Ah, yes, they work .... no need to be a member either.
2009/11/24 Patrick McManus <[log in to unmask]>
> Try the next ones Davey
> P XXX
>
> -----Original Message-----
> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
> Behalf Of David Bircumshaw
> Sent: 24 November 2009 17:38
> To: [log in to unmask]
> Subject: Re: [ Volumes 01 - 07 of Remove A Concept are available now ]
>
> I got: 'the item you requested is not available'
>
> 2009/11/24 Patrick McManus <[log in to unmask]>
>
> > Peter Gorgeous covers I could not log in had to become member
> > P
> >
> > -----Original Message-----
> > From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
> > Behalf Of peter ganick
> > Sent: 24 November 2009 03:06
> > To: [log in to unmask]
> > Subject: [ Volumes 01 - 07 of Remove A Concept are available now ]
> >
> > *[VOLUMES 01 – 07 OF REMOVE A CONCEPT ARE AVAILABLE] *
> >
> > Remove A Concept was written by Peter Ganick in the late 1980s in a café
> in
> > the South End of Hartford CT. It consists of 3350 sections running
> > approximately 4500 pages.
> >
> > The covers feature colorful abstract art by the author, art that suits
> the
> > abstract nature of the text.
> >
> > Commentary regarding each volume by Ivan Argüelles, Sheila E. Murphy, Jim
> > Leftwich, John Crouse, Olchar Lindsann, Michael Peters, and Richard
> Deming
> > can be read below.
> >
> > Each volume is approximately 300 pages, and is available as a printed
> copy,
> > a PDF-download, and readability in full for free at each volume’s
> web-page.
> >
> > Remove A Concept is expected to fill 16 volumes before its completion
> > sometime before Summer 2010. Stay tuned for further updates.
> >
> > Take a chance and read some of one of the volumes in the free-read
> version
> > at each of the webpages. Just click on ‘Preview This Book’ near the
> bottom
> > of each page.
> >
> > ------------------------------------
> >
> > Remove A Concept vol 01 / blurb by Ivan Argüelles
> >
> > www.lulu.com/content/7642668
> >
> > Peter Ganick's REMOVE A CONCEPT written in the mid 1980's, comprising
> 3350
> > sections and employing registers of language that range from the
> colloquial
> > of jazz refrain to the enigmatic typlogies of the "seer". Between the
> > convulsive high notes of Archie Shepp and the intricate silences of a
> > himalayan Rishi this amazing text baffles stimulates irritates and
> > gratifies
> > the reader who has the patience and intellectual curiosity to plumb the
> > depths and extents of this "ghost-ridden astrologic theater" , which can
> > also be read as a continuous? segmented? alleatory composition in the
> > manner
> > of John Cage. It is as if Jackson Pollock had chosen to use words
> > (syllables!) rather than pigments as his medium. Ganick says "the poem
> was
> > exciting to write" and indeed its almost naive exuberance, fracturing
> > syntax
> > in every possible way, is a principle characteristic of this monumental
> > Text. This is not to deny the underlying lyricism in the content of its
> > intense fragmentation, as in "over full, read is anothered to morning in
> > sky," ... The at times oneiric segmentation cannot help but remind one of
> > Holderlin's "Fragments". The enormous and sometimes puzzling breadth of
> > this
> > Text can best be summed up in a single phrase: "Light & Maya".
> >
> > -----------------------------------
> >
> > Remove A Concept vol 02 / blurb by Sheila E. Murphy
> >
> > www.lulu.com/content/7762352
> >
> > A principled uncertainly proposes hypotheses, examines each with a cool
> > calculus infused with depth of feeling. One of the welcome ironies of
> this
> > extended text is the centrality of a pressurized short segment that
> stands
> > discernibly as a focal gem. Peter Ganick’s disciplined attention to the
> > situational mystique reveals that single points of focus enrich the whole
> > mental field with meaning. Here, a fine, musical ear sharpened by
> > considerable and continual study and experience, trusts the occupation of
> a
> > locus, finds a panoply of linkages embedded within situations to yield
> > concise renderings of surfaces and their multiple under-layers as a
> > recognition of infinity.
