In part 4, "Gorgias, or How to Write, Part I" all the first, false starts of writing a prose poem are arranged with autobiographical objects (letters, ephemera, photographs). Inspired by the genre of composition instruction manuals, this section emphasizes language cleaved apart and together. At the limits between fiction and fact, how does one write a memoir of the imagination? Bibliographies, art catalogues, personal correspondence—does genre make a difference if all writing is persuasion; a form of rhetoric?

Keats: "We see nothing but pleasant wonders, and think of delaying there for ever in delight. However, among the effects this breathing is father of, is that tremendous one of sharpening one's vision into the heart and nature of man, of convincing one's nerves that the world is full of misery and heartbreak, pain, sickness, and oppression; whereby this Chamber of Maidenthought becomes gradually darkened, and at the same time, on all sides of it, many doors are set open - but all dark - all leading to dark passages. We see not the balance of good and evil; we are in a mist."






































Please view the second portion of this work, "Gorgias, Or How to Write: II."




Adam is a poet in the East Village of New York City. A disciple of iconic American poet, John Ashbery, Adam published a poem in six parts. His work with Fortnight has since been read at prestigious venues in New York City alongside some of the great American poets. He has also started his own press, publishing new work by Mark Strand. He has interviewed John Ashbery for the Boston Review, Bernadette Meyer for the Poetry Foundation and has been published widely on the web and in print. After Fortnight, he collaborated with fellow Fortnight alum Moreno Callegari.