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"A note to Pound in heaven: Only one mistake, Ezra! You should have talked to women"
--George Oppen, _Twenty Six Fragments_
Archives:
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ManY PoETiKaL HaTs LisT:
Holly's Pirate-girl Hat,
chrismurray in a straw hat,
Michael Helsem's Gray Wyvern NOLA Fedora.
Duchamp's Rrose Selavy's flirting hat.
Max Ernst's Hats of The Hat Makes the Man.
Jordan Davis' The Hat!
poetry. hks' smelly head baseball cap.
Samuel Beckett's Lucky's
Black bowler hat,
giving his oration
on what's questionable in mankind,
in *Waiting for 'God-ot'*.
my friend John Phillips's 1969
dove gray fedora w/ wild feather.
Bob Dylan's mystery lover's Panama Hat.
Bob Creeley's Black Mountain Felt Boater Hat.
Duke Ellington's Satin
Top Hat. Acorn Hats of Tree.
Freud's 1950 City Fedora.
Joseph Brodsky's Sailor Cap.
Harry K Stammer's Copper Hat
Hell. Lewis LaCook's bowler hat(s).
Tom Beckett's Bad Hair Day
Furry Pimp Hat. Daughter Holly's black beret.
harry k stammer's fez. Cat
in the Hat's Hat & best
hat, Googling Texfiles:
crocheted hat with flames.
Harry K Stammer's tinseled berets.
Tex's 10 gallon Gary Cooper felt Stetson cowboy hat.
Jordan Davis's fedora.
Dali's High-heel Shoe Hat. Harry K Stammer's en-blog LAPD Hat
& aluminum baseball cap. cap'n caps. NY-Yankees caps. the HKS-in-person-caps
are blue or green no logos nor captions.
Ma Skanky Possum 10's nighttime cap.
moose antler hat. propeller beenie hat.
doo rag. knit face mask hat. Bob Dylan's & photographer Laziz
Hamani's panama hats. Mark Weiss's Publisher's Hat.
Rebecca Loudon's Seattle-TX-Hats'n'boots.
Ever-Evolving Links:
Silliman's Links
Dominic Rivron
Unidentified
Br Tom @ One & Plainer
Dan Waber: ars poetica anthology
Dan Waber: altered books anthology
chris daniels: Notes to a Fellow Traveller
Chris Daniels: Toward an Anti-Capitalist Poetry
David Daniels: The Gates Of Paradise
subterranean poets: Beijing Poetry Group
Charles Alexander/Chax Press: Chaxblog
Headlines Poetry: the latest weblog entries
Henry Gould's AlephoeBooks
Julie Choffel's Understory
Tom Murphy's former one
Jean Vengua's New Okir
Roger Pao's Asian-American Poetry
Tom Lisk: Oilcloth and Linoleum
Kevin Doran
Reb Livingston's Cackling Jackal Blog
Janet Holmes: Humanophone
Lorna Dee Cervantes
Mark Young's gamma ways
Brian Campbell: Out of the Woodwork
Shanna's DIY Publishing Blog
Galatea Resurrects: a Poetry Review
Tom Beckett
John Sakkis: BOTH BOTH
New Francois Luong:Voices in Utter Dark, KaBlow!sm is...
Old Francois Luong: Voices in Utter Dark
Margin Walker: Andrew Lundwall
Free Space Comix: the latest BK Stefans blog
Adam Lockhart, Experimentalist Composer
Antic View: Alan Bramhall & Jeff Harrison
lookouchblog: Jessica Smith
MiPOradio
Web Log -- Charles Bernstein
Google Poem Generator: Leevi Lehto
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Feral Scholar: Stan Goff
worderos: Tom Beckett
In Galatea's Purse
Japundit
Quiet Desperation: Jim Ryal
Luca Antara: Martin Edmond
Brief Epigrams: Ryan Alexander MacDonald
Radio My Vocabulary: 4 pm Sunday Poetry Streams
Mark Lamoreaux: [[[0{:}0]]]
Hot Whiskey Blog
louder
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heuriskein: Tom Orange
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Jane Dark's Sugar High!
