Bird Of Prey

 

Paul Friesen is a great poet in Winnipeg.  His influence can be seen in the styles of many current writers especially in our fair city.  He performs readings at The Slam, Speaking Crow, and other events.  He was a member of Six-Pack From Heaven, a notable presence during the mid 90s.  Currently, working the library at U Of W, you can be sure wether this is a dream or not when you hear his puns and check out the hair.  This interview took place over the internet primarly through emails and event sightings.

 

PART ONE

 

Q: The possibilities contained in a line can be cross-referencial, is this predominately cyclical in pattern, the most euphoric method to reading multitudes?

A: {Please note: I thought these were going to be multiple choice!? (I rehearsed for weeks.) }

Imagine my position (while I enter this answer synctum) as that of someone trying to find a point (or port) of entry
as a response to things suddenly taking
a turn for the seriously russian roulettered, as chambers go,
when all he’s ever been is
at play with the surreally serial. But is this indeed a position, or in fact a place,
in which I find my easily transported self? (I’ll get back to you when I see the legogic in it…)
But sororiously, folks,
who DOESN’T have relatedness
to vice-voice-hearings — or pauli-<in/sen>sybili<nguali>-ties, for that martyr!
(Yeah, you heard me: my martyrialism is hyste[rheto]rical.)
Have I not yet begun to flaunt my polysyllaBling?
If I can’t be
to cross-referential
what the thieves were to bookend(ing)s,
let me o•bli•quae•esce. (I fear I’m missing a Wake-reading tonight, does it Show?)
By-the-by/blio-lingual, I just now tuned into
(upon discovering the preview of)
the Filipino channel. Love that Biangca!
(Then everything went Timog…)
[¿Hilagarious, no?]

PART TWO

 

Q. Can precog or thinking in steps change the generation of parts that lead up to the fulcrum of lines, have you developed a writing strategy where we can be more at ease with these anticipations?  The natural approach would be to percieve the anatomy of a piece and create proportion or follow the lay of the land, I do find you incorporating rests within advances and giving us eager results.  Please tell us, what is your secret, in writing such original verses?

A(1):Years pass. — as do stones’ throes & — hardtocore
                                      dismantlepiecing quantinental d/rift.
Re: Anticipation:
there’s the Nub*; & me too, of course: the Noob (or Newbie), ever nubile —
to the courtship of the moment,
“im Nu”
in the New/NeuF•(i)eld of my meternal side.
I believe, nay, I fear I’m nowhere nearly as sophisticated as any number of other crafters of wordwellings.
The key for me is to follow my internal (il)logic. My overarching concern:
NEVER BE PREDICTABLE / ALWAYS PROVIDE THE OPPORTUNITY FOR AN AHA! MOMENT AT THE END.

*You’ll note:
I didn’t say “rub,” even though (I expect) you expected me to, but only after you encountered “nub.”

A(2): I’m afraid you may have impre(co)gnated me with abilities I may not carry to term.
But even then, I can roll with the amneot(eleog)ic(al) fluids of miscarriage return.
That is my secret. Via the method of “reply”(/replicate) or “let-me-rephrase-you,” I can arrive at the gravid moment that swells with delivery’s potential. But it all hinges on seeing the progeny of words/ideas grow into a nodeon that either-or-both embodies/provides the emergence of self-&-other-relational framework, a nurturing multi-directimensionality.
Always keeping it personal (or perVersonal, as I prefer). It all twists & hinges on it(-i.e.-my-)self, within the torrent of reflective currents that is the universe of knowledge. (I like to think of myself epistemikinetically.)
Often I use things I’ve heard, often also incorporating things I’m hearing as I write. Spontaneous/synchronous acoustic sources have a spatial salience & immediacy, virtually demanding — we’re also in the sphere of summoning here — incorporation into the stream of the creative moment.
And I would be letherally derelict not to raise my cup to caffeine, my (ref)lexical aphrodysiac.
Q: Can your autobiographical notation be compared to another writer?  I ask this because Walt Wiltman and James Joyce come to mind when I picture your life‘s work, with a definitive spirit to the craft.  Your audience could use more authoritative comparisons which could relate to your statements and be reminded of the masters just the same…
 
 A: When I first came upon Finnegan’s Wake, I had no idea of “Who” James Joyce was. I was just enthralled. I took it out of my high school library, & carried it around almost everywhere. I even remember watching a hockey game at a local arena with members of my church youth group, & finding occasion to show it to a few of my peers. (Probably got a pentalty for high-shticking, but thank short-term God for amnestic long-term memory loss…)

There are too many others (whom I regrettably slight by not citing), to whose work I’ve played audience/beneficiary.
I do love the music-on-the-page of Adeena Karasick’s work, but don’t hold that against her.
Q: I imagine you saving or storing poems, with that kind of wealth, please tell us the interest value of an application metaphor.  In other words, if someone compares themself to a butterfly, is it wise to seal it to their fate with a tattoo?
 
 
A: No.
 

 

 

 

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