Interview with Peycho Kanev by Media Virus Magazine
Print This Post
MediaVirus is proud to feature an interview with Peycho Kanev, co-author of the new chapbook collaboration ‘r’. He recently answered several of our inquires about ‘r’, and we excitedly share them with you here. This collection also features selections from poet Felino Soriano, with the photography contributions of Edward Wells II and Duane Locke. ‘r’ melds the poetry and photography of all four into a visual tapestry that excites the eye and mind equally.
What does the unembellished, lower case title of ‘r’ denote?
Well, about that you have to ask the editor of this book Edward Wells II. He is responsible for the title of the book as well as other things such as the coordinating, the images, the layout, etc. I think that the decision for the title “r” is entirely his. Edward is the Senior Editor for the wonderful poetry magazine The Houston Literary Review.
How was ‘r’ developed and was the concept initially embraced by all contributors alike?
In the summer of 2008 and in the beginning of 2009 Edward accepted a few of my poems for publication in his magazine. And that’s how all started. After that, he told me that he had this upcoming project in mind and to be more specific, the publishing of collaborative poetry collection. He asked me would I be interested and then the other poet Felino Soriano. And yes, I believe that the whole concept of the book was initially embraced by both of us.
The snippets of photography featured throughout are abstract and anthropomorphic in nature, adding a visual dimension that compliments the voice behind the pen. Whose decision was it to include the photography and why are there no photos of Felino Soriano, the second poet featured in ‘r’?
Yes, I believe the vibes that the images produce are in some absolute unison with the poems. And for that we have to blame another great poet, photographer and visual artist. His name is Duane Locke. You ought to read his poetry. He is great. About my pictures… Well, in the beginning Edward told me to send him some photos of me that he could use in the book, but I didn’t had any. So I asked my girlfriend to take some pictures of me while I’m working on the next poem and drinking whiskey. I think she did a hell of a job. She is very talented opera singer, a beautiful mezzo soprano, and a great photographer too, as you can see from the cover of the book. But why are there no photos of Felino Soriano? I do not know. Maybe that was his decision.
A select few pages exhibit a peculiar appearance and structure, most notably in color and language layout, creating a contrasting environment and attitude in some of the poems. Was this an intentional conveyance and if so, are the poems in which this artistic expression appears uniquely significant?
Yes, I believe so. But I didn’t take any part in this. Edward just told me to send him the poems and after that he did his editor’s magic placing the exact poems with the right images and photos. I believe he has very keen eye for detail and structure. He is superb poet as well. And the reader should know that it is not an easy job because Felino and I, well, we are very different from one another. For starters, in my poems I go directly at the subjects, at the objects. I do not waste time for metaphors. I like to go to the bones, to the marrow of the bones of poetry. I do not dwell in metaphysics or the classics. I simply write my words as they appear in the box of my head. Clear and shiny like sharp knife. On the other hand, Felino is more philosophic and jazzy. His poetry is soaked up in poetic occurrences, philosophical causation, in jazz stimulation. He is an abstract painter with the brush of the words, and extremely prolific at that. Edward managed to graze completely different poets and to produce one perfectly homogeneous poetic painting. That is a great editor.
One of MediaVirus’ central tenants is that different artistic mediums, such as poetry and visual arts, can have a profound influence on each. were the photographs and poems in ‘r’ conceived separately, or did one’s creation influence the other?
In my own beliefs poetry always comes first. Before the music, before the paintings, before any other art form. Like the great poet Joseph Brodsky said once, that the universe itself subordinate to some very strict divine law which resembles the very art of poetry writing.
Did the various creators in ‘r’ work in conjunction or separately when creating their contributions?
We were working separately, of course. There is great portion of solitude that lives within every poet. I heard that Felino was the other poet a couple of weeks after I sent my batch of poems to Edward Wells II.
Peycho your poetry is uninhibited and uncompromising in subject and delivery. Who are some of your poetic influences and do you feel your poetry is a product of their muse or rather furthers their literary philosophy?
