2013/05/29
taking the brim
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taking the brim / took the broom archives are now public whilst being edited etc
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2013/05/26
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pwoermdspwoermdspwoermdspwoermdspwoermdspwoermdspwoermds
pragmanticist
yugvler
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2013/05/21
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New medias creating new formats, no? yes of curse/as a lover/does/her assonyms!
OrpHeeCdpoet @orpheecdpoet
-----------------
2013/05/20
re------------------: last count ..
you wrote ConcErnIng: last count ..
-------------------------------------now after I check'd my figures/ I found this
sOMeOne or Other or robot?
which speculates on a much grander scale/o ver time and across languages ___! asks this question:
----------------an dis
http://chronicle.com/article/The-New-Math-of-Poetry/64249/
an'
http://www.bostonreview.net/BR37.3/marjorie_perloff_poetry_lyric_reinvention.php
which article 'licited
a bevy o
-------------------------------------now after I check'd my figures/ I found this
sOMeOne or Other or robot?
which speculates on a much grander scale/o ver time and across languages ___! asks this question:
How many poems have been written in the world?
s ' I found on the internet that 5.000.000 poems are published on the web each year worldwide (source: wikipedia); let's suppose they are only 0,1% of the poems written per year: it gives 5 bilions poems per year; if now we multiply this result for the number of years since writing began (7000, to be conservative) we obtain approximately 35 trillions of poems; but I believe the real numbers are far greater, in the order of 10^15, in other words nearly 5 thousand trillions in short scale... I'm waiting for better guesses :)'
-------------------------------------------- http://wiki.answers.com/Q/How_many_poems_have_been_written_in_the_world----------------an dis
http://chronicle.com/article/The-New-Math-of-Poetry/64249/
an'
http://www.bostonreview.net/BR37.3/marjorie_perloff_poetry_lyric_reinvention.php
which article 'licited
a bevy o
last count ..
in english
dig that
__________________________ Poems in whatever form shape or
plasma
poems without judgement as to good bad or /and indifferent
that's including verses, parts, wholes, stanzas, complete books, classics of english literatures world wide
Now that is Somethingggggggggggggggggggggggggggggggggggggggggggggggggggggg
2013/05/19
Burgess , Anthony
Burgess was neither C, B or A as a novelist.
I'd venture a better categorization: He was A and B and C, and in addition to that accolade as anovelist
there's A for his reviews and books about Joyce and ahalf dozen other writers, (Urgent Copy )
2013/05/18
_______________________________________________
~Daughters Boticelli detail Sistine Chapel------------
___________________________________________________
why do people mow their lawns ~ I Say let'em gorse, bush, brush, grow wild vineyard vane
but then i don't own one of these things
but do you want to ?
a gabled house
leaning in toward the perspective of the sea
with the notorious author living nearby
crashing waves on the seaside
hurricanes and other shit coming in from the west
to say
to say
say?
it stared as lawns
but you dont belong (rhyme ) (rhyme)
__________________________
That ..... bitch (really ) had my balls
in a blister
------------------
more later
-------------
are you charming naked buttocks?
------------
some one else says a scroll is past tense /i mean time past past going pas t tense /eyes
all the ones (that ) believe 'oral' poetry is the thing wrong rong r'ong ! hahah its so funny... the perfectly evident fact is that
the aural is legit/ as combined with the rest
_____________________ Anyhow, no matter 90 percent of what's written is read by the person with their eyes especially in the internet.
untitled and
t
but anyhow, i cant it odd it dont look real pomes versus poems I mean its not much its a displace ment of O and E and the absence of E
_______________ eat / be alive
do laundry/
_________________
her face was as beautiful and strange as a picasso and a modigliania molded
together
she saw sideways
her hands were sensual her lips fluttered full
they were not /they were something you can't find a word for
oh butterflies they were butterflies they (seem'd) to flutter
right off her
________________
you won't hold with giving a shit
giving afuck
this day or night as its witches its pulse
telling this one and that one what's good and not
we know enemies come from friends
and the imperial ones
the non trusters
keep your distance
at its well worked thought
this is oil pouring rain on fire
--------------------------------------------------------------------------------------------------------------------------Jethroe's --------------------------
2013/05/11
______________________
you won't hold with giving a shit
giving afuck
this day or night as its witches its pulse
telling this one and that one what's good and not
we know enemies come from friends
and the imperial ones
the non trusters
keep your distance
at its well worked thought
this is oil pouring rain on fire
2013/05/10
~sHAKasCene
Oh my god!” John Berryman complained in October 1952, “Shakespeare. That multiform & encyclopedic bastard.”
