Hi all,
i find it curious that the discussions around where poetry *might be heading
(given the rhizomatic natures of direction) have been so swiftly
recouperated not only back into the page but also into verse forms and their
histories of development. Fascinating and seductive though such discussions
may be. That's not merely intended as an observation though. Forms here are
becoming riven from content and that's just balmy.
Dave wrote (at some insomniac, or early shift or late shift, time of the
morning) about rhythmic focus. i find that of interest since rhythm might be
studied a little more closely in respect of musical traditions here. For
example what are the inter-relations between form and content in the
following passage? Is this a-rhythmic? What are the potential references and
focii for these lines?:
'Dolly
sgot a wides lit
down the lily
sgot avide slot
donne a lolly
to a head
less cindy to slot in
to lic
kher shackle
good dottersum
presses titbutt
on for the puppe's
panorama
Nic
e roun
d olly
Pops
er
body partson
to the flo
ring the morning
it's never matt
ers what goes back
on w
here dolly
goodolly
in a
ny shape or form
wit one fine toast
erin the belly
wit no head
wit nos
ticky hairs
round the folly
and nof ingers at the tips
(or more)
in short
ALL OF
DOLLY'S
A FUNC'
(short extract from 'Les jets de la Poupee' by Caroline Bergvall - New
York:OUP, 2001) p 912-913
These broken musics are utterly deliberate. Listen to the fiercely digital
editing of say Photek or Aphex Twin or . . . even in the pop realm before
we might get onto John Zorn's solo wind instrumental work and the ideas
about rhythm and cadence can be seen to be hugely contemporary with peer
practitioners in sonic arts in such poetics.
interested to hear how others view this
love and love
cris
|