IL Arts Council Nominated – 2 Poems from MOFA

Spoon River Poetry Review has nominated two of my poems from my collection, Ministry of Foreign Affairs (MOFA) for a 2020 IL Arts Council Award! Ministry of Foreign Affairs (MOFA)Secret Airplanes Press, 2018 In most countries, the Ministry of Foreign Affairs is the government department responsible for state diplomacy as well as for providing for…

Uncovering old projects: ÜMWELT

Back in 2005 (?!) I was a 30-something, passionate-struggling-agency copywriter-poet who began a diary-of-sorts on MySpace about my pending divorce. It was extremely painful, but also liberating and necessary in a very Buddhist-groundless-way (in hindsight) as we reunited after 2-3 years. In tandem, I was researching family stories passed down through old documents and interviews…

The Conversant (Interview)

Originally published on The Conversant (March 2016)Interview by poet Virginia Konchan Conversant: In your own history, as a first-generation American of Lithuanian descent, you describe feeling a degree of alienation from your relatives who were born in Lithuania or Ukraine—or who had been through the war. Is there a healthy form of displacement—at least in…

Poems in Vilnius Review (2017)

Poems from 2017 issue of Vilnius Review—so grateful to Marius Burokas for publishing them! http://vilniusreview.com/poetry/201-lina-ramona-vitkauskas A sample:— Citizen (Lina) I braided my hair until I found a bloody stalk,yanked up with a sharp breath, as if I’d drowned. My dreams of Gediminas:        his tungsten ribcage, fangs     flashing, corpus          blown apart, singular         carbon   flecks   …

“…poems saturated with chemicals, textures, atmosphere, and media…”

“The ‘trysts’ of Lina Ramona Vitkauskas’ chapbook, A Neon Tryst, are shot through with ‘neon’—that is, they are saturated with chemicals, textures, atmosphere, and media. According to this synthetic cosmology, ‘In an affair/arms laugh,/they become sheer.’ That is to say, they—arms, bodies, weapons, trysts—become both medium and adjective, both see-through and material. As in Antonioni’s great films, the…

“…a feminist enterprise in its daring, toppling film’s male gaze…”

“If film is linear, the ultimate time-based medium, during which we are supposed to listen and watch attentively, passively, Lina’s poems in A Neon Tryst talk back. These poems create simultaneity, layers, and distillations toward new narrative logics like ‘Let’s laugh until panties.’ Vitkauskas is watching for the poem in the film, writing her own…