in action and not "familiar slow oblivionation."
* * *
To move through a labyrinthine Slow Town sometimes, as in this specific project, one must select the links that are not familiar.
* * *
CLICK HERE TO VIEW THE WORK
