Preface - Electronic Poetry Center

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some say the emerging poets, would I think both profit from this massive exploration of poetry as unwarrantable language given a welcome charge of distinct audibility, and want to refuse it in specific ways and parts, just as a reader might wish Zukofsky had cut some of the beginning of "A"-12 for poetry’s sake (I hope that expressing such a wish in order to make a point does not mark me as narrow-minded or condescending–I admire Z and find his poetics both meaningful to my efforts and succinctly comprehensive). Such a refusal might well produce boring poetry if it takes place in a vacuum of further ideas, but imitating somebody else’s practice certainly would (and does) produce boredom all round. It also seems to me that bland lyrics is a fairly good description of the bulk of poetry of any period (including American poetry since the war). 3) By concealing artifice, Williams’ respected example has helped to excuse the general neglect of rhythmic design–in the phrase, line, paragraph, and work–in contemporary American avant-garde poetry (but see At Passages, et al.), and therefore, together with Moore and Pound, can be blamed for the later standardization of voice at the expense of arrangement, perception at the expense of rhythm, which absolutely guarantees bland poetry. Recent comments against Williams on this list seem to want to shoot the messenger of an American voice–one seemingly without art–now that Williams has been so clearly exposed as the "thoughtless" message in much contemporary writing. This is unfair. Taking a different direction, I would say that the fault lies not with the doctor but with the glut of words masquerading as idea in the discourse on poetry and on literature generally, or with the loss of – an energizing loss, looked at in a certain way – generic boundaries. Does the word poetry name anything apart from a context of presentaion? Tell me that the answer is YES. If I am a poet, I must suppose that I am not writing a context of presentation but a poem. How can I know that this is so? Circles make me dizzy. Here again, the doctor of Paterson must take some of the responsibility for at once opening up a wider terrain of poetry and, one might say, thinning it out and confusing the workers. I could (as you could) write a list of fairly recent books that work excellently from the former without succumbing to the latter, but still areas in Paterson (or Maximus) usefully diagnose the disagreeable vague monotony some object to in poetry today. … 4) But then again, (following up on Gale’s remarks) are there any monoliths? states? who gets to count as the younger generation? I can never shake the feeling that all talk of generations, schools, movements in the US will remain premature because of the sheer size of the educated population. And that maybe
what one could call a systematic synechdochic substitution complex–a few people for a whole continent–prompts me to continue talking about (non- )entities like the state of contemporary poetry in the US. Oh well.
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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
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From: Ron Silliman Subject: Exile o
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From: Paul Hoover Subject: politics
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From: Aldon L. Nielsen Subject: lat
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Every site glides away toward absen
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Certain aspects of desire were regi
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whatever chaotic way) offer the abi
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From: Susan Schultz Subject: notes
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mouth, thick with money and piety a
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From: Steve Evans Subject: Shake Th
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From: Susan Schultz Subject: haoles
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From: Ron Silliman Subject: Univers
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From: Steve Evans Subject: Universa
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From: James Sherry Subject: Re: Uni
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From: Wystan Curnow Subject: Re-Aca
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From: John Cayley Subject: Experime
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From: Marisa A Januzzi Subject: dis
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Two senses of disorder, as also man
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At its best, Language poetry never
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hymed couplets I’ll be a langpo w
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From: Leslie Scalapino Subject: Re:
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From: Tom Mandel Subject: Re: apex
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From: Marjorie Perloff Subject: Re:
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language fails to describe their ex
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From: Eric Pape Subject: Re: apex o
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All every night walk by the venue i
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From: Ira Lightman Subject: CALL FO
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From: Bob Perelman Subject: Governm
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independence and possible sense of
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imagination, and often introduces t
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From: Ron Silliman Subject: Boy Tal
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From: B. Cass Clarke Subject: Quan
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Look at it this way-email is one of
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From: Nada Gordon Subject: where th
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From: Cynthia Kimball Subject: Ghos
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From: Loss Glazier Subject: Re: boy
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I do not want to be a woman all the
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i yam what i yam a world-changing f
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SAME TIME TO EXPLORE THEORIES OF SE
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From: Kali Tal Subject: Re: Boy Tal
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From: Ann Louise Vickery Subject: D
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From: Colleen Lookingbill Subject:
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7) Denial is an important part of t
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equirement of having to "pay dues,"
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From: Keith Tuma Subject: Re: Close
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From: Maria Damon Subject: more on
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From: David McAleavey Subject: Re:
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From: Kenneth Sherwood Subject: Int
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From: Hank Lazer Subject: close rea
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d’appui). It is easier for studen
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7a. Most probably that the monolith
Page 199 and 200: From: Eliot Katz Subject: more on c
Page 201 and 202: emancipatory elements which a reade
Page 203 and 204: From: Maria Damon Subject: Re: what
Page 205 and 206: in the culture through coercion of
Page 207 and 208: From: Kali Tal Subject: Re: what do
Page 209 and 210: their experience in a potent form-t
Page 211 and 212: From: Tom Mandel Subject: Re: Conse
Page 213 and 214: From: Colleen Lookingbill Subject:
Page 215 and 216: But her [Stein’s] account of firs
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Page 219 and 220: From: Alfred Corn (forwarded by Sus
Page 221 and 222: From: Ron Silliman Subject: Value i
Page 223 and 224: From: Alan Golding Subject: Howe No
Page 225 and 226: so-called so-called Language writer
Page 227 and 228: From: Keith Tuma Subject: Ghost Cor
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Page 231 and 232: the "mainstream" poetry that has th
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Page 235 and 236: Lee Bartlett did with Palmer in the
Page 237 and 238: seems to be a general consensus on
Page 239 and 240: From: Alfred Corn Subject: More For
Page 241 and 242: From: Marjorie Perloff Subject: Jor
Page 243 and 244: From: Ron Silliman Subject: Childre
Page 245 and 246: From: Kevin Killian Subject: A happ
Page 247 and 248: From: Mark Wallace Subject: bland a
Page 249: From: Mark McMorris Subject: Re: bl
Page 253 and 254: While I agree with Jeff Hansen’s
Page 255 and 256: in this way as part of a guarantee
Page 257 and 258: The generational change has probabl
Page 259 and 260: of "elective affinity" by selective
Page 261 and 262: From: Jeff Hansen Subject: wild blu
Page 263 and 264: Hansen’s argument echoes (conscio
Page 265 and 266: not be so elegantly presented as it
Page 267 and 268: From: Jerry Rothenberg Subject: on
Page 269 and 270: I cannot make it cohere. I can read
Page 271 and 272: Before reading Pound, I had only re
Page 273 and 274: So why am I still conflicted about
Page 275 and 276: typos!) once a poem was in print. S
Page 277 and 278: Reproductions of Banality: Fascism,
Page 279 and 280: influence. This new Pound criticism
Page 281 and 282: Yet Pound’s poetry is never simpl
Page 283 and 284: From: Dick Higgins Subject: Web Poe
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