Mark Tardi works at the intersection of American and Polish culture. Polish artists like Witold Gombrowicz, Stanisław Witkiewicz, Chopin, Witold Lutosławski, and Roman Opalka may be considered points for triangulation. In particular, Opalka’s fixation on numbers both painted and voiced, both palpable and floating resonates with the author’s interest in the quantum world, the impossibility of knowing the exact position of a particle and the need to accept fundamental paradox.
So the present music plays in the tension between impalpable “air” and solid “port”, between a single focus (Sean Scully’s stripes) and shifting directions of torque (Lee Bontecou), between hope stretching outward and implosion of infinite regress. It is, to quote Jennifer Moxley’s definition of the poem, “a bridge of half-measures on the way to the possible.”
Mark Tardi grew up in Chicago. Other publications include the chapbooks Part First—Chopin’s Feet and Airport music, as well as the full length collection Euclid Shudders. He was a Fulbright Senior Lecturer in American Literature and Culture at the University of Łódź, Poland, and has translated work from Polish. He guest-edited a special issue of the literary journal Aufgabe devoted to Miron Białoszewski and contemporary Polish poetry and poetics.
“…text as an oblique playground, in which images are suggessted rather than mandated.”
On Euclid Sudders:
“In his wonderfully unruly first book, Mark Tardi composes an isotopic realm of getting and letting go, a kind of chemical algebra of the alleged world as it verges into music.”
“Mark Tardi’s poetry gives language back to that inanimate mass from which it, and we, originated. Every utterance is an act of configuration and every scribble traces a fleeting delineation between states of being and non-being. Tardi’s poems exhale from the apparently insensate and resign the animate to perpetual motion. In this universe of receding matter and pulsing energy, Mark Tardi sets out to locate those ‘unpronounced angles’ which make up the invisible but inextricable geometry of our lives.”