SARAH BERNSTEIN

A poem, even within the most revered traditions of form, remains a site of grand permissiveness.

 

The heart of poetry resists grammatical fascism and, as such, often denies the reader a singular interpretation of its text.

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Readers of poetry become translators, collaborators, and performers of information.

We place emphasis, annotation, and pause as directed. But more often  we place these as we individually see fit.

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As readers we perform poetry to ourselves in the theater of our minds. And we do it the way we think it should be performed. 

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This work investigates the act of reading and presents it as a suggested score for mental movement within a sensory and memory-based experience of the poetic.