A poetry magazine, the magazine that Wolfgang Gortschacher edited before starting Poetry Salzburg Review, having taken over from Fred Beake. There are 25+ pages on Raymond Federman, a section on David Miller, and poems by Fiona Sampson, John Greening etc.
Steven Carter has an essay on Robert Duncan's interest in Quantum Physics.
-- From the very beginning of his career as a poet, Duncan made it abundantly clear that physics and the other sciences are intimately connected with his poetry (p.65)
- Critics have noted Duncan's insistence on the importance of quantum physics as both an esthetic and a hermeneutical tool in the crafting and interpretation of verse. Mark Andrew Johnson has observed that an understanding of Heisenberg matrices is required for a full comprehension of Duncan's own matrices of words in his 1968 volume Bending the Bow (p.67)
- Robert Duncan is clearly aware of the significance of the dancer/dance conundrum to both the physicist and the poet (p.71)
- In "Spelling" [] he continually forces the reader to made a decision, in every line of the poem, as to what the poem is, as opposed to what the poem says (p.72)
- Duncan makes his verbs do double duty by performing as verbs and also by calling attention (by verbs) to their performance (as verbs) (p.73)
- in re-shaping a physicist's ideas into bold new configurations of a poet's esthetics, Robert Duncan clearly demonstrates that the invitation to the dance of the syllables and stanzas of open form may be extended by physicist and poet alike (p.77)
i.e. When there's something with a double meaning - a pun, or something that works on more than one level - the reader sometimes has to plump for a single interpretation. This is compared to the collapse of the wave function when an observer joins the system. Nothing new there.
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