#latasha n. nevada diggs

[poetryfoundation-potd]

My First Black Nature Poem™

By LaTasha N. Nevada Diggs

there is a dark mass following me. these legs are clumsy. they flap quickly.

I want to slow them down. but my nerves. Lord, these pensive endings.

the sun slumps against the merging fall on red leaves.

and where the natives are unenlightened, the mass comes closer.

only white people swim in lakes nowadays

you know . . . Crystal Lake?

never seen a black person jump in a lake;

let alone a river till this summer.

the Bronx River is said to be clean: we care about clean.

a month before, two boys drowned in the Bronx River.

a week after, a boy jumps into it unfazed.

abandoned tires, relics of its sewer days, river herring spark no fear.

and a publicly funded park with a biology class, a boat-making workshop

for the children of Hunt’s Point, gives me hope we’d wet our hair again.

(these follicles don’t surf; don’t swim)

but here in Virginia, there’s little comfort.

the blush current from underwater springs makes me tense.

white people form groups to paddle on boards across the Hudson,

taking on trends from Hawai’i. they tap into the yesterdays

of Algonquian tongues. Wappinger. Mohican.

a sporty new aged (like gouda) convenience.

a luxury to admire when Long Beach is too far

and Rockaway too dirty.

black folk don’t swim. we splash and cool off.

we a ways forward from a Splenda hint of Senegalese manliness diving from a ferry,

miles off shore from Gorée. that water got too much memory.

we much prefer chlorine. that salt and fresh water our hypertension.

and that ocean is curiously scary.

and this lake is charmed and churning with tales from the deep.

profound is this river of B-rated torture.

deep are shadow people speculated through my rave tangerine goggles.

on Lake Champlain at night, the chilly air felt like a presence.

swamp monsters (this ain’t a swamp). tubular amphibians (they’d be in rivers).

aquatic reptilians. ancestors distraught and vengeful (like Jason).

but this is smaller and gnawing like chiggers; something from my weed days

could live. down. here.

my arms fight the green clearness. so mud olive I cannot see the bottom.

beneath me is crisp. a fallen branch is mistaken for an eel.

https://www.poetryfoundation.org/poems/56492/my-first-black-nature-poemtm

Audio Not Included

[theoffingmag]

I remember standing there, looking at Dr. King’s cell. I feared going to jail. I feared jailors who became torturers and killers. Then I read MLK’s letter posted on the wall and I was ashamed. I shifted inside. I didn’t want to be arrested, ever, but I accepted there were justified reasons and I mustn’t run if my turn came.

A Hashtag, A Movement, A State of Mind - Black Artists On #BlackLivesMatter

[queenspoetlore]

Artwork credit: James Bartolacci

RSVP Here. F R E E. 

The New Year's Day Marathon has historically been The Poetry Project's most important fundraiser of the year. While this year's presentation is free to access, if you feel compelled to support our vision of more collective, care-based, and equitable cultural community, you can make a contribution here.

25-Hour Schedule of the 47th Annual New Year's Day Broadcast

*Please note all times are in EST and subject to change. Performances within each hour are listed in the order of appearance.

Throughout the broadcast, we'll also be remembering beloved poets, artists, and friends who are no longer living: Miguel Algarín, Steve Cannon, Steve Dalachinsky, Diane di Prima, John Giorno, Jonas Mekas, and Lewis Warsh. We're so grateful for the continued presence of each of these co-celebrants, whose names are marked in italics below. Tune in at the appointed hour for special archival presentations of their readings and performances at The Poetry Project.

In case yr interested, my time slot:

8:30am - 10am

READINGS & PERFORMANCES by Bob Holman / Jan-Henry Gray / Julia Mounsey & Peter Mills Weiss / Mitch Corber / LaTasha N. Nevada Diggs / Katie Ebbitt / Annabel Lee / Arden Wohl & Elizabeth Hart / Ian Dreiblatt / Omar Berrada / Sharon Mesmer / Susan Howe / Ed Friedman / Lee Ann Brown & Bethany Hughes / Jordan Davis / Anna Gurton-Wachter / Rosmarie Waldrop / Helga Davis / Sarah Riggs / Paolo Javier / Don Yorty / George Abraham / Sophie Robinson / Trevor Ketner / Dana Ward

[smallpressdistribution]

"Black Lives Matter is such a dope sentence because it says Black Queer Lives Matter, Black Trans Lives Matter, too. It hits home." - Kiese Laymon, Khadijah Queen, LaTasha N. Nevada Diggs, Mahogany Browne, and other Black writers on the impact of #BLM on their lives in this beautiful piece by Stacy Parker Le Melle at The Offing.

