... attachment and the sweet nothing, given how central they are to poetry. This article is a short section from a book I'm working on that is composed of many short pieces on all manner of topics that concern contemporary poetry. Duke University Press 2009 A Liquid Hand Blossoms...

..., trying to understand things. And those three things I think were important. By the time I'm about fourteen, fifteen, and the civil rights movement is beginning to emerge; or rather, we are beginning to be aware in Jamaica. I am now reading Black literature and reading it very hard . So by the time I am...

... ambitions as a novelist and your relation to what has been called the social novel. This essay, originally titled “Per- chance to Dream” when published in Harper’s, appeared in revised form under the title “Why Bother?” in the collection How to Be Alone. I know I’m not alone in finding that book one...

...-shapers in contemporary American letters, unequivocally an heir of the famous New York liberal style” [Robbins 1999 ]. I'm curious to hear you discuss your relationship to your style, the extent to which you feel conscious or self-conscious about your style, and what you think when you hear your style...

... that the foregoing figurative telescoping of time conveys the concept I'm driving at: to me, it is quite a remarkable thing that movement on the streets, the demonstrations and so forth, becomes internal movement, or translates into what Lacan, I think, calls a “hermeneutic demand.” I have never forgotten...

... do an interview in Denmark or Spain. The interviewer realizes that you devoted five years to the book, that you are an introverted person, and he does the interview accordingly. But at the end he asks one final question: “I’m sorry, my editor pressured me to ask this . . .” It’s a silly...

... this with a certain nostalgia, and I’m not very sure it would have been so. MC: In order to produce those tacit or internal dialogues found in your films, you have to enter into other dialogues—for example, a dialogue with the 6736 boundary...

... poetry had traditionally appealed to some larger national collectivity. O’Hara, on the other hand, spoke about a poem as an intimate thing, about writing for one, and only one, person, whom the poet must know very closely. I’m not quoting him, of course, just trying to convey the idea...

... of writing. The question implies, When did it occur to you that writing was going to be your life's work? That is how I would understand that question. NF : That is fine; you could start there. GL : I'm clear about that. I've always thought that I was lucky or blessed. From very early, before...

... examines the implications of our having already done so. © 2012 by Duke University Press 2012 Destiny’s Child: Obama and Election ’08 Hortense Spillers I’m remembering something that Don Pease said a couple of years ago in Berlin...

... with Wai Chee Dimock 165 JJW: It seems like the project of changing the canon twenty-five­ years ago was more antagonistic, whereas I’m struck that your project has a more positive tenor. One point of it is the value of canonical literature—as you say somewhere, literature is a solvent...

... I’m feeling the days as pages (commonplace) and the body of the work hurrying to consume its white time. as I turn the pages, I summon a certain shade, a certain color, to seem somewhat differ- ent. a French blue...

...?) I'm a professor of English, although I try to teach English not as a limit but as the host language, and to include literature not originally written in English too. I teach twentieth-century poetry and poetics. I started teaching only when I was about forty; before that I was a freelance medical...

... find a crocodile has been there before me. boundary 2 42:4 (2015) DOI 10.1215/01903659-­3156117 © 2015 by C. S. Giscombe 78 boundary 2 / November 2015 Matinee Talk to me over the sound, while it’s on before us. You’re husky, you’re my darling, what I love best by instinct. I’m a heat...

... masaje, Why me, then? porq’ yo entonces? Let’s fight! ¡A fajarse! ’Cause the jungle is screaming: Q’ la manigua está gritando: yo I’m me...

..., in which Peter Finch screams, “I’m goddamn mad and I’m not going to take it anymore That is the symptom at work in an affective register that the Tea Party movement has tapped. In this affective economy, pure rage is released when the population’s abject need for social...

...: ‘‘It seems that David has in his favor his Irish mother and a father who is the son of Germans. Ireland is also a Catholic country ‘‘But without Yemay ‘‘Yes, but I’m sure they have their own goddess of the waters...

... of political identity has grown and become more self-­ conscious since the 1980s and places me broadly on the left. I’m sympa- thetic to those figures or those aspects of left politics which seem to me 122 boundary 2 / Summer 2014 most serious about trying to bring a certain intellectual clarity...

... may have shown up . . . body references, ghosts: Swayze yo. In this journey you’re the journal, I’m the journalist Am I eternal or on an eternal list? I’m about to flow long as I can possibly go Keep ya movin’ ’cause the crowd said so Sitting in England...

..., and I’m not sure I want to know—but I do know I don’t want to ask. After years of anxiously wondering about such things, my urge to know the details of my past has been overpowered, replaced, even, by a fear of discovering that nothing I know about my past is true—and this fear is only intensified...