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Day by Kent Johnson is priced at $30, plus shipping and handling. ($300 for each of ten numbered copies signed bythe “Author”, no charge for shipping and handling.) All copies come with specially designed, affixed stickers (oncover, back cover, title page, spine, etc.) to impart authorship, copyright, blurbs and co-production. It can bepurchased at Blazevox:http://www.blazevox.org/bk-kj4.htmRachel Lisi 1970-201012 November 2010A dear friend of mine, Rachel Lisi, has passed away. I am deeply shocked and saddened. She was a great visual artist,with her photography and graphics, and also wrote poetry. She was also one of the cover illustrators for ArgotistEbooks. She was working on her third cover for Argotist Ebooks but was unable to continue due to her illness.I’d known her since 2003, and over the years, she had been a true and loyal friend to me. She was always friendlyand upbeat, never complaining about anything.Her website of artwork, photography and poems can be found here:http://www.kundavega.com/From her introduction to her site:My name is Rachel Lisi. This small corner of cyber space allows me to share different things with you.For some time I have been following the crafts of photography and poetry finding many hills andvalleys along the way. I am still trying to find the right path, but surrendering to the guidance of the dayand night and every turn of my imagination. As always, I continue to evolve and learn within this circleof creating.I have asked her family if it is ok if I do an ebook of her poems and artwork as a tribute.Here is a photomontage of her on YouTube:Tribute To Rachel Anne Lisihttp://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D8xbL4R0CS34&h=2d4d7Thank you Rachel for your friendship and generosity of spirit. I will miss you greatly.The Academisation of Avant-Garde Poetry24 June 2012Jake Berry’s essay, ‘Poetry Wide Open: The Otherstream (Fragments In Motion)’ deals with the issue of certain typesof avant-garde poetry as not yet having found favour within the Academy, or with poetry publishers of academically“sanctioned” avant-garde poetry. The damaging aspects of this exclusion, and the concept of an “approved” versusan “unapproved” avant-garde poetry, are also examined in the essay. And these things could well be described as“the academisation of avant-garde poetry”.Academic poetic output is operating to a healthy extent in the US, where university creative writing departments areflourishing. The University of Pennsylvania has its Kelly Writers House programme, its PennSound website and itsCenter for Programs in Contemporary Writing, all sympathetic to academic avant-garde poetry. The University ofPennsylvania also edits Jacket2, an influential online poetics website, which was formerly called Jacket, and which62
was edited by the independent John Tranter before he passed it over to the university. And similar things arehappening in the UK, with various institutions such as the Contemporary Poetics Research Centre at BirkbeckUniversity, and the Poetry and Poetics Research Group at the University of Edge Hill, both promoting academicavant-garde poetry.Consequently, one could say that the term “avant-garde” has now, essentially, been appropriated by the Academy,and, as such, has become associated with the sort of poetic writing practices that could be fairly said to represent“establishment” poetry, to the extent that the historical resonances of the term “avant-garde” have becomemeaningless. In contrast, Bob Grumman’s term, “otherstream”, which Berry uses in his essay to describe poetry thatis marginalised by the Academy, can be seen as a more apt replacement for the term “avant-garde”, which has nowbecome obsolete as an appropriate description for poetry that isn’t anecdotal, descriptive or prose-like.This Argotist Online feature presents Berry’s essay, the responses to it from poets and academics it was first shownto, and an interview with Berry where he addresses some of the criticisms voiced in these responses.Many poets and academics (including those most famously associated with Language Poetry) were approached fortheir responses but declined. Other poets and academics that had initially agreed to respond ultimately declined. Imention this not as criticism but merely to explain the absence of people who one would normally expect to haveresponded and taken part in such a discussion.The feature can be found here:http://www.argotistonline.co.uk/The%20Academisation%20of%20Avant-Garde%20Poetry.htmResponse to Ann Bogle11 August 2012Ann Bogle, someone who I thought was a friend (or at the very least, a friendly acquaintance), has been spreadingmalicious gossip about me online, saying that I called her friend Bobbi Lurie “psychotic”. Here’s the link to it on herblog:http://annbogle.blogspot.co.uk/2012/08/american-candid.htmlYou will need to scroll down the page to find her reference to Bobbi Lurie, so I’ll quote it:You had represented (though I might have wanted an editor in you besides) my e-chapbooks, so, forthat career-related investment I had made with you, I failed to defend Bobbi Lurie more fully (bydisassociating from you? retracting my e-books?) when you described her as psychotic in an email.As can be seen, this is mostly incoherent, but her comment relating to Bobbi is quite clear. What Ann hasn’t done is toexplain the context whereby I came to use that word in relation to Bobbi. Here is that context.In late 2011, Ann, asked me to publish an ebook of Bobbi’s poetry. I told her that I would rather not do so, as Bobbiand I had, a few years previously, been in an email communication with each other that had started off amicably butfor some reason on Bobbi’s part became what I can only describe as increasingly eccentric, incoherent andsomewhat belligerent towards me, for no reason I was aware of. The culmination of this was an accusation she madetowards me, saying that I was trying to make her cancer worse. Because of this, and because, by that time, I was soexasperated by the frequency and confusing nature of her emails, I called a halt to our communications.When Ann asked me to publish Bobbi, I mentioned this state of affairs to her, saying that I would rather not haveanything to do with Bobbi because of it. However, after Ann had explained to me that Bobbi had been going througha difficult period, I was moved to reconsider my refusal and agreed to publish her after all, but on condition that Ann,or her then literary associate, Marc Vincenz, be an email intermediary between Bobbi and myself, as I couldn’t copewith the thought of having to communicate with her again, to which Ann agreed. As things turned out, though, Iheard no more from Ann about this, and assumed that Ann or Bobbi had changed their minds regarding publication. I63
