Geraldine, I was refering to the fact that Scott Thurston edited ‘The Salt
Companion to Geraldine Monk’, which indicates a partiality to your work
that you no doubt welcome. And since Scott is co-editor of The Journal
of British and Irish Innovative Poetry, you know you will always have a
potentially favourable critical reception within in its pages. So naturally
you are enthusiastic.
On Tue, 20 Oct 2009 01:22:42 +0100, Geraldine Monk
<[log in to unmask]> wrote:
>I second Elizabeth and she saves me having to reply in depth. Her
statement on younger poets is spot on. And to film studies we should
add the visual arts which has seen most of its innovation nurtured in
the colleges since the war (WW2).
>
>I also find that a journal with such a glittering editorial line up and
ambition should be seen to be born out of a 'panic stricken inferiority'
and 'factional' - how Jeffrey arrives at that I really don't know. But I
would say that wouldn't I even though I am not an academic, I don't
teach and have nothing to do with the journal.
>
>G
> ----- Original Message -----
> From: Elizabeth James
> To: [log in to unmask]
> Sent: Monday, October 19, 2009 11:16 PM
> Subject: Re: Journal of British and Irish Innovative Poetry launch at
Birkbeck (Weds 21st October 2009)
>
>
> Hello
>
> I think there are logical errors in most of the objections raised. Just
> because academics decide to talk about something doesn't mean
they can or
> desire to lay claim to it. Most literature is already studied
academically
> without any particular impact on its other audiences. An even better
example
> probably is film studies.
>
> As for the possibility that young people will be bored by the poetry
> currently thought of as innovative when it becomes academically
> recognised -- well, that's OK isn't it? they need to move on in the
> antipathetic cycle, make their own innovations ...
>
> Elizabeth
>
> From: "Jeffrey Side" <[log in to unmask]>
>
>
> >It seems to me, that this growing trend towards gaining academic
> legitimacy for innovative poetry, is partly based on a sense of
inferiority
> that without it such poetry will continue to be seen as “not quiet up
to
> scratch” in the more conservative halls of academia. But such a
panic-
> stricken attitude, is, I believe, a mistake, as it will only cause
> innovative poetry to be seen as a practice and topic of discussion
that
> is only open to those within academia. This not only will be bad for
> such poetry from a public relations point of view (and it has quite a
> poor PR standing amongst the general public as it is) but it will
cause a
> backlash against it, with younger poets who have a more
romanticised
> idea of what avant-garde poetry is, and how it is written and
> disseminated, forming antipathetic groups and schools. And does this
> sort of poetry really need more factions representing it?
>
>
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