Preface - Electronic Poetry Center

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144) The sentence was a good stretch, but now I choose my jailors. Sing energy. So long when you misuse lyric poetry as a prison term. "The voice makes possible the entire continuum from the most extreme consonant-like noises to the purest vocal sound, and is far superior to even the most modern apparatus for creating tone-colours". Stockhausen not Zukofsky, the musical phrase, remember, not the metronome. IF YOU FOLLOW (OR ARE NEARER TO THIS MANIFESTO THAN TO OTHERS), PLEASE SUBMIT WORK TO "CHEERFUL FOLK POP OUT OF BUXTEHUDE"
From: Bob Perelman Subject: Government by Irritation [op-ed, Philadelphia Enquirer] … Government by irritation: it’s one of the dominant political modes of our day. Taking their cue from talk show hosts, politicians try to topple their opponents by unleashing discontent. These days the NEA serves as a handy source of annoyance if not outrage: a few well-publicized examples of troublesome art have, over the last few years, been able to furnish a great supply of instant political energy. It’s not easy to argue against such energy. The value of art is not always instantly apparent–and at the same the difficulties art brings with it are much more likely to be perceived at a glance. The latest remarks by senators that the NEA be abolished unless it supports "family values" show how true this is. Rather than arguing for art that is familiar, obedient and at best ornamental, I think case that art is valuable to the community precisely because it is not perfectly predictable or obedient. That will not mean that unruly art is automatically wonderful. Art is one of the testing grounds between individuals and the community. The point is that it’s an opportunity for judgment: members of the community will need to make up their minds. That’s one of the basic values of art: it can’t be approached dogmatically. If it’s considered in terms of the federal budget as a whole, the NEA is hardly a big deal. The federal budget is around a trillion and a half dollars a year; the NEA budget is $167 million. If my math holds, that means that the NEA takes up about one ten thousandth of the federal budget. That’s less than the military spends on marching bands, less than the city of Berlin spends on public art. To eliminate the NEA would save each American 65 cents a year. Here in Philadelphia, dance, poetry, the visual arts, theater would all suffer; the gamut of organizations affected would range from the Institute for Contemporary Art to the Please Touch Museum, from the Philadelphia Orchestra to the Settlement Music School. The bigger, more established concerns would take a hit; some of the smaller organizations might have to close. Those who are out of sympathy with the arts might think that’s fine: that if a theater company needs a handout to survive there’s something wrong with it. But to consider the arts in such a framework is an unfair oversimplification.
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Preface Above the world-weary horiz
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of 750 subscribers. Because of the
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Introduction In a world where every
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But the "good old days" have passed
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Coeval with . . . to Ghosts vs. Mar
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From: Kevin Killian Subject: Carla
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If there’s one thing Harry learne
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The conservatism in this country co
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arts the mainstream is-and over the
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University of Auckland, is convenor
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less literate is implied by that "m
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What I am bothered about in these r
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From: Dodie Bellamy Subject: Breaki
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characterization of some the struct
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This is not so much ingratiation of
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My reconstruction of the argument i
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into the poetic. And I am wondering
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From: Patrick Phillips Subject: The
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ideology which contorts the referen
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disparaging Reznikoff-while preserv
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intervention). Though I can anticip
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eturns, repetitions, etc., is perme
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From: Benjamin Friedlander Subject:
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shrewd, often polemical presence of
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eadings, recognition. Being inside,
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If I resist the idea of a literary
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From: Susan Schultz Subject: Commun
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From: Patrick Phillips Subject: The
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From: Steve Evans Subject: the soci
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The tradition of the oppressed teac
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My wobble is social, not theoretica
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From: Dodie Bellamy Subject: Spicer
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From: Dodie Bellamy Subject: Re: Gh
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Hermit Crabs Don’t Cry to Politic
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From: Robert Creeley Subject: Chick
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From: Jed Rasula Subject: Re: Olson
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BED… (P.S. Just in Baltimore and
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From: Ron Silliman Subject: Motivat
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From: Steve Evans Subject: Motives
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past year or so, despite the fact t
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It seems clear to me that some of t
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To clarify one general point in clo
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the most "out there" manifesto we
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Actually, the question of age is a
