In|Filtration: An Anthology of Innovative Poetry of the Hudson River Valley (Station Hill Press, 2016).
On Thursday, February 11th, 2016 Marist College hosted a reading for the newly published poetry anthology, In|Filtration: An Anthology of Innovative Poetry of the Hudson River Valley.
There were twelve poets who read that evening and who included: Dorothy Albertini, Celia Bland, Brenda Coultas, Christopher Funkhouser, Daniel Gilhuly, Nancy Graham, Jim Handlin, Claire Hero, Lori Anne Moseman, George Quasha, Sparrow, Charles Stein and Ron Whiteurs.
Dr. Lea Graham of Marist College and In|Filtration editor, Sam Truitt, hosted a well-attended evening that lasted for two hours.
In|Filtration contains some of the most recognized names in contemporary poetics, including John Ashbery, Ann Lauterbach, Ed Sanders, Bernadette Mayer, Robert Kelley among other up and coming poets of the Hudson River Valley.
According to the review by eco-writer, Mark Spitzer: “There’s a vast bio-diversity of subgenres here that’s reminiscent of the actual ichthyological demographics that exist in the Hudson River itself. To make an ecosystem analogy for this anthology, we can look to William Least Heat-Moon’s memoir River Horse (Houghton Mifflin, 1999), in which he writes:
Beyond the numerous biological arguments (such as self-preservation) for clean water and abundant life in the river is the poetry in the names of Hudson fishes. How impoverished the river would be without stonerollers, horny-head chubs, comely shiners, margined madtoms, northeren hogsuckers, hogchokers, short-head redhorses, four-beard rocklings, mummichogs, naked gobies, striped searobins, slimy sculpins, and—more rarely—oyster toadfish, gags, lookdowns, four-eye butterfly fish, northern stargazers, freckled blennies, fat sleepers, and whole classes of bowfins, anchovies, needlefish, pipefish, silversides, jacks, wrasses, puffers, and flounders (left-eyed or right-eyed).
The Hudson River Valley, of course, is a sort of continental Mesopotamia. That is, from this early cradle of the country’s literary civilization arises a sort of Babylonian library of towering poetic identities as diverse as the Hudson’s enduring fisheries. Thus, a spectrum of voices and visions and histories is endemic to this mighty rolling river collection, which is not only “in conversation” with prior traditions (as noted above), but has the potential to shine a spotlight on a truly American bouillabaisse of cutting-edge poetics, with two major results. The first being a manifesto-like affirmation and declaration that a highly complex and sophisticated literary culture exists in what Gorrick and Truitt term “our poetic ecology.” The second being the potential for this anthology to act as a model for other poetic fisheries. Because having researched fisheries, and having researched poetic movements, I can confirm that the most successful fisheries are not just those that propagate and preserve species; they’re the fisheries that teach other fisheries how to be effective in the field.”
–Mark Spitzer, University of Central Arkansas (February, 2016)