Ilyse Kusnetz on Poets Cafe

The following interview of Ilyse Kusnetz by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Ilyse Kusnetz

Ilyse-KusnetzPoet and journalist Ilyse Kusnetz is the author of Small Hours, winner of the 2014 T.S. Eliot prize from Truman State University Press, and The Gravity of Falling (2006). She earned her M.A. in Creative Writing from Syracuse University and her Ph.D. in Feminist and Postcolonial British Literature from the University of Edinburgh. Her poetry and essays have appeared in Crab Orchard Review, Guernica Daily, the Cincinnati Review, Crazyhorse, Stone Canoe, Rattle, and other journals and anthologies. She has published numerous reviews and essays about contemporary American and Scottish poetry, both in the United States and abroad; she has served as a guest editor at Poetry International and the Atlanta Review for feature sections on Scottish poetry.

SmallHourCoverShe is currently at work on a new poetry manuscript—Angel Bones. She teaches at Valencia College and lives in Orlando with her husband, the poet and memoirist Brian Turner.

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HARBINGER

Just another day           in hyper-capitalist society—
in my Facebook feed,           news of rabbits and

chickens tortured on meat farms,           but I’m still not
vegan and I’m waiting           to die myself

from cancer I may have gotten           from soil or ground water
contaminated by nuclear weapons,           and no amount

of posting uplifting stories           is going to fix that.
And lord, let them cease           trying to control women’s

bodies, people’s genders,           people’s desires,
let them stop hating people           because of their color

and ethnicities. I want to shake           the bigots and racists
till their teeth come loose           and they lose their bite,

till their tongues           swell up in their mouths
and they’re stricken mute.           I want to save

all the slaughtered animals,           save the seas and their
inhabitants—whales, birds,           the tiniest bivalve—

from choking on plastic.           I want to purify the air
of sulfur and carbon dioxide,           scrape the lead

from plumbing pipes,           god I need to do something
besides dying, besides           thinking about death

and the neo-fascist           politicians who lead
a nation of people           unable to think critically

after 40 years’ systemic           dismantling
of the education system           by the rich

so their lackeys           can make it
illegal to prosecute           corporations for poisoning

the air, earth, water—and Jesus,           isn’t it
a kind of           mental illness

annihilating what you need           to stay alive
for the accumulation of           blind profit—

and in the process killing           and killing and
murdering me,           along with the people and animals

I can’t save but want to,           with all my goddamn
fucking heart, but instead           I’m waiting to die,

trying to find some           last meaning in all of this.
A warning, perhaps.           You’re next.

—First published in Rattle, 2016

Mario Feninger on Poets Cafe

The following interview of Mario Feninger by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Mario Feninger

Mario CollageBORN IN CAIRO, EGYPT in 1923, Mario Feninger received his early music training from his mother, Teresa de Rogatis, a noted pianist, guitarist, composer and teacher. He made his debut at the Salle Gaveau, whereupon the Figaro declared him “a remarkable artist… an important musical personality (with) a very beautiful, powerful tone.” From Paris, Mario proceeded to London’s Wigmore Hall, where the Daily Telegraph proclaimed him to have “found the essential poetry in Chopin.”

Mario made his GRAND NAPLES DEBUT at the Sala del Conservotorio San Pietro a Majella, performing the Busoni Konzertstruck, Op. 31a with the A. Scarlatti Orchestra. The Italian press lauded Mario’s “brilliant virtuosity,” celebrating him as “a complex artist searching for his soul and animated by a great ideal.”

PERFORMING his extensive repertoire in the great halls of Europe, North Africa, North and Central America and the Middle East, Mario established a distinguished international reputation as a soloist and recitalist.

