Monday, May 11, 2020

Jenny Penberthy : issue ten : Introduction


Based on my seven years as editor of The Capilano Review, rob has summoned me to edit an issue of G U E S T. My editorial homing instincts take me right back to the pages of TCR.

From its start in 1972, TCR’s commitment has been to seeking out and publishing experimental art and writing. None of that has changed, but the rupture in 2015 from our most secure source of funding pitched us into independent status and unfamiliar vulnerability. In the upheaval we discovered new connections that reshaped and refreshed our sense of community. And what amazing poems our editors have been finding.

For this issue, I’ve returned to the TCRs published since the move to downtown quarters and sought out the poets whose work arrested me at the time of publication and that I’m still returning to now. Many thanks to them for agreeing to be reprinted here.

And to le maĆ®tre, rob mclennan, the poetry community owes you immeasurable gratitude. 





Jenny Penberthy is a former editor of The Capilano Review and the current Chair of the Capilano Review Contemporary Arts Society. Her work as an editor has also focused on the poetry of Lorine Niedecker. She edited Niedecker’s poems – New Goose (Listening Chamber, 2003), Lorine Niedecker: Collected Works (University of California Press, 2002), and Harpsichord and Salt Fish (Pig Press, 1991) – and her letters – Niedecker and the Correspondence with Zukofsky 1931-1970 (Cambridge University Press, 1993) – along with a collection of essays, Lorine Niedecker: Woman and Poet (National Poetry Foundation, University of Maine, 1996). In 2016 she edited Kenneth Cox: The Art of Language for Flood Editions in Chicago. Currently, she is working on a collection of previously unpublished Niedecker letters and on a book about Fulcrum Press.


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