[trascapades]

🕊🎶#ArtIsAWeapon #GregTate "Celebrating Greg Tate: More Than Posthuman: Rise of the Burnt Sugar Arkestra Mojosexual Cotillion" this Sunday, July 17, 2022, 7:30 PM (doors open at 6:00 PM), @lincolncenter #SummerForTheCity. Limited advance reservations: www.lincolncenter.org/series/summer-for-the-city/celebrating-greg-tate-more-than-posthuman-rise-of-the-burnt-sugar-arkestra-mojosexual-cotillion **This celebration honoring Greg's life and legacy will be live-streamed for folks who are unable to attend - go to Lincolncenter.org ** Reposted from @lincolncenter: Gregory Stephen Ionman Tate (1957-2021) was a giant of Black radical thought and creativity, and a conductor of incandescent, community-driven music. Tate's body of writing as an influential critic would be enough to enshrine him as a cultural icon, but he is equally important to a generation of musicians as both the co-founder of the @blackrockcoalition, a national nonprofit organization dedicated to the complete creative freedom of Black artists; and the creator of @burntsugararkestra, a sprawling, omnivorous, and outrageously accomplished improv collective. Reposted from @burntsugararkestra - For this homecoming concert, curated & presented with The Tate Family at one of his favorite venues, more than thirty Burnt Sugar Arkestra members will perform in celebration and tribute to one of the most essential voices in the history of 21st Century Avant Groidd music and thought. On the same day, The Tate Family, Lincoln Center, and Photoville will honor Tate's life and work with the presentation, “In Praise of Shadow Boxers, Dissonance & Dissidents: A Pop-Up Tribute Exhibition to Greg Tate”. The exhibition will feature six-foot prints by 24 artists with whom Tate was in community and whose work he championed. Each image is accompanied by a personal statement by that artist about Tate. The band: Liza Jessie Peterson – MC, Freedome Bradley – MC, Pastor Kaji Dousa – MC Vernon Reid – Conduction, Lisala Beatty – Vocals, Shelley Nicole – Vocals & Conduction, Bruce Mack – Vocals/Synthesizer & Conduction, Karma Mayet – Vocals, Abby Dobson – Vocals, Sequoyah Murray – Vocals, Shariff Simmons – Vocals, Simi Stone – Violin, Satch Hoyt – Flute & Percussion, Lewis “Flip” Barnes – Trumpet, Avram Fefer – Soprano Sax, V. Jeffrey Smith – Tenor Sax, “Moist” Paula Henderson – Bari Sax, Dave “Smoota” Smith – Trombone, Leon Gruenbaum – Keyboards & Samchillian, Ben Tyree – Electric Guitar, Andre Lassalle – Electric Guitar, Jason DiMatteo – Acoustic Bass, Shawn Banks – Congas, LaFrae Sci – Trap Drums & Electronics, Marque Gilmore tha’ Inna•Most – Trap Drums & Electronics, Jared Michael Nickerson – Electric Bass & Conduction, Latasha N. Nevada Diggs - Vocals/Electronic Soundscapes. Bill Toles – BSAC Media Design, LaRonda Davis – BSAC Stage Crew, Ginny Suss – BSAC Stage Crew. Image 1: 🎨Poster art by Amy Gail. Created with photos by Nisha Sondhe, Laura Williams, Daryl Tillman, Ginny Suss, Simone Cassas, & Sachyn Mital. . Image 2: 📸 by Nisha Sondhe #BlackBrilliance #BlackGenius #GregTateCelebration #LincolnCenter #burntsugararkestra (at 60 Lincoln Center Plaza, Damrosch Park) https://www.instagram.com/p/CgCILUOgl0N/?igshid=NGJjMDIxMWI=

[citylifeorg]

Joe's Pub Announces 2022-2023 Artist Development Programs: The Vanguard Residency, Joe’s Pub Working Group, New York Voices and the Habibi Festival

