BTW, Doug---break a leg on yr upcoming poetry trip! Do talk of petc wide
and far!
Thx for the refs; I'd got much of my thought from Levertov who carefully and
concisely surveyed the field of thought on 'line' in her classic [1970s?]
essay. Her incomprehensible way of 'scoring' lines, as well as her poems
themselves, were disappointments. But her assessment of the All--Importance
of The Line stayed with me and is something I continuously observe in
reading poems, tho seldom in writing them.
After so many 'outgoings' of reading others' poems, I find m'sel' 'coming
in', or, rather, back to Shaksper, the 10-syllable line. The meanings
delivered in song, the choices limited to little space for many gloriously
remembered words, or stretched over 2 lines in a simple ease. That may've
been what has so often struck me as the undercurrent beauty in Liz Bassett's
poems. She consummately flirts with form---nearly always fitting her work
to the 10-syllable line.
joodles
2008/9/12 Douglas Barbour <[log in to unmask]>
> Okay & a number of USAmerican poets have written on it with precision:
> Olson, Creeley, Levertov. Also my Canadian, Webb.
>
> Just for a start.
>
> Doug
> On 12-Sep-08, at 2:09 AM, Judy Prince wrote:
>
> THE LINE. Bottom line.
>>
>
> Douglas Barbour
> [log in to unmask]
>
> http://www.ualberta.ca/~dbarbour/
>
> Latest books:
> Continuations (with Sheila E Murphy)
> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> Wednesdays'
>
> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
>
> Language is sound as sense.
> Music is sound as sound.
>
> R. Murray Schafer
>
|