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Once the true line is discovered, the reader can see that these poems are in the tradition of French syllabic verse. Or the snarl of sated fox, the expunger, after its banquet of rabbit femur. Mountains open upon their dependents a volcanic outrage. Magma aglow like the mind’s light, orange-red, resplendent. Q: I’ve heard a rumor that you’ve cut-up Sylvia Plath’s Ariel into tiny pieces and scattered it all over your iMac. Doesn’t make eye contact) Well, not really scattered, but I did tear out the pages, one by one, and cut them into word fragments. Q: Any reason for that, apart from the sheer joy of it. A: The poems in my next poetry collection, Lazarus, are cut-ups of Sylvia Plath’s Ariel poems. I created these original works for Lazarus using the 1960s cut-up process that William S. Burroughs used in creating such works as The Ticket That Exploded and Nova Express, among other novels. I was focusing on manipulating the “poetic voice. The idea came out of a “Poetry in Translation” class I took in grad school at St. I wondered why it was that only voice and no other poetic device could be translated. What was so unique about “voice” that it remained when all other poetic elements have disappeared. Was it simply a matter of a poet’s word choice, or is there something else. To use an example from another medium: why was it that when I looked at a painting created by someone who tried to paint like Vincent Van Gogh, I saw only the “Van Gogh-ness” of the work and nothing of the actual imitator’s hand. There would be no way to trace them back to their inspirations. In fact you would never know that they were cut-ups unless someone told you. I promise you, this is a legitimate form of art, not a copy. Q: D.

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