From an interview conducted with Katia Grubisic* for the Afterword:What's the most exciting thing happening in poetry these days?
Poetry is not like capri pants, or hybrid cars. What’s exciting now in poetry is the same as what always has been—the spaces between words, the truthy concision, the astonishing leaps; listening to, and articulating, what Wallace Stevens called “the cry of the occasion.”
Well...another chance to quote Stevens. And this phrase is perhaps the one most often quoted, but she got it wrong: "The poem is the cry of its occasion."
What's more: capris and hybrids are the cries of their occasion!
*Katia Grubisic is a writer, editor and translator whose work has appeared in various Canadian and international publications.
"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 
