The
Poet Laureate’s website also introduces video clips of Illinois poets
reading from their work. In this way you, as a website visitor, actually
see and hear these poets performing some of their most representative
works. This moves the poem beyond the mere page and into the dynamic
realm of auditory and visual imagination. Just as importantly, doing
so extends the poets’ (and their poems’) reach beyond simple boundaries
of space and time, allowing you to be virtually in the presence of
art without regard to location or hour of day. One might well consider
these video clips as the vital frontier of the twenty-first century’s
new poetic geography, a locale where technology enables poet, poem,
and reader to interact in the fashion Horace described within the
pages of his classic Ars Poetica as early as 8 B.C. In sum, these
videos accentuate the interplay between personal and communal acts
of poetic performance.
You will need to download and install RealPlayer to play the audio and video clips on this page.
David Etter:
"The House Party"
"Singing in the Toyota"
"Kirby Quakenbush"
Allison Funk:
"On Pruning"
"On the Prairie"
"The Deer"
Susan Hahn:
"Oh Baby Oh"
"Pity Song in Solo Voice without Accompaniment"
"Pity Dance for a Small Troop"
Rodney Jones:
"A Blasphemy"
"The Masters"
Allison Joseph:
"Learning The Blues"
"In The Book Store"
"Traitor"
Laurence Lieberman:
"Hardhat Limbo"
"Hour of the Mango Black Moon"
Kevin Stein:
"First Performance of the Rock 'n' Roll Band Puce Exit"
"Tract"
"An American Tale of Sex and Death"
Christian Wiman:
"Hard Night"
"Being Serious"
"Why He Doesn't Keep a Journal"
Demetrice Worley:
"Coming to Know Things"
"Sandra"
These poets were recorded in April 2002 at Bradley University,
during a reading featuring some contributors to Illinois Voices:
An Anthology of Twentieth Century Poetry (University of Illinois
Press, 2001)
The
Poet Laureate’s website also introduces video clips of Illinois poets
reading from their work. In this way you, as a website visitor, actually
see and hear these poets performing some of their most representative
works. This moves the poem beyond the mere page and into the dynamic
realm of auditory and visual imagination. Just as importantly, doing
so extends the poets’ (and their poems’) reach beyond simple boundaries
of space and time, allowing you to be virtually in the presence of
art without regard to location or hour of day. One might well consider
these video clips as the vital frontier of the twenty-first century’s
new poetic geography, a locale where technology enables poet, poem,
and reader to interact in the fashion Horace described within the
pages of his classic Ars Poetica as early as 8 B.C. In sum, these
videos accentuate the interplay between personal and communal acts
of poetic performance.
