Chad Davidson’s story “Mutatis Mutandis” appears in AGNI 86.
Bart Kuipers for AGNI: I liked the way you reflect on beauty in your piece “Mutatis Mutandis,” and especially the idea that imperfection and transience are key elements in appreciating it—as you quote Stevens, “Death is the mother of all beauty.” Reading your poem “Cockroaches” made me wonder: How do these notions of beauty influence your poetry? Are you aware of them when you write?
The essay on Spoleto started with a rather simple anecdote. As the piece makes clear, I run a study abroad program in Italy for my university. Each year, students are simply stunned by the place, and will almost inevitably say to nobody in particular (kind of to themselves or to the air itself), “This is so beautiful.” Writers constantly want to challenge the easy adjective, though, and hunt instead for linguistic precision. What precisely is beautiful about Spoleto? Could I inventory it, pay homage to that impulse we have (especially we Americans) to call Italy beautiful? Beauty can be a complex synthesis. It can also be quite simple. The essay tries to shed light on some of the ways I tried to answer that question: what specifically about Spoleto (and about Italy more generally) is beautiful?
As for how that relates to or influences my poetry, I am sure it does. Poetry (any imaginative writing, really) is concerned with aesthetics, even (and perhaps especially) when the object under inspection is not often categorized as beautiful. I suppose the Cockroach poem you reference and this Spoleto essay attempt to answer the same question but have arrived there from opposing poles.
You ask the question “Where doesn’t history transform a place, yes, but also warp the air around it, the way a desert highway trembles in heat?” and make the observation that “Time, [****…] forms a storage place just large enough for nostalgia.” I’m wondering: Do you feel history transforms the perception of a poem over time in that sense?
Most definitely. My appreciation of certain poems changes, expands (in some cases contracts) over time, just as my appreciation of any artwork or city or food will change. The specific issue in the part of the essay you cite, however, is how time itself provides for our nostalgia. History writ large—and not that particular building or monument or window box of geraniums—is often what we desire most of Italy (even if we are not conscious of it). The question, I think, is this: when we see the old cobbler, off a cobblestoned street of a medieval city center, do we see the cobbler or just a complex we might identify as “old-world charm”? I was interested in that noise, that disturbance, that double vision.
Bart Kuipers is an editorial assistant at AGNI. (11/2017)