“A powerhouse virtuoso in the grand manner.”
~ New York Times

“Urgent style, comprehensive technique and command of tone and color, won repeated cheers and standing ovations.”
~ Los Angeles Times

“Feninger belongs to a distinctive part of European pianistic literature.”
~ Il Giornale De Bergamo – Oggi, Italy

Performs as guest artist with:

• Centre Culturel de Valprivas
• The Castle in Baja (Naples)
• Summer Musical Festival at Sorrento, Italy
• International Festival at Echternach, Luxembourg
• Liszt Festival at Angers, France
• American Liszt Society in San Francisco
• Mozart & Company in Beverly Hills

The first American performance of Busoni’s Concerto, Op. 17 for piano and strings

Performed an entire program of Busoni in Empoli, Italy (Busoni’s native city)

Busoni program performed at Schoenberg Institute

Performed at Busoni Festival in New York

MARIO FENINGER currently resides in Los Angeles, California where, in addition to his performance schedule, he conducts master classes and continues his research into piano technique. www.mariofeninger.com

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CAN WE CREATE ARTISTS?

THE VARIOUS musical seasons, with all the marvelous artists we have the opportunity to hear, give rise to some thoughts that I would like to share.

IT IS more and more self-evident that, as the civilization of leisure is brought into existence, we shall need more and more great artists.

THERE ARE three communication lines from the performer to the public: Technique, Expression, and Presence.  A performer with any one of three lines “well in” is a good performer; a performer with any two of these lines in will be an arresting performer; and a performer with the three lines in could be called a genius.

WHY IS the public thrilled by technique?  Why do thundering octaves, pearly scales, fleeting arpeggios, etc., leave them agape?  Why is it that technique by itself is sufficient to create an impact?  The answer I found is that technique represents the mastery over and control of those parts of the physical universe involved in the performance; and those parts are the instrument and the body of the performer!  Technique also presumes certainty.  It is a science in that it has very precise laws that work every time.  This is true of a juggler, a car racer or a pianist.

AS REGARDS expression, Busoni gave a very exhaustive and impressive description of it as poetry, imagination, elegance, sense of style, of form, or colors, feeling for distance, for volumes, etc.  In other words, anything dealing with the mind, the mental machinery and the emotions would pertain to expression.

THE THIRD line, presence, would be the being himself, his ability to command attention, to hold together, spellbound, three or four thousand people, all stranger, and infuse them with a unanimity of feelings and reactions.  This is the least visible ability, but one that makes the difference between Busoni, Horowitz, etc., and most pianists.

IT MAY APPEAR that I am an optimist. How many times have I heard that without “talent” or “gifts,” there is nothing in the way of greatness.  However, I say that anybody with interest and persistence should be given the chance of reaching the heights he has perceived or the goals he has formulated.  In fact, it is my experience that although “gifts” may help at the start, often the so-called “gifted pupil” is fixated in his gifts, and cannot change and/or beyond them.  Of course, there are no gifts that cannot be expanded or improved upon.

TECHNIQUE, expression, and presence have each their own separate technology, but it is impossible in a short article to describe in detail each one.  One thing is certain, though:  when one has applied a new true datum, the piece that was once difficult has now improved, at least in some respect.  It is definitely not the number of hours of practice that will create audible technique, but intelligent practice in the right direction.  No amount of drudgery will ever produce a lovely tone, but know-how will!

ARTISTS ARE, after all, creators of universes and it is indisputable that any training insight, revelation, etc., into the world of personal magic associated with a grounding in the natural technique would create artists.  We must not forget what Schoenberg said: “The laws of the man of genius are the laws of future humanity.”

Ami Kaye on Poets Cafe

The following interview of Ami Kaye by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Ami Kaye

1-Ami 3Ami Kaye is the author of What Hands Can Hold. Her poems, reviews and articles are forthcoming or have appeared in various journals and anthologies including Comstock Review, Amore: Love Poems, Naugatuck River Review, Wild Goose Poetry Review, Eyewear, Kentucky Review, Iodine, Tiferet, East on Central, First Literary Review- East, Cartier Street Review, Peony Moon , Diode, and The Dance of the Peacock among others. Ami edited Sunrise from Blue Thunder in response to the Japan 2011 disasters and is co-editing Carrying the Branch: Poets in Search of Peace, as well as Collateral Damage, a benefit anthology for disadvantaged children. Ami is the editor of Pirene’s Fountain and the Aeolian Harp Series, and the publisher and founding editor of Glass Lyre Press.

