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Contributions by Kara Page:

“Final Descent into Phoenix”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Julie Swarstad Johnson: It seemed likely that squares, or a grid of some kind, would make an appearance because they are a repeated element in the poem. And they do show up, but they’re completely different than I expected. They’re wonderfully playful—none of them are exactly square or lined up quite flush, and some even seem to be dissolving …

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“In the Midst of Songs” / “Ñeñe’i Ha-ṣa:gid”

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Note: This broadside is part of our annual translation special feature in which we feature two broadsides—one from a forthcoming publication from Tavern Books, one by a poet writing in a language indigenous to the Americas. Collaborators’ Q&A What surprised you about this collaborative piece? Poet Ofelia Zepeda: The surprise was the image. As the creator of the poem I have certain images that helped me generate the poem, there are also sensibilities that I …

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“Wyoming”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Jill Osier: I hadn’t thought about that…but now I might say the tone…? Or maybe more the title, for what that word conjures…or what that place might mean to someone… What inspires you in this poem? Artist Kara Searcy: When I read the poem what struck me was how surreal the poem seemed to be; a sort of “things are …

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“Matthew”

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Collaborators’ Q&A What surprises you about Catherine’s poem in conversation with your art? Artist Kara Searcy: I was surprised by all of the color that was in the poem, and it was especially fun that colors weren’t listed—images were! I think it brought the piece to life. This poem was chosen in response to Kara Searcy’s art—can you talk about the experience of finding words that were in conversation with the image? What leapt out …

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“Dear Corporation, Early Years to Present”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Jen Jabaily-Blackburn: The funny thing about this poem is that I originally wrote it as a response to the art featured in your Switcheroo contest (see the April 2012 Switcheroo art by Cheryl Gross), and I incorporated some of the odder, more vivid details in that work (the wheels for feet, the vents in the human figure’s head, the animal …

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“Bereavement Dinner”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Emma Sovich: I hoped that the artist would surprise me, and she certainly did. I suppose the obvious things (for me) to pick up from the poem would’ve been the sailfish, jewelry, blue, even the elephant (I so hoped not the elephant, even though, uh, Roll Tide). What inspires you in this poem? Artist Kara Searcy: The strength portrayed by the grandmother …

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“2011 Haiku Year-in-Review”

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Collaborators’ Q&A, Season by Season Winter: Earthquake/Tsunami in Japan Once you saw the art for your season, did it cause you to see your haiku in a different light? Poet Peter Kline: I was moved by the dramatic simplicity of Kara Searcy’s design, which emphasized the individual human cost of the Japanese tsunami while also insisting on the impersonality of the destructive forces. I was surprised at how closely her vision of the tragedy matched …

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“Tile Drainage”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Christopher Lee Miles: I suppose the relationships between the speaker and his grandfather, the speaker and nature, nature and the grandfather; and the attitude of the speaker toward the superstitious, but etiological, beliefs of the grandfather. I hope one would ask: Why are these believes in contradiction? Or aren’t they? What about the intuition the speaker feels? What could this mean? …

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