> >
> > ------------------------------------
> >
> > Remove A Concept vol 03 / blurb by John Crouse
> >
> > www .lulu.com/content/7800085
> >
> > yr remove a concept, its endless/open as yr other writings. while it
> tells/
> > says one thing, it can be other things @ other readings/looks. yr words
> > dont
> > seem harvested by program, i would say theyre not, theres alot more going
> > on
> > than random splice and splat & see what sticks. the kind of reading i
> > experience, or what i experience while im reading yr work is a kind of
> > terminal freedom, a velocity that glides unbiased like gold thread can
> keep
> > stretching while retaining valence and value. terminal as endless as well
> > as
> > endless places to board and depart.
> >
> > ------------------------------------
> >
> > Remove A Concept vol 04/ blurb by Jim Leftwich
> >
> > www.lulu.com/content/7841069
> >
> > thinking in this text, *what if *soon becomes *as if*, and if, one by
> one,
> > concepts proposed are removed as other concepts emerge, then *as if*
> > becomes
> > *is*, concept yields to process, being yields to becoming, and one is no
> > longer thinking, or at least not thinking of concepts, one is in the
> > process, no longer reading for content, or at least not for concepts as
> > content, nor is one engaged in a process of reading as writing, one is
> > rather reading as a process of following poetry as it unfolds, as if a
> poem
> > might be about the time spent writing or reading it, as is the case with
> > this poem, and perhaps with all other poems, once the concepts are
> removed.
> >
> > ------------------------------------
> >
> > Remove A Concept vol 05 / blurb by Olchar Lindsann
> >
> > www.lulu.com/content/7962709
> >
> > A poem to be read by the morning, when routes of possibility are to be
> > discerned winding amongst the gaps between shifting particles of thought,
> > of
> > thoughts still porous, not utterly cohered: so that the removal of a
> > concept
> > is the opening of a trapdoor, an infra-verbal space in which one shuttles
> > back and forth: so that the poem forms itself around spaces, in
> undulating
> > and arrhythmic cascades of language, then waits: so that one thinks
> > *between
> > *the nascent concepts lunging in staccato or gushing languorously on
> either
> > side (...) A space for movement, to form itself around.
> >
> > --------------------------------------
> >
> > Remove A Concept vol 06 / blurb by Michael Peters
> >
> > www.lulu.com/content/7962708
> >
> > This important historical work bears its age with increasing intrigue,
> > simply because it would seem to suggest the inversion of time via its
> > manipulation of absence—before and after you were born. It is unlike
> some
> > of the more known, smaller works comprising Peter Ganick's publishing
> > history—and a must have, but good luck finding yourself within it. This
> > massive body of words becomes porous, wildly poetic—a veritable sea of
> > holes, a space machine, or a supervaast field of labias. Ganick's RAC,
> > a.k.a. "Remove a Concept," stretches you way out, makes you cross vaast
> > spaces where you are uncertain of removals and insertions, and this
> > contemplation includes yourself. Then if you realize it was undertaken
> in
> > the late 1980s, the kinks in its thinking creates wild, definitive
> > indefinitiveness where even the uncertainties are doubtful.
> >
> > -------------------------------------
> >
> > Remove A Concept vol 07 / blurb by Richard Deming
> >
> > www.lulu.com/content/7962853
> >
> > A “fond energy” surges through the veins of Peter Ganick’s herculean
> > *Remove
> > A Concept*, powering the poems forward at every turn and creating an
> > inescapable gravitational that pulls together its far-flung parts.
> Ganick,
> > an unsung, underground master, has given his life to poetry and to music
> > and
> > it shows throughout this latest volume of his massive undertaking. To
> > read *Remove
> > A Concept* is to be reminded, that even at this late hour language can
> > still
> > surprise us and can yet reveal those moments when “to enfold envelops you
> > out.”
> > No virus found in this incoming message.
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> 11/24/09
> > 07:46:00
> >
>
>
>
> --
> David Bircumshaw
> "A window./Big enough to hold screams/
> You say are poems" - DMeltzer
> Website and A Chide's Alphabet
> http://www.staplednapkin.org.uk
> The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> Leicester Poetry Society: http://www.poetryleicester.co.uk
> Facebook: http://www.facebook.com/david.bircumshaw
> No virus found in this incoming message.
> Checked by AVG - www.avg.com
> Version: 8.5.425 / Virus Database: 270.14.80/2523 - Release Date: 11/24/09
> 07:46:00
>
--
David Bircumshaw
"A window./Big enough to hold screams/
You say are poems" - DMeltzer
Website and A Chide's Alphabet
http://www.staplednapkin.org.uk
The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
Leicester Poetry Society: http://www.poetryleicester.co.uk
Facebook: http://www.facebook.com/david.bircumshaw
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