This five-way conversation recently appeared over at Gulf Coast between Heather Christle, Hannah Gamble, Matthew Rohrer, Zachary Schomburg, and Matthew Zapruder. We're reposting because we love five-ways, and surrealism. Here's the intro below, but you'll have to go to their site to get the full text.
"Good Warm Sad Blood Spilling Out in the Forest"
|a conversation with Heather Christle, Hannah Gamble, Matthew Rohrer, Zachary Schomburg, and Matthew Zapruder|
The following conversation took place over email in the fall of 2009, although, as Matthew Rohrer articulated in a preliminary exchange, we would rather have been together in a hotel conference room eating Chinese takeout. Gulf Coast organized this conversation because it seemed, to us, that a new generation of surrealist- and absurdist-influenced poetry had emerged in the U.S., written by poets ranging from their mid-twenties to mid-forties and rooted in small presses like Wave Books, Black Ocean, and Octopus Books. But what does “surrealism” even mean, in American poetry today? We decided to ask some of the editors and authors associated with these small presses what they thought about the “surrealist” label and their relationship to it.