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<\/p>\nBy Alexis Fedorjaczenko.<\/p>\n
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ABOUT THE AUTHOR<\/strong> A meditation on love and human weather. Then, a paean to the psychogeographies of Kyoto, Japan. Typography as topography, these latter poems invoke a gently splayed sans-serif humanist font as landscape. Laying out this work, the poet begins to ask herself: How can Japanese aesthetic philosophies in garden design inform concrete poetry? Considering shared principles like simplicity, symbolism, and balance, and that both zen gardens and concrete poems solicit contemplation in their experience, this dialogue builds on innate alignments between the two traditions.<\/p>\n In the 126th of the Poem Brut series, new poetry by Alexis Fedorjaczenko.<\/strong> <\/p>\n","protected":false},"author":155,"featured_media":110004,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-110000","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poetry"],"_links":{"self":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts\/110000","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/users\/155"}],"replies":[{"embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/comments?post=110000"}],"version-history":[{"count":5,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts\/110000\/revisions"}],"predecessor-version":[{"id":111740,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/posts\/110000\/revisions\/111740"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/media\/110004"}],"wp:attachment":[{"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/media?parent=110000"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/categories?post=110000"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.3ammagazine.com\/3am\/wp-json\/wp\/v2\/tags?post=110000"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAlexis Fedorjaczenko<\/strong> writes poetry, essay, and in hybrid methods, and her visual work includes handcrafted Poem Objects, analog and digital collage, poetry, and photography. She is Contributing Editor for visual poetry at Beir Bua Journal, and was nominated for Sundress Best of the Net by Nonbinary Review for her long poem \u201cHow to Enter An Abandoned Mill\u201d published in 2021. Alexis has traveled in Kyoto and other parts of Japan, and continues to be influenced by Japanese aesthetics and ideals. She tweets as @ObjetAutre<\/a> and makes home in rural New England, in the United States.<\/p>\n","protected":false},"excerpt":{"rendered":"