Like every other poet I have poets that I admire. And they are more than, let say, fifty. But I follow the rules of writing poetry which one of them gave us. One of the best. They are: “ 1) Don’t tell the readers what they already know about life. 2) Don’t assume you’re the only one in the world who suffers. 3) Some of the greatest poems in the language are sonnets and poems not many lines longer than that, so don’t overwrite. 4) The use of images, similes and metaphors make poems concise. Close your eyes, and let your imagination tell you what to do. 5) Say the words you are writing aloud and let your ear decide what word comes next. 6) What you are writing down is a draft that will need additional tinkering, perhaps many months, and even years of tinkering. 7) Remember, a poem is a time machine you are constructing, a vehicle that will allow someone to travel in their own mind, so don’t be surprised if it takes a while to get all its engine parts properly working.” His name is Charles Simic.
Do you feel your poetic intentions are best captured in the still, candid environment of a photograph, or portrayed through actionable, illustrative written word?
I am not really sure. I mean, I am a poem. There is not other way about it. If I want to lay the words on the screen or on the sheet of paper in perfect harmony I have to live as a poem. You cannot be false about it or unreal. But you can’t walk upon this streets with all the poems glued to your forehead either. There is some thin line that lies in each and every poet, every creator and it cannot be crossed. The poet is like some photographer, but instead using some chemicals for developing his pictures, he uses the chemistry of the word.
Media Virus Magazine, Issue 13
MediaVirus is proud to feature an interview with Peycho Kanev, co-author of the new chapbook collaboration ‘r’. He recently answered several of our inquires about ‘r’, and we excitedly share them with you here. This collection also features selections from poet Felino Soriano, with the photography contributions of Edward Wells II and Duane Locke. ‘r’ melds the poetry and photography of all four into a visual tapestry that excites the eye and mind equally.
What does the unembellished, lower case title of ‘r’ denote?
Well, about that you have to ask the editor of this book Edward Wells II. He is responsible for the title of the book as well as other things such as the coordinating, the images, the layout, etc. I think that the decision for the title “r” is entirely his. Edward is the Senior Editor for the wonderful poetry magazine The Houston Literary Review.
How was ‘r’ developed and was the concept initially embraced by all contributors alike?
In the summer of 2008 and in the beginning of 2009 Edward accepted a few of my poems for publication in his magazine. And that’s how all started. After that, he told me that he had this upcoming project in mind and to be more specific, the publishing of collaborative poetry collection. He asked me would I be interested and then the other poet Felino Soriano. And yes, I believe that the whole concept of the book was initially embraced by both of us.
The snippets of photography featured throughout are abstract and anthropomorphic in nature, adding a visual dimension that compliments the voice behind the pen. Whose decision was it to include the photography and why are there no photos of Felino Soriano, the second poet featured in ‘r’?
Yes, I believe the vibes that the images produce are in some absolute unison with the poems. And for that we have to blame another great poet, photographer and visual artist. His name is Duane Locke. You ought to read his poetry. He is great. About my pictures… Well, in the beginning Edward told me to send him some photos of me that he could use in the book, but I didn’t had any. So I asked my girlfriend to take some pictures of me while I’m working on the next poem and drinking whiskey. I think she did a hell of a job. She is very talented opera singer, a beautiful mezzo soprano, and a great photographer too, as you can see from the cover of the book. But why are there no photos of Felino Soriano? I do not know. Maybe that was his decision.
A select few pages exhibit a peculiar appearance and structure, most notably in color and language layout, creating a contrasting environment and attitude in some of the poems. Was this an intentional conveyance and if so, are the poems in which this artistic expression appears uniquely significant?
