Excerpts from Colin Post’s hybrid-genre manuscript, lynx perpetual lynx, a finalist for the 2015 TS Book Prize.
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Colin Post currently lives in Durham, North Carolina with his partner Rachel and their cat Oz. Before moving south, Colin received his MFA in Poetry from the University of Montana. He is pursuing a dual degree masters program in Art History and Library Science at the University of North Carolina – Chapel Hill, where he is also a fellow in the Learning from Artists’ Archives project. His poems have recently appeared in small po[r]tions, Deluge, and HOAX.
These are minimalist poems, not only in the sense of a delimited vocabulary, a delimited mode of speech, which might be called that of the scribe or might otherwise be called that of pilgrim with her prayers or might otherwise be called that of the logbook, a delimited set of thematic attentions, a delimitation of movements between syntactical nodes, which is a delimitation to the passive or circuitous as a necessary mimesis of the body in orbit or the eye in the act of observation or the honde in the act of writing, all of which propelled by forces not their own, or a delimited imaginative realm in which the poems take place, which might be called that of the touch-screan or the interface; more so these are minimalist poems in the sense that they are constructed after the fashion of minimalist sculpture, which is from a delimited set of materials. Each piece is constructed as an arrangement of at least two of the following three materials: blocks of prose, shards of song, and photocopied surfaces. These are minimalist poems, constructed of wood, glass, or paper. Each is a node within a network of possible structurations of this touch-screan realm. Each node is brief and minimal.