Poetic Facticity and the Avant-Garde
Publication Year: 2013
Published by: The University of Alabama Press
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Title Page, Series Page, Copyright
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...each of the essays in this book was written for and to an occasion. Conse-quently, they do not as a whole pursue a central argument or explicit thesis that might pull them together into a coherent and interlocking whole. they do not attempt to cover a particular (or even a general) field. they were not written with a collection in mind, nor a book. Gathered together, as here, ...
1. Introduction: Reading the Difficult
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... — William Carlos Williamsin 1926 Gertrude stein suggested that “the creator of the new composition in the arts is an outlaw until he is a classic, there is hardly a moment in be-t ween,”1 and the lure of such disobedience is compelling. if you want to talk or write about innovative writing, it challenges our vocabulary: we don’t have ...
2. Canonical Strategies and the Question of Authority: Eliot and Williams
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...in the spring of 1919 William Carlos Williams, reading and lecturing in Chi-cago, had a brief affair with Marion strobel, associate editor of Poetry.he told her, in one of three poems he wrote her.1 the poem was titled “Chi-cago,” and when it was published on page 73 of the Egoist, de cem ber 1919, it came immediately after these words: “the emotion of art is impersonal. ...
3. Basil Bunting: Poet of the North
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...a poet is just a poet, but i am a northumbrian man, born there, and it’s the language of a people is the fortress which the enemy first assails; and once that fortress is captured and its stones levelled with the ground, the history of the north of england has never been written, except by south-the northumbrian coal miner poet Joseph skipsey and his wife sara, later ...
4. Parataxis in Basil Bunting and Louis Zukofsky
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...a poem is neither a tool nor a vessel nor a remedy for anything but only and just a poem— for at any rate that’s what it survives by.i begin by defining parataxis in the simplest possible terms. parataxis is not hypotaxis. Hypotactic sentences use subordinate clauses: “the man who i saw yesterday fell down the stairs this morning”: a principal clause and a ...
5. Writing and Authority in Zukofsky’s: Thanks to the Dictionary
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...in considering Zukofsky’s poetics of procedural composition, as the follow-ing notes on the writer’s authority must, i have in mind something along the lines of Joseph Conte’s notions of “a procedural order that is proteinic and predetermined,” and one that is “aleatory,” random, and “protean,” but i make no sharp distinctions between the two, for it appears to me that Zukofsky fre-...
6. Thinking with the Poem: Louis Zukofsky
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...“poems are only acts upon particulars,” Zukofsky said in 1930, and “only through such activity do they become particulars themselves.”1 thinking with the poem, i’m going to belabor the obvious, and i’m going view some a. e. i. o. U. aeiou. ah eh ih oh uh. Vowels can be muscular, or slack. “[T]hi• has the sound of tree,” as robert duncan put it, “and thE has the sound of ...
7. Reading Niedecker
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...“Writing should generate ideas into matter, not the other way round.” — robert smithsonGossip. v. intrans. to talk idly, especially about other people; noun. idle talk, as of one friend or acquaintance to another; especially, confidential or mi-the air of lucidity and inconsequentiality makes this hard to talk about— as ...
8. “Take Oil / and Hum” : Niedecker and Bunting
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... never a spark of seditionthey’re such very different poets you’d never mistake one for the other. nie-decker’s language is unmistakably spoken, conversational, at times almost casual— don’t get me wrong, she’s an extremely careful writer of very great skill indeed— but she does not display her consciousness of her art. Bun-...
9. The Mind as Frying Pan: Robin Blaser’s Humor
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... — robin Blaser, Letter to anne Waldman, 1992 — Gertrude stein, “pink Melon Joy”a being radically devoid of any representable identity would be — Giorgio agamben, The Coming CommunityWhat i have to say draws in part upon very interesting observations and re-...
10. “Writing on Air for Dear Life” : Richard Caddel
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... — richard Caddel — richard Caddelart’s purpose is to sober and quiet the mind so that it is in accord with — John Cagea subtitle for this paper might be “Untidy poetics.” Canadian or U.s. visi-...
