I look at Beth Kephart's blog because every entry includes a photograph that is placid or tentatively terrestrial or fragmented yet spiritually whole or purely tonal (and often moody) or mildly ominous or lonely yet sanguine about it or artifactual (is that a word?) or having a quality of being a piece of this world or natural yet slightly obscure or still-lifeish - and sometimes indeed all of the above. Beth's sentences (in her books and on her blog) cast a dream over the page. Typical (of the blog): "I have been thinking about how long people live, even after they're gone. In the songs that bring them back. In the gifts they'd given, long ago. In the emails that still sit in your bin, all full of nobody but them." Notice how the word "nobody" feels empty and negative and yet in the meaning of the line becomes the sign of somebody, of presence.Anyway, it's such a darned I-centered world: on the day I'm plugging Beth's blog, she's already plugged me. Her entry today is about me and PoemTalk. I cherish especially this outrageous compliment: "[H]e's so ridiculously inventive and innovative that it is frankly difficult to keep up with all that he gives straight back to the world."


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
