Michael Nardone:
Sarah, you've arranged a great group of poets to come down to Philly and New York for North of Invention, a mixture of readings, performances and discussions on poetics. Can you talk about your curation: why these poets? where are there points of correspondence or affinity between them? where are there moments of these poets individually charting out new spaces for practice?
Sarah Dowling:
Our initial idea in planning North of Invention was to feature poets who had not read in the U.S. ever — or at least not ever in the past five years, or at least not on the East Coast in the past five years. As you can imagine, this evolved somewhat as the planning went on. Charles Bernstein, Stephen Motika and I all had particular folks in mind when we set that curatorial constraint, and I'm pleased to say that many from our initial imaginary cohort are indeed featured in the festival. However, we had to balance this ideal with the need to attract an audience, and therefore to have some figures more recognizable to U.S. audiences on our roster. We also wanted to have a good balance of emerging and established writers, writers from across Canada, and writers representing various social and aesthetic contingencies. In the end, some of the poets we had initially wanted to feature also had to withdraw their participation for personal reasons or because conflicts arose in their schedules, so to a large extent the selection of poets depended on chance: who was available in cold, dark January.
Friday, January 21, 2011
Nardone/Dowling at Lemon Hound on "North of Invention"
Over at Lemon Hound, Michael Nardone has published an interview with Sarah Dowling, creator of the "North of Invention" gathering here in Philadelphia and (starting tomorrow) in New York. Here's how the conversation begins:


"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
