Bruce Covey joins the Double Ds!
Bruce Covey is the author of The Greek Gods as Telephone Wires, Elapsing Speedway Organism, and Ten Pins, Ten Frames. His recent poems also appear or are forthcoming in Aufgabe, Verse, LIT, Columbia Poetry Review, and other journals. He edits the web-based poetry magazine Coconut.
How does your expertise in technology serve your poems?
Once I had a concept for a poem that was particularly technologically challenging—I wanted to fill a page with texts about circles from three sources in variations of threes (1 sentence from the 1st, 2 from the 2nd, 3 from the 3rd; then 2 from the 1st, 3 from the 2nd, 1 from the 3rd, & so on), then essentially delete everything other than the content contained in six circular holes of diameters 1, 1, 1, 2, 2, & 3 inches. I had no idea how to do this on the computer, so my friend Jen helped me to a construct a mask or “layer” to achieve this electronically. Since then I’ve used photoshop quite a bit, plus html for my web-based magazine, Coconut. But I also like to entertain the parallels between poems & things like lines of code or mathematical proofs, i.e., the possibilities of the poem as tautological construct, or as a vector from Point A to Point G with B through F in between. & the actual rhetoric of the electronic world & physics & math is so infectious I often find it creeping its way into my poems. Sometimes too I love to work with a concept or notion in physics or math or computers as a structural device for a poem, rather than relying solely on syllabic patterns. & yet even traditional forms like pantoums have a kind of mathematics; & what could be more expressive of physics than a sonnet, with—in the Petrarchan example—the revolutions & gravitation between two bodies (the octet & sestet) at its heart?
What’s your pick to receive the Oscar for Best Picture?
Gosh, I’m clueless when it comes to films & the Oscars, so I just googled the nominations. Mostly I only go to see children’s movies with my daughters, but I did see Avatar, which I didn’t really like. I mean, the special effects were beautiful, but the plot was problematic. I loved Up—a simple, but genuinely moving story—but I don’t think they would give the prize to a predominately kid’s film. & I’ve heard of several of the others, but don’t really know them, so I’ll say the prize will go to Precious, because when I closed my eyes & pointed to my computer screen, that’s the one I pointed to.