11. “The Tattle of Tongueplay ” : Mina Loy’s 'Love Songs'
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... — Walt Whitmani can see no reason for calling my work poetry except that there is no — Marianne Mooreat present, most of what we know, or think we know, of women has been found out by men. We have yet to hear what woman will tell of herself, ...
12. “Conversation with One’s Peers” : George Oppen and Some Women Writers
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My title comes from a letter George oppen wrote to the english poet Charles tomlinson in 1963: “i have come to believe again, perhaps in more rather than less despair, that the only possible hope is in the conversation with one’s peers.” 1 in the following pages i sketch the situation of women writing in the 1960s and possibly the 1970s, and oppen’s bearing toward them. oppen, in ...
13. Momently: The Politics of the Poem, a Note on Robert Creeley
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...i can no more avoid po liti cal concerns than i can avoid the fact that it’s — robert Creeley, 1965in February 1962 robert Creeley gave a landmark reading in Vancouver. it consisted largely of poems from For Love, published two months later in april. the audience had in its number the students in Warren tallman’s year- ...
14. Syllable as Music: Lyn Hejinian’s 'Writing Is an Aid to Memory'
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...in their debauch of easy magnificence— for it has become more difficult to avoid than to achieve the over- rich— english poets have hazed over sharp outlines . . . [and thrown] a hampering haze of glory [over english verse]: their vowel- successions, their alliterations, have been too commonly splendiferous, until verbal splendor has lost its virtue ...
15. McCaffery’s Diptych: The Black Debt
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...a sentence makes not it told but it hold. a hold is where they put things. — Gertrude stein How to Writethe epigraph to steve McCaffery’s The Black Debt gives fair warning to the reader. it is samuel Johnson, quoting Horace’s Ars Poetica and adding a Latin tag apparently his own. He is instructing the rev. dr. Maxwell about James ...
16. “Getting Ready to Have Been Frightened ” : How I Read Bruce Andrews
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... — p. G. Wodehouseanticipating what steve McCaffery calls “the possibility that grammar masks a military practice,” Wittgenstein observed that “Grammatical conventions cannot be justified by describing what is represented: any such description al-ready presupposes the grammatical rules.”1 in “Gnote” (1991), McCaffery de-...
17. Paradise as Praxis: Bruce Andrews’s 'Lip Service'
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...she had once accused [her husband, Guy pringle,] of considering her feelings less than those of anyone else with whom they came into contact. surprised, he had said: “But you are myself. i don’t need to — olivia Manningif there is to be a “we,” it is not one tyrannized into supposed consensus ...
18. Undoing the Book
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...this chapter seeks to raise problems rather than to solve them. it is directed at two general questions about bibliography: What is it, and What good is it? though i propose to raise both, my primary concern is with deliberate challenges to the art of bibliography understood as the study of the book as material object. i’m interested in the exploitation of meaningful systems- ...
19. Poetic Fact
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...the Cantos meaning is the Cantos: in spite of all the complexities they deal with. restituting love and hate to a chain of poetic fact they have — Louis Zukofskythose two sentences have intrigued me for some time, they raise so many fundamental questions regarding the nature of poetry. Limitations of space ...
20. Sound Reading
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...so i go to these readings and that old singsong starts in— half rapt, half- assed— thank God for the shining exceptions, the formed — david Bromige — edmond Jabèsi want to consider in general terms the vexing question of whether it is pos-...
21. Paradise of Letters
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We have an emotion towards the vegetable tuftings and ornaments of the — Geoffrey Grigson. The Englishman’s Floraon 28 april 1529, at the sign of the pot Cassé on the petit pont, just over two- and- a- half years after King François i of France had on 5 sep tem ber 1526 by royal privilege granted him exclusive copyright for ten years, Geofroy tory ...
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Page Count: 336
Illustrations: 6 illustrations
Publication Year: 2013
Series Title: Modern & Contemporary Poetics
Series Editor Byline: Hank Lazer and Charles Bernstein