Glass Lyre Press is an independent publisher with a catalog of technically accomplished and stylistically distinct literary work. Glass Lyre seeks diverse writers with a dynamic aesthetic and the ability to emotionally and intellectually engage a wide audience of readers. Glass Lyre’s vision is to connect the world through language and art, and expand the scope of poetry and short fiction for the general reader through exceptionally well-written books which evoke emotion, provide insight, and resonate with the human spirit.

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Shadow Nocturne

You were a skein of nerve, blood from my marrow,
sliver of bone, a silver weave of luminous cloth,

fire that spread through electric nerves.
Your little core palpated in its fine mesh,

its tremolo of strings could not hold you.
You shrugged off my body and slipped seamlessly,

knife-edge moon in the water, final glide from the womb,
before dissolving into a blossom on the snow.

Against the light I thought I saw your tiny fist,
too quickly pulled back before I could grab you.

Skin-tight storms ripped a trail of fireflies from the sky
but I remember only the ripe weight of grief, an ocean,

with you curled underwater as if you could breathe
at all from pinched blue nostrils.

Fallen sparrow, tiny creature I could hold in my palm,
I thought I could reach out and kiss your delicate eyelashes

but they were air-brushed with disappearing ink
on a fluttering moth that vanished into the remnant of night.

—First published in Kentucky Review, 2015

Kelly Thomas on Poets Cafe

The following interview about Kelly Thomas by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Kelly Thomas

KellyThomasIs there a person nationwide who doesn’t know the fate of Kelly Thomas? Ron Thomas, Kelly Thomas’s father remains an outspoken advocate for the homeless community. Four years after Fullerton police officers Manuel Ramos and Jay Cicinelli were acquitted of brutally beating his son Kelly Thomas to death near the Fullerton bus station in 2011, he continues to be an advocate for justice, not only for his son, but for all those affected by homelessness in his local community and nationwide. We spent an hour with Ron talking about the early days of Kelly Thomas, the need for social reform, the use of excessive force from both sides of the fence (Ron is an ex-sheriff) and much more. We were joined by homeless advocate, fine artist and poet Leigh White, as well as poet and reading series host, Steve Ramirez.

__________

To My Son

A second trial has just begun
It’s been over 4 years since I lost you my son
On that hot July night with such fright in your eyes
Those six murdering thugs beat you, until you were no longer alive
As citizens watched the horror unfold
All of them learning something—that none of us were told
The fact that those who took an oath to protect and serve
Could kill a man so brutally without any reserve
I often look back on all of the years—
We did so many things together,
And soon come my tears
So many times we played our guitars
Both of us knowing we wouldn’t go far
And when we laughed so hard it hurt inside
Realizing that neither one of us could sing—
Not knowing what July 5th, 2011 would bring
I spend every day seeking justice for you
My redheaded son with eyes of blue
I give you this promise, as your dad that is true
I will not rest a day until justice comes through
You cried out my name 31 times—
And within moments you were no longer alive
I will forever miss you, my heart always sad
Those 31 times you cried out—
Crying out for me—
Your dad

The only poem every written by Ron Thomas, father of Kelly.

Brian Turner on Poets Cafe

The following interview of Brian Turner by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Brian Turner

turnerBrian Turner’s latest book, My Life as a Foreign Country: A Memoir (W.W. Norton & Co. US 2014; Jonathan Cape/Random House UK 2014) has been called “Achingly, disturbingly, shockingly beautiful” by Nick Flynn and “a humane, heartbreaking, and expertly crafted work of literature” by Tim O’Brien. A Dutch edition was published in 2015 and an Italian edition is forthcoming in 2017. His two collections of poetry: Here, Bullet (Alice James Books, 2005; Bloodaxe Books, 2007) and Phantom Noise (Alice James Books 2010; Bloodaxe Books 2010) have also been published in Sweden by Oppenheim forlag and Poland by Galeria Literacka. His poems have also been published and translated into Arabic, Chinese, Dutch, French, German, Hebrew, Italian, Serbo-Croatian, and Spanish.