Yes, I believe so. But I didn’t take any part in this. Edward just told me to send him the poems and after that he did his editor’s magic placing the exact poems with the right images and photos. I believe he has very keen eye for detail and structure. He is superb poet as well. And the reader should know that it is not an easy job because Felino and I, well, we are very different from one another. For starters, in my poems I go directly at the subjects, at the objects. I do not waste time for metaphors. I like to go to the bones, to the marrow of the bones of poetry. I do not dwell in metaphysics or the classics. I simply write my words as they appear in the box of my head. Clear and shiny like sharp knife. On the other hand, Felino is more philosophic and jazzy. His poetry is soaked up in poetic occurrences, philosophical causation, in jazz stimulation. He is an abstract painter with the brush of the words, and extremely prolific at that. Edward managed to graze completely different poets and to produce one perfectly homogeneous poetic painting. That is a great editor.
One of MediaVirus’ central tenants is that different artistic mediums, such as poetry and visual arts, can have a profound influence on each. were the photographs and poems in ‘r’ conceived separately, or did one’s creation influence the other?
In my own beliefs poetry always comes first. Before the music, before the paintings, before any other art form. Like the great poet Joseph Brodsky said once, that the universe itself subordinate to some very strict divine law which resembles the very art of poetry writing.
Did the various creators in ‘r’ work in conjunction or separately when creating their contributions?
We were working separately, of course. There is great portion of solitude that lives within every poet. I heard that Felino was the other poet a couple of weeks after I sent my batch of poems to Edward Wells II.
Peycho your poetry is uninhibited and uncompromising in subject and delivery. Who are some of your poetic influences and do you feel your poetry is a product of their muse or rather furthers their literary philosophy?
Like every other poet I have poets that I admire. And they are more than, let say, fifty. But I follow the rules of writing poetry which one of them gave us. One of the best. They are: “ 1) Don’t tell the readers what they already know about life. 2) Don’t assume you’re the only one in the world who suffers. 3) Some of the greatest poems in the language are sonnets and poems not many lines longer than that, so don’t overwrite. 4) The use of images, similes and metaphors make poems concise. Close your eyes, and let your imagination tell you what to do. 5) Say the words you are writing aloud and let your ear decide what word comes next. 6) What you are writing down is a draft that will need additional tinkering, perhaps many months, and even years of tinkering. 7) Remember, a poem is a time machine you are constructing, a vehicle that will allow someone to travel in their own mind, so don’t be surprised if it takes a while to get all its engine parts pr
MediaVirus is proud to feature an interview with Peycho Kanev, co-author of the new chapbook collaboration ‘r’. He recently answered several of our inquires about ‘r’, and we excitedly share them with you here. This collection also features selections from poet Felino Soriano, with the photography contributions of Edward Wells II and Duane Locke. ‘r’ melds the poetry and photography of all four into a visual tapestry that excites the eye and mind equally.
What does the unembellished, lower case title of ‘r’ denote?
Well, about that you have to ask the editor of this book Edward Wells II. He is responsible for the title of the book as well as other things such as the coordinating, the images, the layout, etc. I think that the decision for the title “r” is entirely his. Edward is the Senior Editor for the wonderful poetry magazine The Houston Literary Review.
How was ‘r’ developed and was the concept initially embraced by all contributors alike?
In the summer of 2008 and in the beginning of 2009 Edward accepted a few of my poems for publication in his magazine. And that’s how all started. After that, he told me that he had this upcoming project in mind and to be more specific, the publishing of collaborative poetry collection. He asked me would I be interested and then the other poet Felino Soriano. And yes, I believe that the whole concept of the book was initially embraced by both of us.
The snippets of photography featured throughout are abstract and anthropomorphic in nature, adding a visual dimension that compliments the voice behind the pen. Whose decision was it to include the photography and why are there no photos of Felino Soriano, the second poet featured in ‘r’?
Yes, I believe the vibes that the images produce are in some absolute unison with the poems. And for that we have to blame another great poet, photographer and visual artist. His name is Duane Locke. You ought to read his poetry. He is great. About my pictures… Well, in the beginning Edward told me to send him some photos of me that he could use in the book, but I didn’t had any. So I asked my girlfriend to take some pictures of me while I’m working on the next poem and drinking whiskey. I think she did a hell of a job. She is very talented opera singer, a beautiful mezzo soprano, and a great photographer too, as you can see from the cover of the book. But why are there no photos of Felino Soriano? I do not know. Maybe that was his decision.