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(Charles) Olson Now: Michael Kellaher & Ammiel Alcalay
kari edwards' TranssubMUTATION
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PurPur: Petrus Pokus
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A Sad Day for Sad Birds II: Gina Meyers
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zafusy: experimental poetry journal
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Zotz!
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ecritures bleues: Laura Carter
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a New Word Placements
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SB POET
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YaY!! Eileen Tabios: Chatelaine Poetics !
Jill Jones: Ruby Street
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Gary Sullivan's Elsewhere
GoldenRuleJones
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kari edwards: transdada
Fluss
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Li Bloom's Abolone
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Kasey's Old Limetree
James Meetze: Brutal Kittens
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Joseph Mosconi's Harlequin Knights
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ultimate: Stephanie Young's First Well Nourished Moon
Steve Evans: Third Factory
Noah Eli Gordon's Human Verb
Jean Vengua's Blue Kangaroo
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Josh Corey's Cahiers de Corey
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UTA's Lit Mag: ZNine
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Malcolm Davidson's Tram Spark poems
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Cori Copp's Littleshirleybean
Jordan Davis: Million Poems
Eileen Tabios: Corpsepoetics [see Chatelaine above]
YaY! Liz's Thirdwish
Ultra Linking
Henry Gould's HG Poetics
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Thursday, September 23, 2004
--Louis Zukofsky in conversation with Paul Blackburn (courtesy of photo gallery, Electronic Poetry Center, SUNY Buffalo)
Zuk Poetics without Zuk Poetry?
Listening to full days of panels (each one with four or five people speaking for 20 minutes) and without much dialog to follow, had bloated whatever was left of my attentive brain. But perhaps more deeply, the process of critical abstraction had ironically taken me further and further away from the body of Zukofsky’s actual work. I would have craved listening to good readers periodically reciting actual sections of the work – that would have pleased part of what was my original desire for a Centennial celebration of Z’s language. The Conference did, however, provide time to meet many poets and critics – familiar and new for which I was also very grateful. In the future I would hope that such events would reconcile the impulses to hear the work, as well as to present critical reflections. Anyway – I hope – these quotes [Steve has compiled a listing of note-quotes from what he heard while there] give back some worthwhile substance to those reflections.
----from Steve Vincent's post about the Zuk fest.
Thanks very much for this valuable perspective, Steve. It reflects a different way to think about, not so much the Zuk conference, as about poetry conferences, poets & poetry in such venues, all together.
Even though I'm affiliated with academia and at times participate in similar conference presentations that are sometimes terribly dull but do have merit in that they are the earnest prose distillations of devoted people who mostly live quiet (privileged, yes) lives of study, I too at times find these kinds of proceedings eternally mind-bloating (great image there, Steve!) and obfuscating of the anima or vividness of the art itself, especially when the art (here, Zukofsky's incredibly memorable, complex and influential poetry) is left out, however inadvertently (inadvertence is probably the situation here).
I mean that I respect and appreciate the scholarly work, but would have missed the poetry, too. For myself, I could not go--though attending it would have been great (work commitments kept me here), and for the same reasons Steve also points out: to meet folks and discuss Zuk's poetry and influential thought, yes! But, again, had I gone, I would have had to return to that point of absence: without the poems? (To be fair, I should point out that when folks present papers at conferences on a literary text, they usually have to quote a lot of examples, though not usually entire readings of poems, so I assume a lot of that kind of reading of Zuk poetry did occur.)
So, some nagging voice in me wants to know: could an Allen Ginsberg fest, or (add names here) other poetry figures' colloquia be convened and actualized without multiple readings of the work going on simultaneously? Well, yes, I suppose it happens all the time. The Lorinne Niedecker conference without the poems, the Marianne Moore colloquium without the "I, too, dislike it..." recitation. And so forth. Why does that happen?--Does it matter?--Is it somehow useful?--If not, can we do something here? Why, how, or, why not? Maybe it should be otherwise, eh? Steve's definitely onto something significant and different here, in my opinion.