Never feel that way after reading Shakespeare, but always feel larger and that I understand more, just as when I read Pound I become a better writer. after reading finnegans wake, i go
read french, say Rimbaud, I under stand more. writers of that caliber teach us to
better writers and readers/
better in the sense that we're less sick with our illseeing illhearing illusions.
| Compare Joyce in his whole life Ulysses ~__________________ (who creates anxiety is critics or other 'paranoid' readers) (theres none till you met them ) (or the 'bad' poets' (meaning the sick ones giving orders) giving orders (ordures shit) giving order-words
----------------------- in the meantime I've gone to back to working on the big long poem ~ the one I was speaking to Patrick about today. he called from Victoria this was just after I returned from Ireland
I never put it online as they say ~
offline to the online that's terse as a bucket
in a munchful of rain
that's lunch with
someone else's elbow
below ~
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2013/05/02
_________________ha v t '
________________n one is getting old _________________________________________________________________
mist lights
air to wine
and the care speaks suddenly a recurrent
word and the red leaves is that it? does it hurry night
happening let's stop and see what happens (that makes six)
budding leaves would marry others
________________n one is getting old _________________________________________________________________
will the night speak long arms hold their way
(and) the sudden reoccurrence but the rest is forgotten gone foregone
these little moment
the park(and) the sudden reoccurrence but the rest is forgotten gone foregone
these little moment
mist lights
air to wine
and the care speaks suddenly a recurrent
word and the red leaves is that it? does it hurry night
happening let's stop and see what happens (that makes six)
budding leaves would marry others
____________________________________________________________
2013/05/01
.
narrow
tomorrow commodity and wealth
prosperity Porcupine Prospero's hovering his mist
keep fist the rough tune /found on the awl/ members this greek column in
orney hours past rising blue
today money and commodity and hep to the length of these breeze you call your smile
.
ah honor as its witch to please the pleasant smile ~
assured by the spring's well
.
.
narrow
tomorrow commodity and wealth
prosperity Porcupine Prospero's hovering his mist
keep fist the rough tune /found on the awl/ members this greek column in
orney hours past rising blue
today money and commodity and hep to the length of these breeze you call your smile
.
ah honor as its witch to please the pleasant smile ~
assured by the spring's well
.
.
flaw morsel
====================================== flayed Marsyas
yr able to hear before what you could only read and reading doesnt permit the
bagayer the stammer/stut/tutututer of what's happening
in Crane's lingo train
__________________________________
From pole to pole across the hills, the states
__They know a body under the wide rain;
Youngsters with like fjords, old reprobates
With racetrack jargon, __dotting immensity
They lurk across her, knowing her yonder breast'
====================================== flayed Marsyas
========================= there are no 'flaws' in this poem, but rather flows which break ;examples abound ~the Apostrophe opening, the declaiming archaisms the weirder beat of 'contemporary ' jagged juxtaposed rhythms against the squiring and hush of the rhymes. and do they represent anything? no t so, they are the something the ones that move his machine, hope, dream, his fancy. The 'flaws' are break/flows/ /schizz/lines. as his vocabulary, or diction if you want, strives to a other level than the apparent one, the rhetoric of the poem.
yr able to hear before what you could only read and reading doesnt permit the
bagayer the stammer/stut/tutututer of what's happening
in Crane's lingo train
__________________________________
'Lorsque la langue est si tendue qu’elle se met à bégayer, ou à murmurer, balbutier…, tout le langage atteint à la limite qui en dessine le dehors et se confronte au silence. Quand la langue est ainsi tendue, le langage subit une pression qui le rend au silence. Le style – 'la langue étrangère dans la langue' –
i hear the poetry of the Bridge in this statement
i hear the poetry of the Bridge in this statement
So that is part of what you're discussing
He gets right out and under from
the signifier danger
(think of the image of the bridge itself going the other way Not Under But Over Water of the Flow that's the River _ he carries with him, with its infinite (receptacle) of objects, detritus, an so on) (i am breath to catch it as it pauses (my own thought and his) 'Damp tonnage and alluvial march of days-
Nights turbid, vascular with silted shale
And roots surrendered down of moraine clays;
The Mississippi drinks the farthest dale.'