Joe’s Pub Announces 2022-2023 Artist Development Programs: The Vanguard Residency, Joe’s Pub Working Group, New York Voices and the Habibi Festival

Joe’s Pub. Photo: Joseph Augstein. JOE’S PUB ANNOUNCES 2022-2023 PROGRAMS & SPECIAL PROGRAMMING THE VANGUARD RESIDENCY 2022-23 HONORING BARBARA MAIER GUSTERN, FEATURING MURRAY HILL, MACHINE DAZZLE, AND MORE JOE’S PUB WORKING GROUP 2022-23 SITA CHAY, LATASHA N. NEVADA DIGGS, OLIVIA K, J. HOARD, LAMA EL HOMAÏSSI, AND ROSHNI SAMLAL NEW YORK VOICES COMMISSIONS SUNNY JAIN, TREYA LAM, LIZA PAUL &…

[vividlyvividly]

#blackwomenintokyo #poetry #womenshistorymonth

[arts-dance]

High Line

Below are some of the ways we’re exploring what’s next. Check back on our website and follow us on Facebook, Twitter and Instagram at @highlinenyc for updates on these upcoming programs and special events.

The Spur

The Spur was once the High Line section most in danger of demolition. Thanks to a group of committed citizens and community leaders, we’re now celebrating its opening on June 5.

James Corner Field Operations (Project Lead), Diller Scofidio + Renfro, and planting designer Piet Oudolf—the same design team behind the first three sections of the park—listened to what visitors wanted when choosing the features for the Spur. That means: more space for public programming, more restrooms, more access points, more food, more art, and more plants.

https://www.thehighline.org/design/spur/

The Plinth

The Plinth is the first space on the High Line—and one of the only sites in New York City—dedicated solely to a rotating series of new, monumental, contemporary art commissions. The Plinth is located on the Spur, where a large open space offers sweeping views of the city. Artworks selected for the Plinth will thus become part of the cityscape itself.

https://www.thehighline.org/art/plinth/

Brick House

For the inaugural High Line Plinth, Simone Leigh presents Brick House, a 16-foot-tall bronze bust of a Black woman whose torso conflates the forms of a skirt and a clay house. Leigh’s magnificent Black female figure challenges visitors to think more immediately about the architecture around them, and how it reflects customs, values, priorities, and society as a whole.

https://www.thehighline.org/art/projects/simoneleigh/

We Are Here

Commissioned for the opening of the Spur, We Are Here is a series of text-based sound installations that span several locations of the High Line. Claudia Rankine wrote the text with Garnette Cadogan, Helga Davis, and LaTasha N. Nevada Diggs, with sound by Jeremy Toussaint-Baptiste.

We Are Here celebrates what it means to be in relation to time, with all its pleasures of serendipity, and all the change, destruction, and renewal that accompanies the construction of modernity.

https://www.thehighline.org/events/we-are-here/

https://www.thehighline.org/whatsnext/?utm_source=homepage&utm_medium=website&utm_campaign=whatsnext&utm_content=whatsnext

[natbrut]

We’re happy to start this week by featuring “Writing Resistance,” a new series of workshops organized by Apogee. One free workshop (Ivelisse Rodriguez’s "Writing with Fear") is on YouTube. The other 8 workshops are $20 each, and will be held in Fort Greene, Brooklyn.

There’s an incredible line-up of instructors this year: poets Latasha N. Nevada Diggs, Raquel Salas Rivera, Aracelis Girmay, Urayoán Noel, and Jennifer Bartlet; prose writers Jennifer Baker and Crystal Hana Kim; and healer sára abdullah.

Scholarships are available.

https://apogeejournal.org/workshops-2/

[poetryfoundation-potd]

black herman’s last asrah levitation at magic city, Atlanta 2010

By LaTasha N. Nevada Diggs

This exclusive shit I don’t share with the world.

50 Cent

I, Herman, made medicinal — concocted potions in ways my former’s was hearsay;

Turned palomas christened Zora on to formulas husbands roll over n mitzvah.

I, a black lad, proud Virginian, selling out Liberty Hall n pinched w/ stickpins

in Woodlawn, do bequeath my next-to-last oratory:

My roots subverted the man,

honeys n dog voyagers to Neptune,

who dared interfere w/ your melodious saccharine midsection.