But don't get me wrong: I've also been following and enjoying the extensive posts over at Ron Silliman's, as well as the robust commentary there--it's been keeping me thinking, and I like that a lot. On one major point of contention in the comments there, I have to say: geez, if those who label themselves feminists don't like or aren't gravitating toward the phenomenon of Zuk, then surely that is their profound loss? Or, maybe the term feminists in that commentary stands in for something like straw dogs? In either case, I'd like to see something more integrative come from self-styled feminists' categorical rhetoric, something more than the same old separatist sour grapes. Joan Retallack says it well for other contexts. I would have liked to hear the paper she gave here. But maybe the question is also about how texts are disseminated, and perhaps Zuk's, like many other modernists, got set aside in the dual projects of recouperation and survival--which is to say, not denial or separatism, but unrealized limits, limits that can now be dispensed with? Well, nothing is ever that simple, but it is good to read these things and to test the hypotheses. I like that.
And then today I found more to think about over atJosh Corey's blog, where as far as I can tell as a greatful reader who could not attend the conference, the best exposition of the events and panels has been carefully tended and posted, and many questions raised, not least of which might be this succinct paradox: "Objectivist writing holds a commitment to words and things, not just words as things. (This gets problematized later by another panelist.)" I love this!
And then there is the interesting response to Silliman happening at Tony Tost's blog, with lively comments running alongside. All are fascinating to me, provocative in the best sense of inclusive dialogue about the Zuk conference and issues it raises for poetry and poetics. While reading I realized how grateful I am that all this connectivity is here now. It occured to me today once again how much I appreciate having the blog community as discourse event--this would have been unheard of, this learning in the moment of discourse, only a few years back. I'm cautious about it often, but also: WOWed by it too, especially at times like this when a certain quality of intellection can only be had via this particular and invested connectivity *in the moment*.
So, as to the problem at hand: exploring deeply a given writer's thinking and poetry through scholarly proceedings is great, but proceeding without more explicit connection in the conference dynamics to the poetry itself?--well that disconnects the work from its apparent dialogue, no?--it leaves off so much of the pleasure of living and thinking alongside the given text, and even if you don't happen to be very Barthesian, well, there is some pleasure in textuality whether or not it is self-recognized. Desire keeps a reader reading, whether it is desire driven by scholarly habits or poetic thrills. But perhaps I've missed something important here, such as, maybe Zuk would have liked the conversation to be a conference without the added entanglements of the poetry? That's certainly possible given his thinking and delightful contradictions posited.
But then there is this to consider: imagine a Pollock Fest, or a conference on the influence and import of the Rolling Stones, or the same on Patti Smith, yet with no manifestation of the artifact to refer to or enjoy in the moment of reference: these would be unthinkable. So, to my mind, such is not a desirable rhetorical situation for the art or for its context of critical dialogue (which Steve also notes seemed mostly absent, alas--but often that, too, is typical of dry conference proceedings: after 80 minutes of uninterrupted prosaics--however well done and meant--who really wants to continuing sticking to the hard backed seat to hear what often ends up being one or another form of posturing?).
Well, okay--maybe in part my discussion here is also a result of me feeling kind of out of it because I didn't go. That's factor, yes, but I still think the implicit as well as the (in this case, apparently) explicit split between the critical takes and the work itself is a valid point worthy of continued discussion.
I did enjoy reading and thinking over the fragmented collection of observations Steve has posted. They are actually close to taking the shape of a poem, I think--and so in their way restore to the paradoxical situation of a poetics without the poetry, a configuration of poetry. And since done in honor of Zuk, the best intentions of the fest, and poetry in general, well, Steve: they're very fine!
Just sayin' : )
--cm
o~o/ --
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