>  a second lot by Luke Emmett

oh, it's me. For what it's worth, I could not fit my entire MFA application in the box:

I've been writing and reading just over five years, most of which I have spent thinking about poetry. And I'm endlessly editing, as I believe each poem I generate has a unique latent tune to be brought out, that any good poem makes its words at home. When doing so I try to stay focused on form – primarily sound but also patterns on the page – without changing content, so as to distort the words to fit into the full poem. I think reading helps me do so with style. However, my technique to generate poems is to express my appetite, which I think helps me stay aware of content, what is being said. I add figuration for focus. I also try and orientate the poem toward its persons, as if they were its objects... the concrete, by which I mean sound and symbols, should have the energy of images, and then the text itself governs the body's intensities, affect, which I think I have a pre-verbal and intuitive sense of in terms of limits (be that of narrative, place, persons, speech, shape, or any other literary component of the poem) not content. In reading I now hope to cut through affect to learn language, especially how diction and form work together. I think that to do so I will start reading any poem by working with and without the concept of difference: with 'patterns'. I hope that what I uncover will shift my appetite and sense of who others are

Luke