My cluster of tricks made chaps seek out connotation.

Look at my magic stick.

Not my clavicles, but my magic stick.

Ain’t no lightness of hand but of bounce player.

Constraints imposed by a corvid named Jim

could not interpret my remedies.

Jim wasn’t much of a MacGyver:

not one skill in therapeutic thaumaturgy.

He prescribed cowlicks for the heartsick: I mean, really.

But let me tell you something:

Since I am that laconic brother who knows

how to zone in matter untouched n unseen.

When a honey wails “St. James Infirmary”

for my bones that were laid on the fiftieth funeral,

my suspended distortion shall know when to arise n eviscerate.

Now you see me. Now you don’t.

Sign up for the joy cruise Shorty.

Mars is the Republic of New Afrika.

I am the Cyrano of Calvin Cadorzar’s drawl.

A straight-laced shoe herbalist;

colon cleaner than a chlorophyllian Dappa Don.

Wanna ride coach to Blue Flame w/ me?

In 1918, I told Quanah Parker, “Jack, Jesus is Peyote!

Said so in the cards — say it ain’t so?”

T-Bone hit it straight for 2.50 (even caught a little change on the box),

cause the planets were so aligned.

Sho’nuf heard these arcane words precise.

I am the other.

Now ain’t you a pretty saltshaker.

Sing Sing couldn’t hold me down:

I compliment n shatter upstate.

The roots I baked allowed communion w/ God n the dead

In Kentucky I formulated polar bear toe gazpacho —

an elixir for ATLiens — no need to name drop;

just informing you of the origins.

Comes in Georgia Peach flavor.

Too much will turn your guts like

Entheogen.

I patented ‘Poo Tang’ every morning for AC Powell’s breakfast:

18-ounce glass, ½ Tang & ½ Vodka.

It’s good for clairvoyance.

That one on the house.

Dare to transpose any other energy drink, sookie?

This exhumation bears no map

fore the next internment there shall be no other.

I AM on some other shit.

How delightful you could clap to the procession.

I come with black cat bones, Van Van oil n goofer dust.

Lucky numbers. Banjo. Torches. Shells. Dice. Florida water. Do-re-me bush.

Bush meat. Rhino balls. Palo Santo. Duppy Basil. Hoodoo muthafucka.

Always to arise on the fourth day: every seven years.

No. You see me.

https://www.poetryfoundation.org/poems/56493/black-hermans-last-asrah-levitation-at-magic-city-atlanta-2010

No audio available

[qow-us]

