“…and so History Constantly Dwindles”

Carrie Hunter

The historian’s opinion is that this decade is the most decadent so far.What we consume’s not meant to be consumed.It’s meant to be looked at.“That anyone should have to die” for us, but the sentiment left incomplete.“Frank O’Hara’s poetry has no program and therefore cannot be joined.”To ignore the establishment’s right to exist.To ignore the rules of poetry.No message beyond “this is me and I’m poetry.”Because poetry by itself is never enough—“a dish without a sauce,” critique of poetry society’swishes. “Not just Breton’s rodomontades.”Being asked to explain a poem is like being asked to explain an explanation.“The Stein-Toklas salon was a coven of Satanist Bolsheviks.”Ashbery’s view that giving poetry readings was a fad.Writing for the drawer.Structured awkwardness.Whoever said that probably didn’t have a cake that killed people.

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Headshot of Carrie Hunter
Photo:
Ann Pedone

Carrie Hunter received her MFA/MA in the Poetics program at New College of California, was in the Black Radish Books publishing collective, and edited the chapbook press, ypolita press. Her most recent full-length collection of poems is The Flow of the Poem’s Display of Itself (Roof Books, 2025). She also has books out with Nightboat and Black Radish Books. A new chapbook Eva (not Eve) is forthcoming from Antiphony in early 2026. She lives in San Francisco and teaches ESL.

Carrie Hunter’s The Flow of the Poem’s Display of Itself began as a formal experiment with a canonical text of the avant-garde, John Ashbery’s legendary long poem Flow Chart. It grew into an extended reflection on influence, community, and what it means to spend one’s life reading and writing poetry.

"In The Flow of the Poemʼs Display of Itself, Carrie Hunter drops us into a deep, associative state where thought and its output, language (her own and others), become animate, sentient, brilliant under her gaze. Get your necessary neuro-plasticity here! Pathways burn bright as Hunter runs new routes via filmic cuts and splices. Hunter’s poetics also clearly act out an ethics and a politics around collectively-generated, collectively-augmented reality. There’s so much joy in watching her work."
—Lindsey Boldt

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