Preface - Electronic Poetry Center

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From: Tom Beard Subject: Re: identity problems in the wild blue Mark Wallace wrote - >As Rod pointed out in his introduction to the recent Barrett Watten > issue of Aerial, for Watten language poetry simply can’t be understood > without the context of the Vietnam war and an intense search on > the part of Watten and others for a way to best respond to that >particular crisis. Was that the only impetus for early Language poetry? >Probably not, but it certainly has to be considered extremely important. This interested me, since most of the critical/theoretical writing in In the American Tree has an emphasis on politics that to me seems very much a product of the sixties. Is it possible that those of us who did most of our growing up after the Vietnam war, and whose parents were of the protest generation, might subscribe to a different poetics? Some of the poetic/political goals of langpo and post-structuralist theory (e.g. breaking down the assumption of a single, given meaning for a text) have almost become second nature for more recent generations, who have a much-vaunted mistrust of any imposed narratives. Are we more likely to have an apolitical outlook (which is itself a political stance), or ecological concerns, or gender/sexuality/race concerns for those who feel disadvantaged by these factors? Or are we more likely to be interested in information technology and the mass media? One movement that sees itself as replacing the domesticated postmodernism of a past generation is ‘Avant- Pop’ literature, with the likes of Mark Leyner, Kathy Acker, William Gibson, Eurudice and Douglas Coupland realizing that disrupted narratives, a multiplicity of voices and ironic plagiarism are no longer cutting edge (they’re a Levi’s commercial) and that Bob Dylan lyrics no longer count as pop-culture references. Most of these writers use prose as a medium: who would you count as an Avant-Pop poet?
The generational change has probably been exacerbated in NZ by the rapid change in the latter half of the 80s from a stiflingly over-protected Albanian style of economy to what some see as an overly laissez-faire regime. Global popular culture has exploded into this country in the last 5-10 years, and the literary establishment has no idea how to handle it. The Left is now conservative, trying to regain a welfare state that now glows with nostalgia. This rightwards movement economically, simultaneous with a belated diversification of cultures, is the extent of the political concerns in my writing. Has anyone else felt the need to react against the assumption that a writer must take certain political stands?
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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
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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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Page 207 and 208: From: Kali Tal Subject: Re: what do
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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
Page 217 and 218: ecognized as "man." In the cane-wei
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
Page 229 and 230: ones that distinguish LP from "main
Page 231 and 232: the "mainstream" poetry that has th
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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 and 250: From: Mark McMorris Subject: Re: bl
Page 251 and 252: what one could call a systematic sy
Page 253 and 254: While I agree with Jeff Hansen’s
Page 255: in this way as part of a guarantee
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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