Preface - Electronic Poetry Center

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conditions of mind and society. No structure is independent here and each is spatially dis-posed and recomposed. [It strikes me that the form she has adopted may be an effort to channel the constant abridgment of this dis-position into a consumable form, a bite-sizing of experience, to effect more of a tension between elements and thereby permit more experiential hinges.] Another thing which may contribute to these pieces’ opacity is that they take on an epigrammatic tone and in that some morality which when viewed under a theoretical umbra disengages the personal from the textual, perhaps interrupts the very thing which makes an epigram work. But I’m not so interested in that as a stumbling block to the poems effectiveness. I am concerned with the experience of the poem which insists upon an ideology for its effectiveness. "I can only hazard it" (85) aside from encapsulating the pronoun shift and the subsequent question of being in action, speaks not only of the hazard of this movement from "I" to "it" but also speaks of the obstacle toward acting and guessing, or thinking. These permutations are held in place (position is so vital here) by the shape of technology. The shape of technology here is much like "a place to put the eye" and the struggle between the technology as in human art and technology as in capital industry, but also the struggle between the personal and the social, the private politic, the body and the "apartment" it is in reveals what "color contends for, eye." The concept of a destabilized I shifting from definite to indefinite, viewer to view is always engaging the machine of that coordinate structure I – technology – eye. These places of contention are constantly destabilized by the visuality, but they always promote a imaginary bifurcation which is in-effect a dialectic. To go further would be to fill out… Of course one of if not the most important features of this movie is its sexual composition. As a man, I can not put my finger on it without its touch being an additional technology for the text to contend with. Nonetheless, these "loaded fingerings" (79) bear the same shifts, the same constant limits, or positions that the text is constantly critiquing. This is not only the figural body of the text, but of an oppression which is spelled out in a "finite number of units," a real body. The transparency and caculability of currency, of surplus and exchange require this tension to be placed upon the body and upon the poetics. The internal is never exiled by the external, nor is it ever completely described by it. Most importantly, though, the internal the "inner" is not completely collapsed by or filled by "economic arousal" the text itself is evidence of this, not to mention Diane Ward’s existence. The text suffers its own visuality which engenders an imagination engaged with sexual conditions. If the mind/brain is the largest erogenous zone, what is the mind’s eye and what is this eye in the field of social intervention. What is its field of vision?
This is not so much ingratiation of the text, or a display of my enamored economy, as it is a stir of the pot of my considerations. It barely envisions only some of the concerns and even at that sometimes thinly. It would be good to hear any comments.
Page 1 and 2: Preface Above the world-weary horiz
Page 3 and 4: of 750 subscribers. Because of the
Page 5 and 6: Introduction In a world where every
Page 7 and 8: But the "good old days" have passed
Page 9 and 10: Coeval with . . . to Ghosts vs. Mar
Page 11 and 12: From: Kevin Killian Subject: Carla
Page 13 and 14: If there’s one thing Harry learne
Page 15 and 16: The conservatism in this country co
Page 17 and 18: arts the mainstream is-and over the
Page 19 and 20: University of Auckland, is convenor
Page 21 and 22: less literate is implied by that "m
Page 23 and 24: What I am bothered about in these r
Page 25 and 26: From: Dodie Bellamy Subject: Breaki
Page 27: characterization of some the struct
Page 31 and 32: My reconstruction of the argument i
Page 33 and 34: into the poetic. And I am wondering
Page 35 and 36: From: Patrick Phillips Subject: The
Page 37 and 38: ideology which contorts the referen
Page 39 and 40: disparaging Reznikoff-while preserv
Page 41 and 42: intervention). Though I can anticip
Page 43 and 44: eturns, repetitions, etc., is perme
Page 45 and 46: From: Benjamin Friedlander Subject:
Page 47 and 48: shrewd, often polemical presence of
Page 49 and 50: eadings, recognition. Being inside,
Page 51 and 52: If I resist the idea of a literary
Page 53 and 54: From: Susan Schultz Subject: Commun
Page 55 and 56: From: Patrick Phillips Subject: The
Page 57 and 58: From: Steve Evans Subject: the soci
Page 59 and 60: The tradition of the oppressed teac
Page 61 and 62: My wobble is social, not theoretica
Page 63 and 64: From: Dodie Bellamy Subject: Spicer
Page 65 and 66: From: Dodie Bellamy Subject: Re: Gh
Page 67 and 68: Hermit Crabs Don’t Cry to Politic
Page 69 and 70: From: Robert Creeley Subject: Chick
Page 71 and 72: From: Jed Rasula Subject: Re: Olson
Page 73 and 74: BED… (P.S. Just in Baltimore and
Page 75 and 76: From: Ron Silliman Subject: Motivat
Page 77 and 78: From: Steve Evans Subject: Motives
Page 79 and 80:
past year or so, despite the fact t
Page 81 and 82:
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
Page 93 and 94:
From: Ron Silliman Subject: Flaming
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parataxis, collage, sonnets, whatev
Page 97 and 98:
From: Larry Price Subject: Anachron
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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
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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
Page 115 and 116:
From: Steve Evans Subject: Shake Th
Page 117 and 118:
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
Page 125 and 126:
From: Wystan Curnow Subject: Re-Aca
Page 127 and 128:
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
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
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All every night walk by the venue i
Page 149 and 150:
From: Ira Lightman Subject: CALL FO
Page 151 and 152:
From: Bob Perelman Subject: Governm
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
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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
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
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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:
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But her [Stein’s] account of firs
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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
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so-called so-called Language writer
Page 227 and 228:
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
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
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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 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
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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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