Monday, July 06, 2009
Karl Young:
“Notation & the Art of Reading”
A Karl Young retrospectivie
§
“the prosody of atrocity” –
Ange Mlinko on Frederick Seidel
§
Remembering Albert Saijo
§
The Slo Po of Lil Wayne
§
Craig Dworkin’s “Fact”
Rob Fitterman’s “Directory”
Gary Sullivan’s “Am I Emo?”
Mel Nichols’ “I Google Myself”
Vanessa Place’s “Miss Scarlet”
Jordan Davis: Three poems on demand
Caroline Bergvall’s “The Not Tale (Funeral)”
K.Silem Mohammad’s “Poems About Trees”
Kenneth Goldsmith: Two Poems from The Day
Drew Gardner: “Why Do I Hate Flarf So Much?”
Sharon Mesmer’s “The Swiss Just Do Whatever”
Christian Bök’s “The Great Order of the Universe”
Nada Gordon’s “Unicorn Believers Don’t Declare Fatwas”
Flarf – From the Outhouse to the Art House
Somes notes on Flarf & Conceptual Writing
Poetry in the age of the internet
Vogon or flarf?
Gnoetry flarf
“Flarf, bleh”
§
Heriberto Yepez on hybridism
§
Rachel Loden & the Croaker poets
§
Scene Report:
Moe’s Books in Berkeley
§
Carol Ann Duffy:
an ode to Oxfam
§
Jerry Rothenberg on
Poems for the Millennium, vol. 2
§
Robert Duncan in Mallorca
§
Talking with Robert Creeley
§
Are school libraries a child’s right?
§
Mesostomatic –
generate your own Mesostics!
§
Stephen Burt’s Close Calls with Nonsense
§
A short history of
MNMLSM
§
The fashion of poets (Laura Moriarty)
Nada Gordon’s detailed response
(in which I am described as “dapper”!)
§
Tom Clark on Ted Berrigan
§
How does language
shape how we think?
§
§
But I did not shoot the poetry
§
Word comes indirectly
that Seymour Faust,
one of the great neglectorinos,
has died
§
Remembering Kaleem Omar
§
The pleasures of rereading
§
The end of the
Richard and Judy Book Club
§
In Chicago, the Printers Ball
§
Norman Fischer’s Charlotte’s Way
§
Remembering Wislawa Szymborska
§
Why Jim Murdoch hates love poetry
§
§
§
Is this the future of the bookstore?
§
7 reasons why
the CrunchPad
can crush Kindle
§
The Kindle DX: the same, only bigger
§
Faber branches into ebooks
§
Stephen Wolfram takes on Google
§
Talking with Ellen Bass
§
“New” haiku by Shiki Masaoka found
§
Sarith Peou’s Corpse Watching
§
Sex & terror – the female p.o.v.
§
Talking with Eduardo Galeano
§
Brooklyn Copeland’s Longing / Belonging
§
July 14 in Harrisburg:
Save the Arts rally
§
Ambar Past:
from the introduction
to the Tzotzil “Incantations”
§
§
Justice James Ogoola’s
Songs of Paradise
§
§
The Millions Book Review Index
has a ways to go
§
Fiction as reality in Frank O’Hara
§
E.L. Doctorow:
treasures out of trash
§
Judge rules for Salinger
in “sequel” dispute
§
Basho’s last days
§
The spoken word scene in Wichita
§
Byron in Love –
the focus is not the poetry
§
§
Haiku in Camp Lejeune
§
Post-avant & epiphany
Artists to die for
Adam Fieled as an ideal reader
§
The woeful plight of the book critic
§
This season’s
heavily anticipated novels
§
1,000 novels “everyone must read”
§
“After 20 successful novels,
most author’s don’t get
the editing they still need,
and that seems to be the case with
Alice Hoffman”
Hoffman & her critics:
strike back or strike out?
§
J.M. Coetzee’s
from “Summertime”:
§
§
7 favorite NY locations in fiction
(somehow including Walt Whitman)
The bridge of poets
Literary Boston neighborhoods
§
Walt Whitman’s new project –
marketing blue jeans
§
Publisher caught red-handed
pimping The Post
§
Free plagiarism charge
frames ‘net content debate
§
Parsing Obama
§
J.G. Ballard:
death of a dystopian
§
The talk
as a good night out
§
Collaborating with a dead son
§
Poetry, soccer
& Middle-Eastern politics –
what’s not to like?
§
Mary Oliver,
the “Bard of Provincetown”
§
The Philip Roth booty-shaking ringtone
§
Futurism turns 100
§
A short history of Golden Books
§
Basil Bunting on color film as art
§
A Ray Bradbury “paranoia palimpsest” from Uzbekfilm
§
Shouting Fire:
Stories from the Edge of Free Speech
§
Mary Ruefle’s
Go Home and Go to Bed
§
Coming to Brooklyn:
Ed Sanders’ Glyphs
§
In the tradition of
Wright Morris & Jonathan Williams,
Linh Dinh
is a great writer who is also
a great photographer
§
Schwabsky’s Biennale
§
From LA MOCA to Amsterdam
§
A premodern howl
against contemporary art
§
In praise of self-portraits
§
Che:
the history of an image
§
Talking with Romeo Savoie
§
§
§
The Smithsonian Folk Life Festival
§
Failing to save buildings
by “beat architect” Ed White
§
The world’s “most progressive company” –
Wal-Mart
§
What has killed 80% of all
French cafés & bars?