A select few pages exhibit a peculiar appearance and structure, most notably in color and language layout, creating a contrasting environment and attitude in some of the poems. Was this an intentional conveyance and if so, are the poems in which this artistic expression appears uniquely significant?
Yes, I believe so. But I didn’t take any part in this. Edward just told me to send him the poems and after that he did his editor’s magic placing the exact poems with the right images and photos. I believe he has very keen eye for detail and structure. He is superb poet as well. And the reader should know that it is not an easy job because Felino and I, well, we are very different from one another. For starters, in my poems I go directly at the subjects, at the objects. I do not waste time for metaphors. I like to go to the bones, to the marrow of the bones of poetry. I do not dwell in metaphysics or the classics. I simply write my words as they appear in the box of my head. Clear and shiny like sharp knife. On the other hand, Felino is more philosophic and jazzy. His poetry is soaked up in poetic occurrences, philosophical causation, in jazz stimulation. He is an abstract painter with the brush of the words, and extremely prolific at that. Edward managed to graze completely different poets and to produce one perfectly homogeneous poetic painting. That is a great editor.
One of MediaVirus’ central tenants is that different artistic mediums, such as poetry and visual arts, can have a profound influence on each. were the photographs and poems in ‘r’ conceived separately, or did one’s creation influence the other?
In my own beliefs poetry always comes first. Before the music, before the paintings, before any other art form. Like the great poet Joseph Brodsky said once, that the universe itself subordinate to some very strict divine law which resembles the very art of poetry writing.
Did the various creators in ‘r’ work in conjunction or separately when creating their contributions?
We were working separately, of course. There is great portion of solitude that lives within every poet. I heard that Felino was the other poet a couple of weeks after I sent my batch of poems to Edward Wells II.
Peycho your poetry is uninhibited and uncompromising in subject and delivery. Who are some of your poetic influences and do you feel your poetry is a product of their muse or rather furthers their literary philosophy?
Like every other poet I have poets that I admire. And they are more than, let say, fifty. But I follow the rules of writing poetry which one of them gave us. One of the best. They are: “ 1) Don’t tell the readers what they already know about life. 2) Don’t assume you’re the only one in the world who suffers. 3) Some of the greatest poems in the language are sonnets and poems not many lines longer than that, so don’t overwrite. 4) The use of images, similes and metaphors make poems concise. Close your eyes, and let your imagination tell you what to do. 5) Say the words you are writing aloud and let your ear decide what word comes next. 6) What you are writing down is a draft that will need additional tinkering, perhaps many months, and even years of tinkering. 7) Remember, a poem is a time machine you are constructing, a vehicle that will allow someone to travel in their own mind, so don’t be surprised if it takes a while to get all its engine parts properly working.” His name is Charles Simic.
Do you feel your poetic intentions are best captured in the still, candid environment of a photograph, or portrayed through actionable, illustrative written word?
I am not really sure. I mean, I am a poem. There is not other way about it. If I want to lay the words on the screen or on the sheet of paper in perfect harmony I have to live as a poem. You cannot be false about it or unreal. But you can’t walk upon this streets with all the poems glued to your forehead either. There is some thin line that lies in each and every poet, every creator and it cannot be crossed. The poet is like some photographer, but instead using some chemicals for developing his pictures, he uses the chemistry of the word.
Media Virus Magazine
Issue 13
operly working.” His name is Charles Simic.
Do you feel your poetic intentions are best captured in the still, candid environment of a photograph, or portrayed through actionable, illustrative written word?
I am not really sure. I mean, I am a poem. There is not other way about it. If I want to lay the words on the screen or on the sheet of paper in perfect harmony I have to live as a poem. You cannot be false about it or unreal. But you can’t walk upon this streets with all the poems glued to your forehead either. There is some thin line that lies in each and every poet, every creator and it cannot be crossed. The poet is like some photographer, but instead using some chemicals for developing his pictures, he uses the chemistry of the word.
Media Virus Magazine
Issue 13