Then it's not open form. I think my understanding of the term is
pretty universal.
At 10:16 AM 4/15/2010, you wrote:
>I don't necessarily agree with this assertion, Mark. I know that I have, in
>fact, planned so called 'open form' poetry.
>John Herbert Cunningham
>
>-----Original Message-----
>From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
>Behalf Of Mark Weiss
>Sent: April-15-10 8:41 AM
>To: [log in to unmask]
>Subject: Re: review of the new Les Murray
>
>Does it matter?
>
>My understanding of open and closed form (I work in the former) has
>nothing to do with "form" as in sonnet, prose poem (a form in a very
>different sense of the word), etc, but with how one goes about it.
>Recollected in tranquility is closed form--the poet knows where
>he/she's going before he/she starts. Closed form. Or discovers form
>and its extension content (and vice versa) in process. Open form.
>Using the word form in yet another sense.
>
>Best,
>
>Mark
>
>At 07:47 AM 4/15/2010, you wrote:
> >After reading numerous prose poems or things purported to be prose poems,
> >I'm still in the dark about what constitutes same and what the discernible
> >difference is between prose (particularly now that we have a category
>called
> >'postcard fiction') and the prose poem?
> >John Herbert Cunningham
> >
> >-----Original Message-----
> >From: Poetryetc: poetry and poetics [mailto:[log in to unmask]] On
> >Behalf Of Tim Allen
> >Sent: April-15-10 5:32 AM
> >To: [log in to unmask]
> >Subject: Re: review of the new Les Murray
> >
> >Well yes Doug, the shift has by no means been absolute, just
> >considerable enough to my mind to be worth mentioning.
> >
> >My bias too has always been towards open forms but the relationship of
> >lots of little open forms to a more fixed macro form that encompasses
> >the lot, such as in many modern long poems and sequences, is
> >problematic.
> >
> >Is the prose poem (or what we normally think of as being a prose poem)
> >an open or closed form?
> >
> >Tim A.
> >
> >On 14 Apr 2010, at 20:49, Douglas Barbour wrote:
> >
> > > Um? I would not assume any such shift as absolute, that's for sure.
> > > But, indeed, one finally has to come back to what works, & that's
> > > how well any particular poet does the job at hand. (Though I admit
> > > my bias is toward the open not the closed forms...
> > >
> > > Doug
> > > On 14-Apr-10, at 4:03 AM, Tim Allen wrote:
> > >
> > >> I have written before concerning the subtle shift in the ideology
> > >> of free verse from progressive to reactionary that has taken place
> > >> over the past 30 years.
> > >
> > > 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.
>h
> >tml
> > >
> > > The secret
> > >
> > > which got lost neither hides
> > > nor reveals itself, it shows forth
> > >
> > > tokens.
> > >
> > > Charles Olson
>
>Announcing The Whole Island: Six Decades of Cuban Poetry (University
>of California Press).
>http://go.ucpress.edu/WholeIsland
>
>"Not since the 1982 publication of Paul Auster's Random House Book of
>Twentieth Century French Poetry has a bilingual anthology so
>effectively broadened the sense of poetic terrain outside the United
>States and also created a superb collection of foreign poems in
>English. There is nothing else like it." John Palattella in The
>Nation
Announcing The Whole Island: Six Decades of Cuban Poetry (University
of California Press).
http://go.ucpress.edu/WholeIsland
"Not since the 1982 publication of Paul Auster's Random House Book of
Twentieth Century French Poetry has a bilingual anthology so
effectively broadened the sense of poetic terrain outside the United
States and also created a superb collection of foreign poems in
English. There is nothing else like it." John Palattella in The
Nation
|