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indulges in "increasingly modest fo
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From: Tony Green Subject: calling G
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From: Ron Silliman Subject: Flaming
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parataxis, collage, sonnets, whatev
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From: Larry Price Subject: Anachron
Page 99 and 100: From: Ron Silliman Subject: Exile o
Page 101 and 102: From: Paul Hoover Subject: politics
Page 103 and 104: From: Aldon L. Nielsen Subject: lat
Page 105 and 106: Every site glides away toward absen
Page 107 and 108: Certain aspects of desire were regi
Page 109 and 110: whatever chaotic way) offer the abi
Page 111 and 112: From: Susan Schultz Subject: notes
Page 113 and 114: mouth, thick with money and piety a
Page 115 and 116: From: Steve Evans Subject: Shake Th
Page 117 and 118: From: Susan Schultz Subject: haoles
Page 119 and 120: From: Ron Silliman Subject: Univers
Page 121 and 122: From: Steve Evans Subject: Universa
Page 123 and 124: From: James Sherry Subject: Re: Uni
Page 125 and 126: From: Wystan Curnow Subject: Re-Aca
Page 127 and 128: From: John Cayley Subject: Experime
Page 129 and 130: From: Marisa A Januzzi Subject: dis
Page 131 and 132: Two senses of disorder, as also man
Page 133 and 134: At its best, Language poetry never
Page 135 and 136: hymed couplets I’ll be a langpo w
Page 137 and 138: From: Leslie Scalapino Subject: Re:
Page 139 and 140: From: Tom Mandel Subject: Re: apex
Page 141 and 142: From: Marjorie Perloff Subject: Re:
Page 143 and 144: language fails to describe their ex
Page 145 and 146: From: Eric Pape Subject: Re: apex o
Page 147 and 148: All every night walk by the venue i
Page 149: From: Ira Lightman Subject: CALL FO
Page 153 and 154: independence and possible sense of
Page 155 and 156: imagination, and often introduces t
Page 157 and 158: From: Ron Silliman Subject: Boy Tal
Page 159 and 160: From: B. Cass Clarke Subject: Quan
Page 161 and 162: Look at it this way-email is one of
Page 163 and 164: From: Nada Gordon Subject: where th
Page 165 and 166: From: Cynthia Kimball Subject: Ghos
Page 167 and 168: From: Loss Glazier Subject: Re: boy
Page 169 and 170: I do not want to be a woman all the
Page 171 and 172: i yam what i yam a world-changing f
Page 173 and 174: SAME TIME TO EXPLORE THEORIES OF SE
Page 175 and 176: From: Kali Tal Subject: Re: Boy Tal
Page 177 and 178: From: Ann Louise Vickery Subject: D
Page 179 and 180: From: Colleen Lookingbill Subject:
Page 181 and 182: 7) Denial is an important part of t
Page 183 and 184: equirement of having to "pay dues,"
Page 185 and 186: From: Keith Tuma Subject: Re: Close
Page 187 and 188: From: Maria Damon Subject: more on
Page 189 and 190: From: David McAleavey Subject: Re:
Page 191 and 192: From: Kenneth Sherwood Subject: Int
Page 193 and 194: From: Hank Lazer Subject: close rea
Page 195 and 196: d’appui). It is easier for studen
Page 197 and 198: 7a. Most probably that the monolith
Page 199 and 200: From: Eliot Katz Subject: more on c
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emancipatory elements which a reade
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From: Maria Damon Subject: Re: what
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in the culture through coercion of
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From: Kali Tal Subject: Re: what do
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their experience in a potent form-t
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From: Tom Mandel Subject: Re: Conse
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From: Colleen Lookingbill Subject:
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But her [Stein’s] account of firs
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ecognized as "man." In the cane-wei
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From: Alfred Corn (forwarded by Sus
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From: Ron Silliman Subject: Value i
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From: Alan Golding Subject: Howe No
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so-called so-called Language writer
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From: Keith Tuma Subject: Ghost Cor
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ones that distinguish LP from "main
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the "mainstream" poetry that has th
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(politically indifferent, not worth
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Lee Bartlett did with Palmer in the
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seems to be a general consensus on
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From: Alfred Corn Subject: More For
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From: Marjorie Perloff Subject: Jor
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From: Ron Silliman Subject: Childre
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From: Kevin Killian Subject: A happ
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From: Mark Wallace Subject: bland a
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From: Mark McMorris Subject: Re: bl
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what one could call a systematic sy
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While I agree with Jeff Hansen’s
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in this way as part of a guarantee
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The generational change has probabl
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of "elective affinity" by selective
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From: Jeff Hansen Subject: wild blu
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Hansen’s argument echoes (conscio
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not be so elegantly presented as it
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From: Jerry Rothenberg Subject: on
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I cannot make it cohere. I can read
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Before reading Pound, I had only re
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So why am I still conflicted about
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typos!) once a poem was in print. S
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Reproductions of Banality: Fascism,
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influence. This new Pound criticism
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Yet Pound’s poetry is never simpl
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From: Dick Higgins Subject: Web Poe
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