An empty house and the people who should have been there.
As three Austrian poets come to terms with the prisons of the now and their host is forced to confront their absence, Where Are You Austria documents their poetic descent into madness. What follows is as uncanny as it is unlikely, and, ultimately, inevitable. An epic poetry film about the consequences of that which does not happen, the intimacy of isolation, metal work and Erwin Schrödinger.
A new poetry-film by David Spittle.
With the physical cancellation of the European Poetry Festival in London during 2020, a series of new longform video interviews are presented here at 3:AM Magazine, again with some of the most dynamic contemporary European poets, whose work is exploring the possibilities and potentials of the artform, as part of the decade long interviews series – Maintenant.
In the 103rd of the Maintenant series, SJ Fowler interviews the Swiss poet Rolf Hermann.
With the physical cancellation of the European Poetry Festival in London during 2020, a series of new longform video interviews are presented here at 3:AM Magazine, again with some of the most dynamic contemporary European poets, whose work is exploring the possibilities and potentials of the artform, as part of the decade long interviews series – Maintenant.
In the 102nd of the Maintenant series, SJ Fowler interviews the Swiss poet Linn Molineaux.
Unripe and Fern are visual object poems taking the form of hexa-tetraflexagons, which the poet calls ‘flexagrams’ for short, created from pages of an old herbal book. They include found-style cut-up poetry and diagram fragments pasted onto an illustration-rich double-sided base page. The objects are designed to be held in the hands, each face consisting of four squares that make up a stanza, if you like. To get to the next stanza, then the next and so on, the reader folds halves of the flexagon back on itself from the centre folds outwards, revealing a new face of four squares, the cycle complete after approximately seven iterations have been revealed.
In the 111th of the Poem Brut series, new poetry by Emma Filtness.
These are scanned photocopies from a poetry notebook I kept back in 2003. During that year I wrote five short poems a day; after a while, to spice things up, I developed several codes. I started writing the poems in code and integrating them into drawings. Although I do have a key for the codes somewhere, I don’t actually know what these poems say anymore–they’re mysteries even to me. Aside from the occasional scratch-out, they’re also completely unedited and potentially full of mistakes or spelling errors. I wasn’t planning on doing anything with them, but then I saw your submission call.
In the 110th of the Poem Brut series, new poetry by Amee Nassrene Broumand.
I took each of the photos on my iPhone (other than the dog in Seize which is a ‘sticker’). I then applied filters and effects using my phone’s photo apps. In the case of Seize & Ok (the middle two as inserted, below), I printed the landscape photo, cut it up, and re-photographed it incorporating phone screen shots – visibly incorporating the process in the work.
These two are part of the same exploration and so might go together, but that isn’t essential.
I added text to each of the four, using a text app on my phone.
In the 109th of the Poem Brut series, new poetry by Tasha Haines.
Four visual poems titled ‘A Case of Hysteria’ (1&2) ‘The Clinical Picture’ and ‘The First Dream’. Made using pages from Sigmund Freud’s 1905 work, A Case of Hysteria, these pieces form part of a series titled ‘Corrections’ in which books published by historically influential authors are creatively reworked into poems that challenge their theories and observations.
In the 108th of the Poem Brut series, new poetry by Madelaine Culver.
These images come from a recent series of found pansemic poems, finding markings (be they human-made or natural) that function or can be read as script. In this context, I am attempting to move the emphasis of asemic writing away from the act of mark-making itself and am instead trying to encourage a shift in perception so that almost anything can be read with the attention we would usually reserve for script. I am thus using ‘Pansemic’ with an emphasis on the ‘pan’ and the underlying assumption that ‘everything is readable’. This particular sequence documents pansemic language superseding and obscuring the conventional text of an information board (written in both English and Afrikaans) and creating poems from the hybrid of these fading languages and the unintentional language that will replace and go beyond it.
In the 107th of the Poem Brut series, new poetry by James Kearns.
I remember having remembered – I want and wanted to attempt to find out how much I remember. What I remember, how I shape that memory, etc. The use of the anaphoric unit ‘I remember’ reduces those memories and the act of having remembered something, into a more comfortable or easier state of processing. All manner of things throw up. Nothing is left consciously shadowed.
Epiphany – I remember wanting to create a diagram explaining it all. It resulted in momentary paralysis in St Mary’s aisle, part of a church in Truro, Cornwall. My friend told me it was an epiphany.
In the 106th of the Poem Brut series, new poetry by James Kaffenberger.
All spring, Lisa, you’ve been picking
at the scabs
of the one thing that went right
in your life. All summer
I’ve been watching your calves as they meet
the backs of your knees that you give me to smooth
with cool Noxzema cream from that
blue expired jar.
By Nicholas Rombes.
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