- Page 2: THE UNBEARABLE CONTACT WITH POETS
- Page 5: if p then q classics 41 Fulford Str
- Page 10: Contents Writing: That’s not writ
- Page 13 and 14: That’s not writing, that’s Tour
- Page 15 and 16: 1950s by a cadre of poets who were
- Page 17 and 18: crete poetry that evening patrons a
- Page 19 and 20: sniffed at the bayeux tapestry as c
- Page 21 and 22: places herself in a poetic lineage
- Page 23 and 24: can be used to mark the readers pro
- Page 25 and 26: index and each revels in the poetic
- Page 27 and 28: engagement with typewriter stencil
- Page 29 and 30: create eerie pataphysical evocation
- Page 31 and 32: * alison turnbulls spring snow—a
- Page 33 and 34: a sample section of the index to wo
- Page 35 and 36: of page-based poems and a manipulat
- Page 37 and 38: us stops, staircases to cereal boxe
- Page 39 and 40: produced much as onos grapefruit in
- Page 41 and 42: its these bravado acts of poetic di
- Page 43 and 44: A Box of Nothing “Clearly we are
- Page 45 and 46: All Work and No Play Makes Jack a D
- Page 47 and 48: Torrance’s text. Each of the thre
- Page 49 and 50: tures—a pataphysical encyclopaedi
- Page 51 and 52: ut because of entirely different fa
- Page 53 and 54: Reznikoff applies the poetic gestur
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esponsible for the drafting of “f
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you and publish it in pamphlets, in
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Wershler, who teaches communication
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As Wershler and I spoke over the te
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LeWitt postulates a new “grammar
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[r]eading, in this context, means t
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the void. * Reading within this con
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a printed paper band (itself also a
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With Local Colour, I propose a form
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I tabulated the content of each art
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“An endless, polyglot failure par
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designers who strive for success sh
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A Future for the Novel (2011) After
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form at all, since it is unconsciou
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whether Structuralist, Freudian or
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these myths, and on them alone. The
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galleries and public art) for about
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have seen all three of the festival
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the responses of the poetry communi
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Every Word in the Sentence: An Inte
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sentences and the pleasure she seem
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eaulieu: Do you feel that indignati
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process, and doesn’t seem to lead
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its energy. But maybe I protest too
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constructed accumulation of rhythm
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Copy Paste Publish: An Interview wi
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tion, drawing attention to the extr
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writing would automatically know th
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graphic consciousness through their
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parts (its HOW) that create its mea
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The Plastic Cast by Hugo Vernier Th
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Works Cited Aasprong, Monica. Solda
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Eno, Brian. “Ambient Music.” Li
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_____. “A Sedimentation of the Mi
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Other titles available from if p th