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By W. T. Pfefferle

Out to work out the US and fulfill his go back and forth malicious program, W. T. Pfefferle resigned from his place as director of the writing application at Johns Hopkins collage and hit the line to interview sixty-two poets in regards to the value of position of their paintings. The vigorous conversations that resulted may well shock with the aptitude meanings of a likely easy idea. This collecting of voices and ideas is illustrated with photograph and notice snap shots from the line and represented with appropriate poems. The poets are James Harms, David Citino, Martha Collins, Linda Gregerson, Richard Tillinghast, Orlando Ricardo Menes, Mark Strand, Karen Volkman, Lisa Samuels, Marvin Bell, Michael Dennis Browne, David Allan Evans, David Romtvedt, Sandra Alcosser, Robert Wrigley, Nance Van Winckel, Christopher Howell, Mark Halperin, Jana Harris, Sam Hamill, Barbara Drake, Floyd Skloot, Ralph Angel, Carol Muske-Dukes, David St. John, Sharon Bryan, Donald Revell, Claudia Keelan, Alberto Rios, Richard Shelton, Jane Miller, William Wenthe, Naomi Shihab Nye, Peter Cooley, Miller Williams, Beth Ann Fennelly, Natasha Trethewey, Denise Duhamel, Campbell McGrath, Terrance Hayes, Alan Shapiro, Nikki Giovanni, Charles Wright, Rita Dove, Henry Taylor, Dave Smith, Nicole Cooley, David Lehman, Lucie Brock-Broido, Michael S. Harper, C. D. Wright, Mark Wunderlich, James Cummins, Frederick Smock, Mark Jarman, Carl Phillips, Scott Cairns, Elizabeth Dodd, Jonathan Holden, Bin Ramke, Kenneth Brewer, and Paisley Rekdal.

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Sample text

That poem seems to define who I am. That I’m never content to sit anyplace: I’m always on a border between here and there. Linda Gregerson A n n A r b o r, M i c h i g a n Linda Gregerson lives in an idyllic setting north and west of Ann Arbor. It’s impossible to imagine that there are towns or cities anywhere near this place, set amidst barns, pumpkin fields, and endless trees. The only thing I can think of this morning more beautiful than this spot are Linda’s poems themselves. Linda’s home opens into a wooded area.

I probably couldn’t have answered that until fairly recently when I began to spend half the year in Ohio. I grew up in the Midwest, in Des Moines, Iowa. ” It’s the most autobiographical poem I ever wrote; and although I didn’t in fact grow up on a farm, it’s about Iowa. “The Farm” takes on the question of place in a number of ways. It starts out negatively. I didn’t grow up on a farm. ” The poem moves to Germany, where I spent some time. It moves to California, where I went to college. It ends up in New England, where I was at the time when I wrote the poem.

Her face is bright and unlined, and she smiles up at the sun and the sun back at her. She reads the paper in the morning, does the crossword. She writes email to our pals and shoots photos out the window of sunrises, planes, or odd little stores. Sometimes after a long day of steering, I turn the wheel over to her. I throw up my hands, turn over the maps, and slump down. The driving doesn’t seem to bother her. She puts the cruise control on, her hand limply on the steering wheel. She listens to “Rhythm Is the Dancer” on the CD player and hums along.

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