Cave Canem » Workshops

Since 1999, nearly 1000 emerging poets have participated in Cave Canem’s community-based workshops, rare opportunities to work with accomplished poets for free or low-cost fees. Limited to an enrollment of 12-15, eight and ten-session workshops offer rigorous instruction, careful critique and an introduction to the work of established poets—all within the welcoming environment of our Brooklyn, NY loft. “Time Keeping and Time Travel” with Anastacia-Reneé In this workshop, participants will be in conversation with the work of Audre Lorde and Octavia Butler. Participants will examine multi-genre writing and poetic craft elements to build poems that bend, restructure and reimagine “form.” Participants will be creatively inspired by the notion that the “paranormal” is normal and traditional fiction can inhabit a poem. The goal for all workshop participants is to complete the course with two drafts and confidently share them. Dates: Wednesdays, 6-9 pm. September 5, 12, 19, 26; October 3, 10, 17, 24, 31; culminating reading: November 7. Where: Cave Canem, 20 Jay Street, Suite 310-A, Brooklyn, NY. Who’s eligible: Black poets of African descent living in New York City’s five boroughs. Individuals who are not enrolled full-time in a degree-granting program. Individuals who can commit to attending all ten sessions. Individuals who are not Cave Canem fellows. Writers who have not published more than one collection of poetry with a commercial press. This is a tuition-free workshop, funded by The Jerome Foundation. The instructor will review applications and select up to 15 participants, with preference given to individuals who have attended fewer than three Cave Canem workshops. The deadline to apply is August 12, 2018 at 11:59 pm EST. Applicants will be notified by August 20, 2018. Applications will be accepted via Submittable only. Click here to apply. Anastacia-Renee is the current Seattle Civic Poet, recipient of the 2017 Artist of the Year Award, and former 2015-2017 Poet-in-Residence at Hugo House. She is the author of five books: Forget It (Black Radish Books), (v.), (Gramma Press) 26, (Dancing Girl Press), Kiss Me Doll Face (Gramma Press) and Answer(Me) (Winged City Chapbooks, Argus Press) and has received writing fellowships from Cave Canem, Hedgebrook, VONA, Artist Trust and Jack Straw, as well as a writing residency from Ragdale.  Her theatrical mixed-media project, 9 Ounces: A One Woman Show, is a multivalent play unapologetically downward dogging its way through class, race, culture, oppression, depression, survival and epiphany. Her cross-genre writing has appeared in the anthologies: Women of Resistance: Poems for a New Feminism, Sinister Wisdom: Black Lesbians—We Are the Revolution, Revise the Psalm: Work Celebrating the Writing of Gwendolyn Brooks and: Split this Rock, Painted Bride Quarterly, Crab Creek Review, Seattle Review, Bone Bouquet, Duende, Poetry Northwest, Synaethesia, Banqueted, Torch and many more. She teaches poetry and creative writing at Hugo House and Seattle University and lives as a superhero in Seattle with her wife and dog. “Procedures, Discomforts and Retellings” with LaTasha N. Nevada Diggs Participants will discuss what provokes/inspires them to write. Is it identity? Mothers? Politics? Language? Bullshit? Culturally one might write as one’s ancestors might have spoken.  Perhaps some are not meant to write in a linear fashion. To be “roundabout” or circular may be closer to how one’s ear is innately tuned.  During this workshop, participants will examine/dismantle, misread/fail for the sake of finding out what to write about and what momentarily terrifies to the point of stopping altogether.  Through a number of restraints and recipes, participants will modify their “engines.” Expect no finished work. as the procedures explored will be durational and dependent upon individual comfort levels.  Participants will read new and not so new works by Celina Su, Tusiata Avia, Clarence Major, Harryette Mullen and dg nanouk okpik, among others. Additionally, participants will listen to and view a number of recordings by performance based artists and musicians who utilize spoken word. Dates: Tuesdays, 6-8:30 pm. October 2, 9, 16, 23, 30; November 6, 13; culminating reading: November 27. Where: Cave Canem Foundation, 20 Jay Street, Suite 310-A, Brooklyn, NY Who’s eligible: Adult poets of color living in New York City’s five boroughs. Poets at the early-to-intermediate stage of their writing endeavors. Individuals who can commit to attending all eight sessions. Individuals who are not enrolled full-time in a degree-granting program. Individuals who are not Cave Canem fellows. Writers who have not  published more than one collection of poetry with a commercial press. Suggested Donation: $30 – $240 Up to 15 participants will be selected by lottery, with preference given to applicants who have attended fewer than three workshops. Applications will be accepted via Submittable only. The deadline to apply is August 26, 2018 at 11:59 pm EST.  Applicants will be notified by August 28, 2018. Applications will be accepted via Submittable only. Click here to apply. A writer, vocalist and sound artist, LaTasha N. Nevada Diggs is the author of TwERK (Belladonna, 2013). Her interdisciplinary work has been featured at the Brooklyn Museum, the Poesiefestival in Berlin, Museum of Modern Art, the QOW conference in Slovakia, the International Poetry Festival in Bucharest,  the Whitney Museum of American Art, the Walker Art Center, the 56th Venice Biennale and in Beijing as a Red Gate Artist in Residence.  As a curator and director, she has staged events at BAM Café, Lincoln Center Out of Doors, The David Rubenstein Atrium, The Highline, Poets House and El Museo del Barrio. LaTasha is the recipient of numerous awards; of them include New York Foundation for the Arts, Barbara Deming Memorial Grant, the National Endowment for the Arts, the Jerome Foundation Travel and Study Grant, the Japan-US Friendship Commission, Creative Capital and the Whiting Foundation Literary Award. She lives in Harlem. Payment via PayPal Poetry Conversations Amount: Total $0.00 Funder, New York City Fall and Spring Workshops: Jerome Foundation Funders, Poetry Conversations Workshops: This event is funded in part by Poets & Writers through public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; Amazon Literary Partnership; conEdison Consolidated Edison Company of New York; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and the Whiting Foundation.