i mean eve/n his strange archaisms the thees and thous
are sung not read or even heard
but are the busted gaps , vacuoles in his language
as he struggles up and against the collective alcoholism of his milieu (his own an theirs), his isolation.
his homosexuality (everyone needs to 'know' what he is doing he must explain,
justify, pay rent, get loot to write) (the bridge as a project is considered weird
expectations are high in a letter he compares himself to Virgil_O folly of comparison_ the analogy
is false it's a ruse necessary to cover up the terrible reality at hand :Explanation and
its horrid partner Necessity)
his homosexuality (everyone needs to 'know' what he is doing he must explain,
justify, pay rent, get loot to write) (the bridge as a project is considered weird
expectations are high in a letter he compares himself to Virgil_O folly of comparison_ the analogy
is false it's a ruse necessary to cover up the terrible reality at hand :Explanation and
its horrid partner Necessity)
his rhymes are strange too tending to a conventional appEaRance
but are in fact, they are parented by the desolation and terrible doubling they carry
the rhymes are hurts to Ear which speak to the heart
as for instance when he crosses with the hobos and others
in the River section
following the train riders
Yet they touch something like a key perhaps.From pole to pole across the hills, the states
__They know a body under the wide rain;
Youngsters with like fjords, old reprobates
With racetrack jargon, __dotting immensity
They lurk across her, knowing her yonder breast'
what's happening there? It's as if Crane yodels the nostalgic longing and pain of others in their quest into American landscape a time of hunger and desperados,, the great belly of the continent speeding across the rails of their minds ___'And past the circuit of the lamp's thin flame'___it works naturally its' beautiful even as in other sections the verbs escape into a sort of passive junction of breath against syntax
Under the Ozarks, domed by Iron Mountain,
the old gods of the rain lie wrapped in pools
Where eyeless fish curvet a sunken fountain
And re-descend from querulous crows.'
His engines huff
but he don't remain with the malaise,
he moves on
' And Pullman breakfasters glide glistening steel
From tunnel into field__iron strides the dew
Straddles the hill, a dance of wheel on wheel.'
I'll come back to this more/. I love writing about Crane, drifting with his wood and have been , and have could and the left and right of song, switching from city and town and back again river, subway and rush of traffic scramble of voices and
iv
Cape Hatteras
which starts with quote from Whitman
The seas all crossed,
weathered the capes, the voyage done
(Walt Whitman)
then starting with the astonishing image
' Imponderable the dinosaur
sinks slow,
the mammoth saurian
ghoul, the eastern
Cape ...
Combustion at the astral core__the dorsal change
Of energy ___convulsive shift of sand ...'
The image of the dinosaur is more terrifying and imponderable itself . He 's chopping hes way through the memory of the earth and the passage of chronos / Crane's splitting the page and the thought in two. What's so weird about that if you think it's what's actually happening. Does that make he's an imitator? Not at all it does mean he was a man who absorbed his time and walked with the history of America and the world rattling in his bones. Thus there is a speaking self there that runs under the self of Crane the person the man one can know from his biographers the one who had relations with living and real people of his time. This other Crane is proceeds and narrates from a different place, the place of the oracle of the poet himself, or even itself; he is the one who descends ________he is the descender downshifting into the remembrance of earth itself and Man?
'Man hears himself an engine in a cloud!
'"__Recorders ages hence"_ah, syllables of faith!
Walt , tell me, Walt Whitman, if infinity
Be still the same as when you walked the beach
Near Paumnanok__'
Crane jumped to his death by drowning at sea. He kills necessity in that action . He beats out the cruel fates of necessity and explanation and becomes the song that's sung ,the very crash of the ocean itself
'I wanted you, nameless Woman of the South'
the sea ~.
It's how we read the man not how he wrote himself that teaches us about him and his work . Take his work and make it richer by bringing it or finding the level of possibilities it was written at take it to its maximum worth not its negative declension.
We don't know what Crane 's voice sounds like nor how he 'd have read but surely were he alive now he'd be having fun with it on the one hand, a nd pushing it further against its necessities .
....
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