Martha Ronk and Paul Vangelisti: September 14, 2017

Steve Dickison introduces Martha Ronk, reading for the first time at the Poetry Center. She reads work from Ocular Proof. With its title inspired by Shakespeare's Othello, the book is inspired by old photographs and how they both prove and deceive the viewer: "Paris 1926 Atget," "Takes Two," "A Blurry Photograph," "That blur in the corner of a photograph," "The Picture Plane," "No Sky," "The Photographic Object," "Broussais' Night Photographs," "Elegy," "Philadelphia PA 1967." She also reads newer poems in manuscript: "An Alternate Universe," "These are Stairs," "Belonging to Water," "After."

Steve Dickison introduces Paul Vangelisti, who starts by reading poems from Border Music: "Azuza: A Sequel," "Six O'Clock," "La Bergamasca," and "My Foolish Heart." He then reads a longer poem from his chapbook, "Toodaloo."

Paul Vangelisti and Martha Ronk answer questions from the audience. They discuss their various reasons for coming to and staying in Los Angeles while continuing to write poetry. They both discuss the idea of time captured in still moments and how poetry persists in time. Ronk talks about the pressure of memory and the struggle to keep "at bay in the space of turning." She suggests to try not to be overwhelmed by your own history. Vangelisti discuss the strange nature of time in Los Angeles and how time, for him, is in a "here/there" space. They also talk about the ways they tackle form. Ronk stresses the importance of sound regardless of structure and of reading works out loud, while Vangelisti recommends the poem "Poet: A Lying Word" by Laura (Riding) Jackson. Ronk concludes by recommending that people write poetry to find out what they care about.