Hi Randolph,
Aye, *excellent* idea -- perhaps this swap-list could also extend
to related items such as critical essays, biographies of poets, etc?
Poets being famously short of pennies, this would certainly help
to replenish the bookshelf. I'll mail you presently with a list . . .
A brief follow-up to the invisibility question, in light of Roddy's
comments -- I think this question of 'conscious' invisibility may
also be relevent. I'm thinking of an analogy between the poets
on your list and serious jazz, i.e. don't some artistic forms exist
with the connoiseur firmly in mind, as opposed to the wide-angle
lense of populism? This doesn't, of course, mean that they
should exist in obscurity -- if the form is less than accessible,
then there's no reason for the product itself to be so -- and
not to deny that these forms have as much ability to reach out
and inspire folk as much as other forms. Only just less folk . . .
[as Chris has just said, it may be a matter of intention]
I'm wondering whether the avant-garde is, by it's very nature,
destined for the margins? This is different than saying it is
marginalised. Perhaps it is not the *existence* of margins that
ought to be lamented, but instances of their (as you suggest)
forced invisibility? (Forces being subtle things, as well as
blatant). [Ah, I see this point is made in Chris's new post also]
The fact that these poets are perhaps better known in the US &
Canada also highlights the fact that what may be a flourishing
margin in one country may be mainstream in another. This works
with regard to music, especially -- like, in Finland they're still
going crazy for Soft Machine and jazz-rock . . . . The Cure are
massive in France but do diddly in the US . . . . . .
Thinkin' aloud . . . .
Andy
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