i think you can see the influence, in tomlinson, of north american poetry
**in general**, not pound and williams
in particular.
he is more polite, reserved, but his modernity doesn't
come just from uk or europe.
of course you know much more recent english language
poets than i do, but of the ones i know i cited tomlinson
because he seems to me of a higher class.
from here, in brazil, it seems to me that, as much as
eliot and tomlinson are different than williams and
cummings, they have all something in common, wich
i can call anglo-saxon (mostly north-american)
modernism (for lack of time to write a book).
this is not the case of dylan thomas or sylvia plath,
for instance. or they're not as fit in the label.
perhaps it's interesting to see a view from someone
so far apart, to take some perspective.
does that make sense? ana
----- Original Message -----
From: "Mark Weiss" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, April 06, 2010 7:08 PM
Subject: Re: Bruce Andrews interview at The Argotist Online
You're probably aware that Tomlinson, Bishop, and
late Eliot are irrelevant to a great many
American poets? The North American modernity that
Tomlinson "really understood" wasn't the
modernism of Williams, or Pound, both of whom
have been and continue to be influential within
and beyond the anglophone world, nor of Oppen or
Niedecker and all their descendents. Maybe you
could explain what you're referring to.
Best,
Mark
At 05:51 PM 4/6/2010, you wrote:
>i also think four quartets has more dimensions than
>almost all (not all) subsequent english language poetry, but why does the
>other one must be "obviously" yeats? this sounds traditionalist fascist. i
>much prefer charles tomlinson to yeats. he really understood north
>american modernity, a more cosmopolitan, complex,
>subtle modernity.
>(obs: is he still alive?)
>elizabeth bishop, in her best moments, has all the characteristics of the
>most deep scope, only it's
>not public, socialized, therefore socially problematic.
>chris, i agree about the greek gods, only i think deep
>care and attention to the body, and some post-
>structuralist concerns can only be enriched by
>some rigorous formalism à la eliot.
>formalism is nothing more than attention to form,
>but not any form, only a well structured form.
>well, our bodies are well structured forms.
>the problem is not formalism, but sectarian formalism,
>wich refuses concepts from any other school, least
>of all post-structuralism.
>best ana
>
>----- Original Message ----- From: "Chris Jones" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Sunday, April 04, 2010 9:09 PM
>Subject: Re: Bruce Andrews interview at The Argotist Online
>
>
>>I was thinking about the use of this term also in a more literal sense
>>of exegesis being theological interpretation. Not that this bad, of
>>course. The historic relations between religion and art are quite
>>curious and I often think I was privileged to be free to chose to be a
>>non-believer as a child.
>>
>>marx writes the greek gods are greek art in his phd thesis. when the
>>nomadic war machine entered delphi and saw the new gods in human form,
>>laughed. gods are a human invention as is art. and a whole series of
>>ideas seem to take off here.
>>
>>
>>On Sun, 2010-04-04 at 11:40 -0600, Douglas Barbour wrote:
>>>Does a(ny) reader's response have to be 'exegetical'?
>>>
>>>Ive often felt that what I want is a non exegetical response....
>>
>>--
>>I have chronic fatigue syndrome so I may be delayed in my reply. Just to
>>let you know, that's all. Chris Jones.
>>
>>Blog: http://abdevpoetics.blogspot.com/
>
>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
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