"post-New Finnish hyper Critical"?
P
-----Original Message-----
From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
Behalf Of MC Ward
Sent: 26 June 2007 00:19
To: [log in to unmask]
Subject: Re: Snap Both Their Necks Early
How about "post-New Critical"? You could even be the
founder of a movement or a backlash, as the case may
be.
--- kasper salonen <[log in to unmask]> wrote:
> I'd be astonished if there were some single literary
> theory or
> approach that would work not only for all of poetry,
> but for all
> readers. I don't know what to call my stance, maybe
> someone would like
> to yell out "naïve"?
> (:
>
> KS
>
> On 25/06/07, Barry Alpert <[log in to unmask]>
> wrote:
> > Ever since my interest in Ezra Pound began, I've
> rarely wanted to reread
> > poems unless they virtually demanded research into
> external sources.
> > Though on occasion a specific formal innovation
> from which I could
> > extrapolate might intrigue. Your stance sounds
> very "New Critical". I
> > read some of the major texts of New Criticism as
> an undergraduate in a
> > course entitled "Practical Criticism" given by the
> poet Donald Finkel, but
> > I didn't find them simpatico and they certainly
> weren't very helpful in
> > understanding Pound & Charles Olson, for example.
> Much more illuminating
> > in the case of Olson was a visit to his archive at
> the University of
> > Connecticut and an examinination of books from his
> library, which bore out
> > his archivist George Butterick's argument that
> most of the words in Olson's
> > poems can be found in the books he read. Barry
> >
> > On Mon, 25 Jun 2007 01:59:22 +0300, kasper salonen
> <[log in to unmask]>
> > wrote:
> >
> > >oh I see. an interesting choice; I suppose it's
> just that, to me,
> > >poetry is best when accessible (not dumbed-down
> or limited for the
> > >sake of 'comprehension') without a great deal of
> specific referencial
> > >knowledge -- when the poem speaks 'for itself' or
> relies on itself.
> > >
> > >KS
> > >
> > >On 23/06/07, Barry Alpert
> <[log in to unmask]> wrote:
> > >> Kasper,
> > >>
> > >> That's intriguing. I've often thought that a
> reader need not have seen
> > the
> > >> film "Tonka of the Gallows" to follow what I
> wrote while viewing it and
> > the
> > >> line appended afterwards. In the case of
> "OSPITA: BURN UNIT", it could
> > be
> > >> useful to examine how I treated the text which
> was my source and to
> > realize
> > >> I was imposing a consistent pattern while the
> burns I incurred followed
> > no
> > >> pattern.
> > >>
> > >>
> http://au.geocities.com/masthead_2/us/barry.html
> > >>
> > >> There was no source text for the earlier
> "OSPITA" text, just scattered
> > >> words or phrases which came to my attention. I
> find that each text
> > trails
> > >> its process of composition in an objective
> manner, and that a writer
> > could
> > >> extrapolate upon the methods exemplified using
> their own
> > material/subject.
> > >>
> > >> Barry
> > >>
> > >> On Sat June 23 Kasper Salonen wrote:
> > >>
> > >> much less; the obscurity was in the referencing
> & the way the poem
> > >> relied on it. the same comments I made on the
> earlier "OSPITA" poem
> > >> apply here; the filling-in of the mildly
> braindamaged/clipped lines is
> > >> still a joy
> > >>
> > >> KS
> > >>
> >
>
>=========================================================================
> >
>
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