MB: I wanted to get you to talk about the book a little bit in the context of lyric conceptualism. In “Lyric Conceptualism, A Manifesto in Progress,” you wrote, “The Lyric Conceptualist is not necessarily a feminine body but it has the stink of the impure, a certain irreverence for the master and therefore it is by default feminine in construction.” Can you talk about how some of the formal decisions that you made in My Ariel turned lyric and conceptual modes to feminist ends?

SQ: This is a dirty or a failed conceptual project for sure — it’s damaged, it’s flawed, it’s a bastardized undertaking, but it is certainly feminist witnessing. Beyond that, I am interested in creating movement in the work as opposed to some kind of narrative or some kind of purely aesthetic, formal, structural project. Not that I’m not admiring of those. I mean, I think the formal properties of Lisa Robertson’s three Virgil rewrites are some of the highest level of achievement in recent contemporary poetry. The elegance is something I admire, but I am more interested in rawness. The naked voice standing in the shards of formal structures.

from a conversation with Myra Bloom at The Los Angeles Review Of Books.