hi stephen
before i go on about spacing and capitals and all that and whether your name
is part of the poem and egyptian poem the title ...
but, to my horror i notice that the poem below in the reply e-mail is
different from that I've just been looking at and the italics gone and the
bolds and spacing different. How am I to read it it? Which version? Do these
things matter?
can you give us a definitive text? or a definitive process for reading the
text? or at least a definitive ocncept for the text? how unstable can the
platform be?
Ian
>From: Stephen Philip Pain <[log in to unmask]>
>Reply-To: Stephen Philip Pain <[log in to unmask]>
>To: [log in to unmask]
>Subject: egypt poem
>Date: Tue, 31 Oct 2006 09:03:41 -0500
>
>
>Egyptian PoemLike a car badge, Horus the Falcon carved from basalt block
>aged around six hundred years before Christ takes off with my thoughts it
>stares at us with its yellow eyed, pin-holed digital Camera to the next
>world in Paris, London, and in a Berlin museum bent in domestic slavery,
>while hubby gets pissedLimestone Woman on knees, two millennia old will
>roll and pound the corn, Sisyphus by any other name, she scrubs and
>drubsFor man too lazy to get the remote control, overleaf, the Mummy mask
>peels, Lucien Freud at ten or so, gets ideas, a final tourist lucky to have
>left a souvenir, Boardman,John, is bored by the hieratic smiles and
>wide-eyed look, prefers the Cretan plasticity to Egyptian simplicity,
>suchappraisals are purely academic, you have not got the foggiestIdea of
>what is going on, modernism Run riot?You’d better buy a book from the
>InternetWhile I attend to practicalities of poetry such as internalsound
>patterns, delayed rhyme, with a copy of J.H.
>Breasted’s"A history of Egypt" on the lap, translated into German, and a
>bookOn Lucien Freud, the pin begins to drop, well practised anachronism,
>start unravel the plot, like Austerlitz by Max Sebald, a photographStarts
>the ball rolling, the English idioms like flies collect around the
>conceptionof art, until the point is lost in articulation, welcome back to
>clarity, the head of King Sethos, says it all, plain and unadorned,
>Fowlers’, plain Death,A language a civil servant would not understand, for
>every noun there must be at least ten adjectives Dipped in ircumlocution,
>reality takes up the slack,None of this lithesome marble interpretation of
>myth, one of the Minoan bull shit.Stephen Philip Pain,
>MPhilwww.biorhetorics.1go.dkkongensgade 15 1-sal,5000 Odense C.Denmark.Tel:
>+45 66 12 06 22
>
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