In NYC in 1964,
poets battled bureacrats
to save Le Metro
§
What American can learn
from Bayard Rustin
§
And from William Appleman Williams
§
Neoliberalism:
genesis of a swear word
§
A bio of I.F. Stone
§
A tip of the trilby
to Dan Silliman
from whom I got several
of these links
Tribly is one more than doubly,
Ron
Based on the poems I read at random, Mlinko's take on him is rather retro.
Is Mlinko's reading a sexist hatchet-job? Couldn't we use the same hatchet on Merrill? (Oh, I'm sorry, forgot that Merrill was Gay, exception noted. Maybe Jeff Clark gets a nod, after all, since he's so prosodically various.)
In the end, it doesn't matter--do we always have to keep reminding ourselves of this?--what subject-matter you choose, but what you do with it.
If Plath's technique was so frighteningly good, what about Seidel's use of it is bankrupt? Might we simply call it derivative, instead of implying that it's the mendacious drivel of a megalomaniac? Plath was nothing if not megalomaniacal.
Is Seidel unacceptable because he's rich and sexually aggressive? Oh, my. How old-fashioned. If Seidel were a leather boy, would Mlinko have written the same review? If this isn't a fair question, then why?
I'm about half-way through the book. It's rather hard at times to read. Hayek asserts that socialism always leads to Stalinism, which, he asserts, is not structurally different from Nazism, and that they both feature a one=party state that has total control over the economy and intellectual life.
Hayek is also against the Ayn Rand school of absolute laissez faire corporate greed, but it's hard to understand exactly what state controls would offer a brake for instance to rampant polluters.
Liberal is defined in the book as individualist, and socialism of any stripe is defined as collectivist.
The many attempts to create collectivist art movements in the 20s come out of the general collectivist notions of the period. Surrealism itself would be part of that movement, although it would retain a certain individualist flavor. It's fascinating to watch all these movements break on various shoals with Dali ultimately becoming a Monarchist in Spain, and his money apparently being used to bring back in the king after Franco.
The way the word "liberal" is now used by someone like Sean Hannity (as synonymous with collectivism) or by someone like Michael Berube (as synonymous with collectivism, while also using a sleight of hand trick to indicate that it also has something to do with the "liberal arts") is just perverse beyond belief, and it's salutary that Hartwich attempts to dive back into the wreckage and give us a sens eof the long history of our terminology, which is at present so confused.
It was also fascinatng to see that Bonhoeffer of all people was part of the liberal or neo-liberal school.
The essay illuminates a very strange period which is echoed in the creation of Lutheran "neo-liberal" states throughout Scandinavia whose genesis and creation owe a lot to the thought of that period, which is obscured by the difficulty of our reading their texts in the original. Part of it is certainly Lutheran, but part of this also comes out of many other contexts including the socialist branches named here.
Clarifying these branches, and getting through the thickets of nomenclature would help this virtually illiterate country get a handle again on its own economic terminology.
At any rate, thanks for this article. I'm reading Hayek now, and after that, I intend to read Theodore Burczak's Socialism After Hayek, in order to track down what Burczak sees as the next step (Burczak's work is drawing many many conferences around itself as a resuscitation of the middle way that neo-liberalism apparently once represented).
But Young's musings on dyslexia (found near the end of the essay, under the heading "North America, 1983") are unpersuasive, though imaginative.
He writes, "dyslexia is increasing among young people and I imagine one of the major reasons for this is the ephemeralization of reading. A disproportionately large number of dyslexic students have I.Q.'s above average and I suspect their refusal to learn to read is, on a human if not a practical level, an intelligent response to current attitudes toward reading."
I chafe, hard, at the notion that people with dyslexia are refusing to learn to read. I think most teachers, researchers, and experienced parents and kids would be similarly insulted.
http://habenichtpress.com/index.php
and by Richard Owens, editor of Damn the Caesars journal and book series (for some reason, Ron, Owens is not listed on your blog roll).
http://damnthecaesars.blogspot.com/
Kent
I am comfortable with:
Writing is notation and reading is performance.
Not sure about
notation being less fluid in 1983
than it was in John Donne's time,
but I do think it is heading
toward being more fluid
since 1983.
It is for me anyway.
-
Google's word verification
is playing a part in this
as well as are experiments
in phonetics
and digital word compressions
and in the English language itself
such as: s/he, hir (for both his and her), dogs (as in the dogs ears).
just os you know: I googled blogspot poetry and yours came out near the top. That seems like a good thing.
Anyway, I started a blog of my own, of which poetry will be amjor component.
http://visitsequalzero.blogspot.com
I fear it's become, as the researcher is guessing, a sort of handy excuse for not reading, or not wanting to think hard enough to discern complexity in language.
Language is human--we're the only beasts which use it. True dyslexia is quite rare.
This is the same argument we're having about attention deficit disorder in kids--a creation of the psychiatric community in league with the drug companies.
People are not all equal. Trying to over-diagnose kinds of difference as illness is exploitation of difference.
<< Home


