Glad to help.
-----Original Message-----
>From: jesse <[log in to unmask]>
>Sent: Feb 11, 2013 9:35 PM
>To: [log in to unmask]
>Subject: Knee-deep in Allen Fisher--Boop tone et. allen
>
>The Heavy hitter Mark Weiss weighted in with some 20-stone, maybe even a bit
>heavier (?), advice on this massive issue. But we're certain that he knows
>in his deepest guts that with Allen Fisher's most thickly striated work,
>larded like marble cake with learning, nothing is ever exactly as it's
>freighted. It would take a week of slimming down the corpus of his
>linguistically innovative settings, to allow Mark to pick the teeth of
>Fisher's most arcane and innovative intentions, as well as flense the fat
>and taste the fruit of Fisher's inventions. But Mark Weiss' omnivorous
>reading, and his obvious long feeding at the common spigot of the moderns
>and post-post-post moderns, makes his holding forth on any poetic manner,
>and no matter how briefly as in this case, much better than many others'
>labored breathing.
>
>But to get back to Allen Fisher's boop tone. I believe we haven't taken
>into consideration the obviously self-reflexive word "scans"--which, if we
>unpack the allusion, would allow us not only to see scans as a technical
>term, but one belonging more properly to the poetic lines presently under
>consideration--all of which once again calls for a reconsideration of the
>multivalent intention that lurks behind virtually all of Allen Fisher's
>writing. And I repeat that I would love to actually hear Mr. Fisher's
>delivery of those lines, (his own, organic scanning on the breath, as it
>were) and to ask him what leads him to break his lines in the manner that he
>does in this Civic Crimes series and in many of his others. Maybe that also
>needs to be documented and foot-noted. As in:
>
>he scans for a
>boop tone
>
>what makes his breaking the line at "a" work in the manner that it really
>does, or really doesn't?
>why couldn't:
>
>he scans for a boop
>tone
>
>work just as well? Or:
>
>he
>scans for a
>boop
>tone
>
>or even a Lax-like:
>
>he
>scans
>for
>a
>boop
>tone
>
>or even a more earthy, dialect or street-driven:
>
>hey scans fora
>bup
>tawn
>
>and yet again:
>
>he scans
>4-a
>boop
>tone
>
>which could be scrawled by Banksy any where at all in everyone's city and be
>an occasion for celebration among the upper crust.
>
>Enjambments are the thumb-prints of master poets left behind on their works
>for readers to shine an oblique light across in order to learn the glorios
>warp and weft of the poem's texture in its virtuoso display of technique,
>as well as for reader's admiration of the matrices of interconnecting
>valences of meaning, sound, and situation, and finally, as they say in
>Japan, for pure self-study in relation to the consequent aesthetic
>ambiance.( Think of Leonardo with his brush, or red chalk and prepared
>surface) We might also add that the subject of a poet's punctuation--or lack
>of--is a clue to the immediate psychokinetic context in which the poem
>assumes form--(think of Michelangelo with his hammer.) All of these issues
>are brought up by scanning for boop tones, and for a singular request to
>Google a boop "sound"--notice the difference--because in Allen Fisher, even
>the smallest choice of word means worlds, but Mark Weiss also means worlds
>in his diction as well, so we should also take into consideration, Mark
>Weiss' implied deep-dish understanding of Fisher's poetic praxis.
>
>Jess
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