I think it's also a jazz reference to bop ( I use 'bop tones' in a poem
about Sun Ra), But this 'boop tone' is not an eighth-note or
sixteenth-note, as one finds in solos by Charlie Parker, but an anomalous
elongated note. Or, referring to pitch and intonation, it could be a
distorted or smeared note, echoed in the verbal distortion.
On 12/2/13 03:17, "Mark Weiss" <[log in to unmask]> wrote:
> 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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