His poetry and essays have been published in the New York Times, National Geographic, Poetry Daily, Virginia Quarterly Review, Georgia Review, and other journals. Turner was featured in the documentary film Operation Homecoming: Writing the Wartime Experience, which was nominated for an Academy Award. He received a Guggenheim Fellowship, a USA Hillcrest Fellowship in Literature, an NEA Literature Fellowship in Poetry, the Amy Lowell Traveling Fellowship, a US-Japan Friendship Commission Fellowship, the Poets’ Prize, and a Fellowship from the Lannan Foundation. Phantom Noise was short-listed for the T.S. Eliot Prize in England in 2011. His work has appeared on National Public Radio, the BBC, Newshour with Jim Lehrer, Here and Now, and on Weekend America, among others.

Turner earned an MFA from the University of Oregon before serving for seven years in the US Army. He was an infantry team leader for a year in Iraq with the 3rd Stryker Brigade Combat Team, 2nd Infantry Division. Prior to that, he deployed to Bosnia-Herzegovina with the 10th Mountain Division (1999-2000). As well as an infantryman, Brian has worked as a machinist, a locksmith’s assistant, a convenience store clerk, a pickler, a maker of circuit boards, a dishwasher, an EFL teacher in South Korea, a low voltage electrician, a wide variety of day labor jobs, and as a radio DJ.

Another of his ongoing passions is music; Turner was the bass guitarist for Fresno-based bands The Dead Guys, Chrome Grandma & the Shakes, and The Dead Quimbys. His recent musical collaborations and compositions include a concept album to complement an ongoing book-length poetry project.

Composer Shawn Crouch set Turner’s poetry to music, which was recorded by Chanticleer as “Gardens of Paradise” on their album Best of Chanticleer (Warner Classics, 2010). Other composers who have taken up Turner’s work and woven it into their own pieces include Jake Runestad and Rob Deemer—with performances by Vocal Essence, the Louisiana Philharmonic Orchestra, the Dayton Philharmonic Orchestra, the Manitoba Singers, and at Carnegie Hall (November 2016) with the Park Avenue Symphony Orchestra and Choir.

Turner co-edited The Strangest of Theatres: Poets Writing Across Borders (McSweeney’s, 2013) for The Poetry Foundation. He serves as a contributing editor at The Normal School, and he curates an ongoing series for Guernica Daily called “The Kiss.” He also founded and directs the MFA in creative writing program at SNC Tahoe, which emphasizes writing in fiction, poetry, creative nonfiction, and writing for children and young adults.

Brian is married to poet Ilyse Kusnetz. They live in Orlando, Florida.

For more about Brian Turner: www.brianturner.org.

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Intro to My Life as a Foreign Country

I am a drone aircraft plying the darkness above my body, flying over my wife as she sleeps beside me, over the curvature of the earth, over the glens of Antrim and the Dalmatian coastline, the shells of Dubrovnik and Brčko and Mosul arcing in the air beside me, projectiles filled with poems and death and love.

I am 32,000 feet over the Atlantic seaboard. The fields, the orchards, the woodlands below press together the way countries on maps do, coursing waterways, paved roads and dirt tracks and furrows cutting through. Countries touching countries. Bosnia and Vietnam and Iraq and Northern Ireland and Korea and Russia pressed together in the geography below. Cumulus scattered above them, their shapes authored by sunlight on the ground beneath. The Battle of Guadalcanal emerges from the shadows where my grandfather lives. Now Bougainville. Guam. Iwo Jima.

Highway 1—Iraq’s Highway of Death—stretches through desert on one side and California’s San Joaquin Valley on the other. The eucalyptus trees of my childhood line the sides of the highway. In places I can see the scorch marks on the asphalt where transport trucks were left to burn. My dead Uncle Paul steals oranges in the night groves there, just as he did when I was eight years old, while fresh dark earth covers the newly dead on the other side of the highway. Owls perch on their gravestones calling out for water.

Each night I do this, monitoring heat signatures in the landscape, switching from white-hot to black-hot lenses as I bank and turn, gathering circuit by circuit the necessary intelligence, all that I have done, all that we have done, compressed into the demarcations in the map below.