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Preface - Electronic Poetry Center

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the "mainstream" poetry that has those qualities in abundance. Obviously<br />

> there are other restrictions he is bringing to his evaluation that he<br />

> doesn’t mention–like (I’m just guessing) "communication forms drawn from<br />

> ordinary conversational practice or logical discourse are excluded," or<br />

> something like that. Whatever they are, these extra criteria, the ones<br />

> that distinguish LP from "mainstream," ought to be describable, and that’s<br />

> what I’d like to hear, provided the describer can communicate clearly.<br />

I guess I have to respond here, since my name’s mentioned, but let me state that<br />

I have NEVER done any of the following:<br />

a) dismissed mainstream poetry (tho I dismissed Tim Steele’s prose–would you<br />

care to defend it, or describe him as "mainstream"?);<br />

b) said I don’t read mainstream poetry (I do, in fact, even the occasional Alfred<br />

Corn, even Philip Larkin, tho I once called the latter "asinine");<br />

c) excluded any of the things he mentioned from my likings (ordinary<br />

conversational practice etc.)<br />

In fact, poetry popularly described as LP (I won’t quibble about terms here,<br />

about who is or isn’t LP, I have no interest in that game, my own recent poetry<br />

learns from it but probably wouldn’t be described as such) uses all of those<br />

things: ordinary conversational practice, logical discourse, etc. Sometimes its<br />

critical discourse has seemed to dismiss such elements, but that’s the difference<br />

between the blanket of theory and the field of practice.<br />

As for the dismissal of mainstream poetry by some language poets, I don’t<br />

think it’s more surprising than other critiques by excluded groups in other<br />

contexts, and a lot of times it’s right. Just to take your own post for an example,<br />

one thing that pisses people off is the concept of a "mainstream" in the first<br />

place – something that, for most people who believe in the term, is best eaten<br />

reified. When, just to take an almost arbitrary example, J.D. McClatchy begins<br />

his Vintage book of contemporary American poetry by arguing that no camps<br />

need form because everybody already knows who the big ones are and then<br />

begins the book out of chronological order with LOWELL and BISHOP,

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