[connorrenwick]

Friday Five with Nadia Wolff

Photo courtesy of World Red Eye

Miami native Nadia Wolff is a Haitian-American artist, designer, poet, and maker whose work beautifully blends culturally significant themes of gender, sexuality, race, and identity. As a senior at a magnet high school, Wolff was a 2016 YoungArts winner in Visual Arts and Design Arts, as well as a 2016 U.S. Presidential Scholar in the Arts. Currently, Wolff is pursing a five-year dual degree (BFA + BA) focusing on textile arts at RISD (Rhode Island School of Design) and Africana studies at Brown University. In this week’s Friday Five we learn more about the fine artist’s creative inspirations and influences.

Photo by Nadia Wolff

1. Light/Color/Pattern The way that I move through the world is incredibly influenced by light, and I am incredibly drawn to vibrant color and pattern. This is definitely an inheritance from the cultures I claim, having grown up in Miami, Florida raised by Haitian immigrants. I’m constantly noting color, light, and pattern in architecture, textiles, nature, crowds of strangers.

2. Poetry Poetry is constantly on my mind–from the poets I follow on Twitter, to the daily poem in my inbox each morning, to the objects and motifs I gravitate towards in my writing, art, and design work. One collection of poems that struck me recently is LaTasha N. Nevada Diggs’ “TwERK.” She is also an incredible performer, and the blending of language, identity, and sound in her work is stunning to witness live.

Photo by Elliott Jerome Brown Jr. for King Kong Magazine

3. Janelle Monáe’s Afrofuturism Janelle Monáe’s artistry is one of my greatest inspirations. As a perfectionist and someone very conscious of her privacy, her music designs literal universes as metaphors to describe and frame the experiences of black, queer, and otherwise marginalized people. I’m inspired by the beautiful complexity and sophistication with which her work contends with these issues, while also loading the work with a potent joy, humor, and celebration.

4. Audio recordings I keep a pretty consistently updated archive of atmospheric sounds and conversations with loved ones on my phone. Often these conversations are moments where family or friends are directly or obliquely describing how intimacy is crafted in their lives, whether through music, food, humor, memories, or emotional bonds.

YoungArts Campus \\\ Photo by Greg Clark

5. YoungArts The National YoungArts Foundation has been one of the most incredible resources for me as a young artist and designer. I first thought of a career as a visual maker as a tangible future for myself when attending YoungArts week. The organization provided me with the support to complete my first larger scale installation, and also connected me with some of the artists and designers I consider my closest friends and collaborators.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2019/03/08/friday-five-with-nadia-wolff/

[horsesingsfromcloud]

Latasha N Nevada Diggs in 2014

[afutureancient]

This is where I'll be in a couple of weeks! The final event for our @cavecanempoets workshop with Latasha N. Nevada Diggs! Come hear us read the poems we've been writing for the past 8 weeks. #poets #poetry #cavecanem #reading #bk #brooklyn https://www.instagram.com/p/BqNUQp4llbO/?utm_source=ig_tumblr_share&igshid=ufjqpv1e24f3

[poetryofoffpage18]

Wreading Response: Week 5

As others have said, the readings for this week heightened my understanding of not only the relationship between language and text but also between reading as a practice and reading as performance. The way in which the sound poems become reanimated through each individual reading of the text and the barriers which form and other primarily visual elements pose to a reader’s experience of reading the text create a dialogue between the ways in which various readers understand the text. In thinking about the performance aspects of reading, and the position of the reader becomes increasingly important. It integrates the specific personal, cultural, and societal backgrounds of the readers into the performance of reading the text, creating an infinite amount of interpretative meanings and implications. I’m particularly interested in the ways in which sound pieces and visual scores act as road maps meant to guide or specifically obfuscate the way in which readers approach the text, and I’m interested in this as a potential political commentary on boundaries straddling identity. I also began to see, like language as visual text and image the week before, how sound can participate in the creation of texture for a poem and how the tactility of spoken word or other sounds that emerge from the process of reading. I was particularly influenced by LaTasha N. Nevada Diggs’ poem, “daggering kanji,” and the ways in which movement of the mouth and the body became evident through the specificity of sound present in the poem. The questions that arise when approaching a poem like that push readers to become hyper-aware of their relationship to poem as text vs poem as experience.