#dianna frid

[westernpole]

Dianna Frid for Western Pole

[heaven-one]

Dianna Frid

[annelyseg]

JB: Not being able to read what Weave says, I work so much harder to come up with words: I keep reading “empathy,” in the upper part, though I can’t point to how I come to that.

DF: It’s important that I never reveal the word, because that would stop its potential to be always different, always something else. Allowing myself to break open a word by splitting its graphemes was like passing through the combinatory space of all the letters in one word to all other possible words.

~

JB: Some of my poems are contextual, created directly within specific preexisting texts. Nets is written within Shakespeare’s sonnets, The Desert within John Van Dyke’s prose meditation on natural appearances in that landscape, and while others like The Silver Book, A Non- Breaking Space, and Silk Poems come from a vast swath of aggregated thoughts, speech, and writing—mine and others’. Poems created from preexisting texts have come to be known as erasure poetry, but I dislike the term. It bothers me because I’m trying to make poems that point to the fact that many voices can be present in a text. I find the idea that we write alone laughable, even egotistical. Poetry is a palimpsest that has been endlessly rewritten—it’s a social space we share with others.

Excerpts from a wonderful conversation in BOMB between Dianna Frid & Jen Bervin. Read the whole thing here.

[ortut]

Dianna Frid - Acrolith, 2017

[whitehotel]

Dianna Frid, Skylight and spectra (at neues kunstforum, Cologne) (2010)