>Douglas Barbour wrote:
>>
>> Geez
>>
>> does no one even remember Charles Olson?
>
>
>KEH?
>
>>
>> or (I was reading Kathleen Fraser's essay on it & its importance even to
>> all the women poets he probably didn't notice, just this morning)
>> "Projective Verse" (an essay I still think would be useful to any poet
>> starting out).
>>
>> Speaking of the value of the typewriter to poets:
>>
>> If he [the poet] wishes a pause so light it hardly separates the words, yet
>> does not want a comma -- which is an interruption of the meaning rather
>> than the sounding of the line -- follow him when he uses a symbol the
>> typewriter has ready to hand:
>> What does not change / is the will to change
>>
>> Yep. For sure.
>>
>> Doug
>
>
>Thankyou to everyone for your responses, most instructive.
>It does pay to admit to ignorance after all.
>
>Can women poets use it too? *cheeky grin*
That was the point of Kathleen Fraser's essay, wherein she illustrated a
number of contemporary innovative women poets' usage of the page as field
(although few of them used the slash, they obviously had taken tha point of
Olson's essay to heart in their own ways).
It's in her very fine book titled _Translating the Unspeakable: Essays in
Innovative Necessity_ (UAlabamaP). Theres also her Selected Poems: _il
cuore: the heart_.
Douglas Barbour
Department of English
University of Alberta
Edmonton Alberta Canada T6G 2E5
(h) [780] 436 3320 (b) [780] 492 0521
http://www.ualberta.ca/~dbarbour/dbhome.htm
There are places named for
other places, ones where
a word survives whatever happened
which it once referred to. And there are
names for the places water comes and touches.
But nothing for the whole.
Bill Manhire
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