The Red Leaves of Night (Harper Collins).
As David St.John's poems grow more elegant, they become more sexual and obsessive...
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0:00.0 | Funds for Bookworm are provided in part by Lannin Foundation. |
0:07.0 | You are a human animal. |
0:11.0 | You are a very special breed. |
0:15.0 | Or you are the only animal. |
0:18.0 | Who can think, who can reason, who can read. |
0:22.3 | From KCRW, Santa Monica, I'm Michael Silverblad, and this is Bookworm. |
0:27.1 | Today I have as my guest, David St. John, whose new book is from Harper Collins. |
0:33.3 | It's called The Face. |
0:34.6 | It's a novella in verse. |
0:39.2 | And I think even the subtitle is meant to be kind of funny. |
0:44.0 | Well, to me, since it's a collection of poems, |
0:48.0 | it's meant to cut both ways. |
0:50.6 | Right. |
0:50.8 | And so I'm happy you sense that. |
0:54.3 | Well, it's a strange kind of both finiquiness and presumption that the poem has throughout. |
1:01.8 | This is, this is in a certain way, a loudspeaker poem in which the microphone is picking up all kinds of things usually left private. |
1:12.4 | In other words, this microphone is unusually sensitive to the tones of self-pity, |
1:18.1 | to self-traumatization, and to hysteria, of a certain sort that's being modulated by the elegance of the line |
1:30.8 | and then blown out of proportion by the length of the line |
1:34.7 | so that everything is simultaneously in perspective and out of perspective. |
1:40.1 | And I think that it's given the state of the condition of the speaker, the person who walks us through the movie of this book, since one of the conceits is that a movie is being made of his life, that the line has exactly that kind of elasticity that you're describing. |
2:02.1 | In terms of the arc of the narrative, since it's a more cohesive sense of a true narrative arc, |
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