This is very astute, Dave, and I am sure that Creeley wd give you a yes.
>
>>a sort of musical
>lecture
That was their approach, given hours of stand up lecture talking at
Black Mountain. Both he and Creeley, the latter with whom I, like so
many American poets, have conferred in the here and the now, at some
point,
leaning across a space into each other, but he,
Creeley, as he spoke, or spoken to by Olson, spoke very reflectively,
cigaretted, Vantage cigarettes,
so that, the words I heard were in a mirror
his real thoughts monitored, with one eye, which I surmised, so
we had four people talking there
on the beat up planked floor of the Grolier,
bizarre portrait photo of Dame Sitwell overlooking him,
I on a smashed couch, he on a four legged chair, unfolded.
RD
>Not one death but many,
>not accumulation but change, the feed-back proves, the feed-back is
>the law
>
>
>
>Mark
>
>you are going to +kill+ me. I've changed my mind. That is to say a book has
>opened. I can +hear+ this. I haven't altered my thoughts on metrics etc but
>Olson's writing started to speak to me at this point:
>
>(Quote)
>
>Into the same river no man steps twice
>
>When fire dies air dies
>
>No one remains, nor is, one
>
>Around an appearance, one common model, we grow up
>many. Else how is it,
>if we remain the same,
>we take pleasure now
>in what we did not take pleasure from before? love
>contrary objects? admire and/or find fault? use
>other words, feel other passions, have
>nor figure, appearance, disposition, tissue
>the same?
>
>(unquote)
>
>Which is a very apt text for a change of mind. Its from "The Kingfishers,"
>Part I, Sec. 4.
>
>This section shd survive e-mail formatting but I won't post the whole as it
>would doubtless get spoilt.
>But I can 'hear' the voice behind it, a voice of the secondary or
>sentimentive imagination no doubt but still.. . .
>Not the immediacy of the first order but a precise accent, a sort of musical
>lecture. I like it when a poet suddenly becomes knowable, I recall it
>happening to me in the past with the British poets Prynne and Allen Fisher,
>in the case of the latter immediately after saying I didn't like his writing
>much, almost as if the act of rejection or distancing suddenly brought the
>voice to life.
>
>Best
>
>Dave
>
>
>
>
>
>David Bircumshaw
>
>Leicester, England
>
>Spectare's Web, A Chide's Alphabet
>& Painting Without Numbers
>
>http://homepage.ntlworld.com/david.bircumshaw/
>
>http://homeoage.ntlworld.com/david.bircumshaw/index.htm
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