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Cover image by Jake BerryCopyright
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Odds and Ends: Essays, Blogs, Inter
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EssaysThe following essays contain
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Many people still think that high-f
Page 11 and 12: His mind was distinguished by the c
Page 13 and 14: Pound’s strategy was to offer a d
Page 15 and 16: Smith’s general contention is tha
Page 17 and 18: He also acknowledges the retrograde
Page 19 and 20: 72. Motion, p.3.73. Motion, p.3.74.
Page 21 and 22: reports on what they thought of the
Page 23 and 24: being switched off. But this is not
Page 25 and 26: poetry in the same way a novice art
Page 27 and 28: line is: ‘With all her young ones
Page 29 and 30: time to insist that they are fine A
Page 31 and 32: 2. Seamus Heaney, ‘The Redress of
Page 33 and 34: medium for Newton’s laws of motio
Page 35 and 36: as a critical methodology. This the
Page 37 and 38: Indeed, Geoffrey Hartman, in relati
Page 39 and 40: In an effort to be able better to j
Page 41 and 42: His criticism of Eliot extends to w
Page 43 and 44: himself, […] proposes something d
Page 45 and 46: process in service to humanistic an
Page 47 and 48: will transfigure the conditions and
Page 49 and 50: 11. The Poetical Works of William W
Page 51 and 52: Dialogue and estrangement (Macmilla
Page 53 and 54: sent him-there would be no need for
Page 55 and 56: Peter Porter in his review for Poet
Page 57 and 58: Marjorie Perloff:‘It’s very str
Page 59 and 60: biographies of Ginsberg and Kerouac
Page 61: Another Day for Kent Johnson26 Sept
Page 65 and 66: The only way I could consider doing
Page 67 and 68: Side sent Bobbi quack remedies for
Page 69 and 70: Ann goes on to quote Bobbi as sayin
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Page 75 and 76: and get the convictionsto cause the
Page 77 and 78: Internet DiscussionsThe following a
Page 79 and 80: debatable) but for all practical pu
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Page 83 and 84: That seems to me to be a perfectly
Page 85 and 86: Jeffrey, I’m suddenly reminded of
Page 87 and 88: Something which is being overlooked
Page 89 and 90: what we mean by oblique, and who an
Page 91 and 92: public sphere have, in these partic
Page 93 and 94: Archameau would be also. I think hi
Page 95 and 96: Or to extend this slightly, he gene
Page 97 and 98: you if you wish.As I have said in t
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Page 101 and 102: Hi, Tim,I think when you suggest th
Page 103 and 104: I was saying that support for the i
Page 105 and 106: Tim Allen[Addressing Robin Hamilton
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Page 109 and 110: Historicist-like’ or “corny”,
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Thanks to Drew and Tim for their ki
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still quite a lot of actual readers
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a poet and writer, he decided to be
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The NEA (US equivalent of AC) has a
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ideal way to view poetry though, at
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Tim AllenThe term “academic poetr
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seems to be engaging with issues of
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regard to critical articles, resear
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InterviewsInterview with Ami Kaye o
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Ami Kaye: How many submissions do y
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Jeffrey Side: I only edit online ma
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MiscellanyResponses to Critics-Part
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Jamie McKendrick’s Second Respons
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hung onto Heaney’s interview repl
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Fenton isn’t quoted in the articl
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lifetime’s work”? I like what H
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think I’m just talking about tast
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the latter third of the 20C writing
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Rob Stanton’s Response in Jacket
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Here I differ from Side, who sees H
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Reznikoff, Oppen and Niedecker to p
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Cambridge academic, ensuring public
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This point is referring to Heaney
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poet to have a collected edition pu
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that literary studies scholarship a
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Birkbeck University, and the Poetry
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aware of the problematic status of
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to Men in the early part of their a
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accepted. Later she sent me some po
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