WEBVTT 00:00:00.000 --> 00:00:01.110 align:middle line:90% 00:00:01.110 --> 00:00:05.220 align:middle line:84% Joshua Marie Wilkinson was born and raised in Seattle, 00:00:05.220 --> 00:00:09.000 align:middle line:84% and he's the author of two book-length poems, "Suspension 00:00:09.000 --> 00:00:13.170 align:middle line:84% of a Secret in Abandoned Rooms," published in 2005, 00:00:13.170 --> 00:00:15.660 align:middle line:84% and most recently, "Lug Your Careless 00:00:15.660 --> 00:00:20.310 align:middle line:84% Body out of the Careful Dusk," which won the 2005 Iowa Poetry 00:00:20.310 --> 00:00:21.270 align:middle line:90% Prize. 00:00:21.270 --> 00:00:23.670 align:middle line:84% His work has appeared in numerous journals, 00:00:23.670 --> 00:00:26.910 align:middle line:84% and he holds an MFA from the University of Arizona 00:00:26.910 --> 00:00:31.710 align:middle line:84% and an MA in Film Studies from University College Dublin. 00:00:31.710 --> 00:00:36.000 align:middle line:84% Presently, he works as an editor for the Denver Quarterly 00:00:36.000 --> 00:00:38.550 align:middle line:84% and teaches courses in Literature and Creative 00:00:38.550 --> 00:00:41.610 align:middle line:84% Writing at the University of Denver, where he's 00:00:41.610 --> 00:00:43.710 align:middle line:90% completing a PhD in Literature. 00:00:43.710 --> 00:00:47.550 align:middle line:84% A new book of prose, poems, and anthology, a documentary film, 00:00:47.550 --> 00:00:52.500 align:middle line:84% and a book of collaborations with poet Noah Eli Gordon 00:00:52.500 --> 00:00:55.230 align:middle line:90% are all underway. 00:00:55.230 --> 00:00:59.040 align:middle line:84% The poems in "Lug Your Careless Body out of the Careful Dusk" 00:00:59.040 --> 00:01:04.660 align:middle line:84% have a rhythmical suspension, a constant postponing of closure, 00:01:04.660 --> 00:01:07.140 align:middle line:84% which has less to do with the act of finishing 00:01:07.140 --> 00:01:09.330 align:middle line:90% than the act of perceiving. 00:01:09.330 --> 00:01:11.550 align:middle line:84% For Wilkinson, the person perceiving 00:01:11.550 --> 00:01:14.580 align:middle line:84% is more changeable than the object perceived. 00:01:14.580 --> 00:01:19.020 align:middle line:84% For instance, Wilkinson writes, "here, where the poem begins, 00:01:19.020 --> 00:01:20.430 align:middle line:90% ladders again. 00:01:20.430 --> 00:01:23.250 align:middle line:84% The little girl ventured with candy and a 00:01:23.250 --> 00:01:25.590 align:middle line:90% "nearly" on her lips. 00:01:25.590 --> 00:01:28.200 align:middle line:84% The ladder has more permanence in the girl 00:01:28.200 --> 00:01:32.790 align:middle line:84% and offers the possibility not of taking her to another place, 00:01:32.790 --> 00:01:36.810 align:middle line:84% but of bringing her to some other incarnation of herself." 00:01:36.810 --> 00:01:40.290 align:middle line:84% When Wilkinson re-enters a situation, 00:01:40.290 --> 00:01:44.250 align:middle line:84% he does it from the far side, from an unexpected angle. 00:01:44.250 --> 00:01:47.460 align:middle line:84% He writes as though he were traveling through a city 00:01:47.460 --> 00:01:51.330 align:middle line:84% by transposing himself into its many bustling bodies. 00:01:51.330 --> 00:01:54.210 align:middle line:84% An appropriate vantage point for Wilkinson, 00:01:54.210 --> 00:01:57.210 align:middle line:84% given that he writes, "cities are for breaking you 00:01:57.210 --> 00:01:59.470 align:middle line:90% into several people at once." 00:01:59.470 --> 00:02:03.150 align:middle line:84% Please help me in welcoming Joshua. 00:02:03.150 --> 00:02:05.900 align:middle line:90% [APPLAUSE]