that futurisimo following (or is it preceding)
it was made in collaboration with Monica

(I meant to say that

futurisimo

that shoe

of god

works hard

and no wonder

her obligations

are pressed

bread and

boring holes

in the linen

of spaced-out cat

board ahoy roar forth

driven with evinrude

powerhead bombardier

and milk the stale

devil she would like

to sew daisies

into her flesh

but honey perfume

and whole

happenstance

permits some knuckle I

hesitate to say

but that this

were a parenthesis

a bracket a boulder

she would seed

her back porch

with fig trees

and doubt

lie about

within wonder

Fashionista of the Italian Brand:

http://www.futurism.org.uk/manifestos/manifesto55.htm

the fix

do we insist
or should we

that

a straightforward narrative is

better

because it is

easier to understand?

what's the opposite?

or maybe that

an insistence that the abstract

is inferior because
it's not consistent

with understanding?

(as if all writing weren't

abstract)

I must be missing something in this - a hole in my logik - I'm
positive that's true that I am missing somethink

I'm tired of that poem about picking tomatoes)

the danger in your argument in favor of making the poem easier for
the audience very much resembles Thomas Higginson's rationale when
revising/regularizing "normalizing" Emily Dickinson's poems after
her death to make them more accessible for readers

he meant well but ruined the poems

what would we have if everything were "fixed" so that readers or
listeners could avoid confusion

communication in the poem might deviate from the intent no matter
how skilled the maker

words say what they will despite us

cut it out

two whose whosing

Re: narratives, metamucil and tomatoes

true, but I don't like to think of my poems as reduced to that -

and well - your argument supports mine - the idea of poetry as a popularity contest as - to me - to seek approval as driving the process of making - as highly unappealing -

purpose - getting a job - I don't like that idea at all

I truly believe the role of "poetry" (for lack of a better term)
has been reduced and delegitimized, sublimated to the rational -
the rational considered as "better" -

it's not - but we live in a world - a lousy one in some regards -
not of course totally lousy - because we can still find simple
beauties - but the potential of poetry is reduced by this worship
of logic - as if logic were the goal -

now why do you suppose it is? it's mistaken -

you sidestepped the issue of the abstract by the way - and I'm not
going to let you off the hook on that - it's abstract not logical

we're stuck with logic because it is a useful tool - but logic is
intrisically flawed - it's always only partial - we cannot
logically explain the world - hence the appeal to "greater" powers - whatever that, or those

and here enters poetry - or it should - but before we were born
our "culture" turned it into a commodity of exchange - and not a
very valuable commodity at that - today it's considered almost
worthless -

but it's evidence of our living more fully I believe than we would
without and shouldn't come with requirements - there's all kinds
of poems - a good thing - but I think we only see a sliver of the
potenial power of the poem - and poems can harness that power even
when nonsensical - witness abracadabras etc - the belief in seed
sounds without "known" meanings or the role of the ritual
utterance in so-called "primitive" societies -

I think you are arguing for a very narrow definition of what a
poem can be -

S

But we might additionally ask if poems are supposed to be objects
of
capital, something of exchange in a capitalist society.

How do we either use our poems as objects of trade, to establish a
career for instance.

you have used your back, kidneys eyesight and god knows what else,
hauling loads all over the highways. you've exchanged your health
for
rent, groceries and other necesseties.

if your art could secure you a teaching position or if you could
command 1500 per reading, how would that be different in intent or
resulgt than your previous occupation?

ohmboyz

on the verge of succumbing to sar

too much trouble

I would make links to all those writers below or is it above but for blogger giving me repeated error messages when I try to make links.

Onward! A Night for Robert Creeley
9:30 PM, 22 April, 2005
Black Mountain College Museum + Art Center
56 Broadway
Asheville

Poet Lisa Jarnot will join Lee Ann Brown, Jeff Davis, Sebastian Matthews, and others to read at 9:30 PM, 22 April, at the BMCM+AC, after the performance by the WCU gamelan ensemble.

Jarnot, who studied with Black Mountain poet Robert Creeley in Buffalo, will join other readers in celebrating Creeley's work and legacy. Creeley, whose work stands with Charles Olson's in defining the influence of Black Mountain College on imaginative writing in English, died at the end of March at the age of 78.

Jarnot, author of Black Dog Songs and Ring of Fire, currently teaches creative writing at Brooklyn College. She is now finishing both a biography of poet Robert Duncan and a novel to be titled Promise X.

Come celebrate Creeley's remarkable work, and enjoy the new work of poets whom he helped discover their own distinctive voices.

The Black Mountain College Museum + Arts Center is located at 56 Broadway in downtown Asheville. Hours are 12-4 pm Wednesday through Saturday.

writing/Riding makes me feel better.

Oh Laura oh my little Jacksonian muse.

Stevo, oh oh oh oh.

sumder cklassas stert may 2830th. oh no,

tidal throw.

going to get coughey.

(remember how you like it black and sludge like our little tiddle to Atlndta?)

Attention all Doctors!

Attention! Attention! Attention
all of you who are infatuated by your own petty titles!

As you can see I am a coward!

This is very confusing. Friday at 1 will run into my office hours, my planning, my eating, and possibly my teaching time.

Friday at 11 is best.

Thursday at 3 remains an inconvenient possibility, not to mention that it costs me money every time I drive to Okaynokee unnecessarily.

Please keep in mind that the $ for teaching slaves here is the lowest I've seen ANYWHERE, and I’ve looked around.

In other words, I am stapled for cash. People seem to think I simply say this because that's what everybody says (we hear it all the time), but in my case it's quite true.

I watch money exit and see little return (trickle in, might be the republican terminology).

It costs today about dollar x ass to drive back and forth to Okaynokee ONCE.

Dollar x dollar ass does not sound like much, but add it up over a month and then measure that against my monthly teaching slave wiener income.

That's a MONTHLY income.

Teaching slave wiener. Imagine that for a moment and divide by four.

It's a wonder we even manage to eat, let alone scribble a treatise.

But I like all you Doctors; you're very fine folk. I only ask you to consider please the fiscal teaching slave wiener when requesting an extra seven two one mile roundtrip drive for a meet.

Consider “ketchup” as an object of study, a foundational and intellectual object, an exercise upon which one might choose to build a career. Turn then to the “experts in the field” of ketchup studies, and see what they have to say; see then if anything remains to be said.

That which remains to be written might best unwrite the manner in which tomatoes become topical institutions, and ketchup is not necessarily peculiar in this regard. It is hard to imagine that tomatoes might have hoped to become institutionalized, but such speculation remains nonetheless scant.

This paper shall thus seek to legitimize the agency of ketchup as socially irruptive and, for all practical purposes, subversive to the usual and unquestioned gaggle of celebrity adulantricities. Hence the radical democratizing thrust of ketchup as affirmative of divers variety and heirloom schematic pace ultimately undermines genetic consistency, and the idiocy of those who claim to be in charge shall likewise be exposed as merely another in a series of fraudulent props.