No! It's possibly faintly amusing rubbish. I answered irrelevance with
itself, which seems to be how Patrick and I communicate our love of each
other
Now... "I felt so many fast jump cuts"
that? you felt so many that... ?
and "or too many channels surfed far too quickly (that button?)..."
ignoring "(that button?)" because I'm not clear what it means here" --
double "too" - too many for whom? for what? & too quickly? for whom or what?
& I'm not saying that to be awkward or aggressive. I appreciate being read
closely and ask this in what I hope is the same spirit
I might be inclined with some to leave it at that and get an answer; but
you're a sophisticated learned man so I'll give you a kind of answer,
though I leave you to ponder your apparent assumptions!
not an answer, a guide - I wrote a poem called BVM, years ago, which I
would read very fast, so fast that really it defied comprehension
talking about it when challenged I remember I said that people were welcome
to read it at their leisure but that aurally it had to be fast
I found that I made some progress against the question "Why?" with the
answer "Think Dziga Vertov's Man with a Movie Camera"
Don't know if that's any use NB I wouldnt read today's poem fast
BVM is at http://lawrenceupton.org/data/bvm.html though now I would eschew
my references to Daltrey and Pete Shelley - appologies of that just muddies
muddy water
L
On 17 July 2014 16:20, Douglas Barbour <[log in to unmask]> wrote:
> All of which is fascinating, L. But. I felt so many fast jump cuts
>
> or too many channels surfed far too quickly (that button?)...
>
> D
> On Jul 17, 2014, at 5:14 AM, Lawrence Upton <[log in to unmask]>
> wrote:
>
> > oh yes
> > it's usually the intelligence of crows that defeats the many
> > I used to patronise a noisier cafe where I did once ask a muvva to keep
> her
> > child from screaming like a crow
> > she objected that he didnt sound anything like that; and I gave up as she
> > was making more noise than the child bird she was ignoring
> > sometime later, the little tweet was climbing on an empty table - he
> stood
> > up, spread his arms and launched himself into space in one fearless
> movement
> > he didn't seem to have the idea of flapping his arms and fell straight
> down
> > hitting the ground, he began to scream, as I believe I would in similar
> > circumstances
> > the mother came to collect him, glaring at me, but I showed no emotion
> > neither of us exchanged a word
> > I see him now and then - I think it's he -- sitting on a branch of a tree
> > near the Carshalton ponds. He's only vocal near tea time;
> > and once he was in the middle of the road, seeing off a magpie
> >
> > L
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > On 17 July 2014 12:03, Patrick McManus <[log in to unmask]>
> > wrote:
> >
> >> Thanks for clarifying that L
> >> I've heard poets who sound as if they are turning into crows!
> >>
> >>
> >> -----Original Message-----
> >> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]]
> On
> >> Behalf Of Lawrence Upton
> >> Sent: 17 July 2014 11:44
> >> To: [log in to unmask]
> >> Subject: Re: sorry for being late,let's pretend it's still Wednesday
> please
> >>
> >> Well, I'm there at the present. For the last hour we have overblown
> singing
> >> (volume and decoration = emotion = good) drifting down and mixing with
> the
> >> MOR of the coffee shop and for many hours an ever-changing convention of
> >> mothers with babies who sound as though they are turning into crows. Not
> >> sure that Sutton has much to do with this poem though.
> >>
> >>
> >> On 17 July 2014 11:32, Patrick McManus <[log in to unmask]>
> >> wrote:
> >>
> >>> Sutton has it all going on what!
> >>>
> >>> -----Original Message-----
> >>> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]]
> >>> On Behalf Of Lawrence Upton
> >>> Sent: 17 July 2014 09:59
> >>> To: [log in to unmask]
> >>> Subject: sorry for being late,let's pretend it's still Wednesday
> >>> please
> >>>
> >>> *Film*
> >>>
> >>>
> >>>
> >>> an arm sprouts from a person like a tree
> >>>
> >>> details of architecture draw attention;
> >>>
> >>> peaks and cliffs among the rooves and towers
> >>>
> >>> turn into clouds and dissipate upon
> >>>
> >>> a wind; she lights a cigarette; she coughs;
> >>>
> >>> the sun shines on her body; grass takes on
> >>>
> >>> the colour, texture and warmth of fur; a gate
> >>>
> >>> opens on to a chasm to which she strides;
> >>>
> >>> she sits and inhales; breeze tugs the hair; the tree
> >>>
> >>> sways, the new arm foreshortens, then withers;
> >>>
> >>> moss grows on its stump; how tiresome, she says
> >>>
> >>> to someone else about something; a many;
> >>>
> >>> multiple bird song and people making notes;
> >>>
> >>> much dead wood; decay upon rivers; as if
> >>>
> >>> film had been cut, and joined by another
> >>>
> >>> with the same actors
> >>>
> >>> she begins to hit a client
> >>>
> >>> on his erect penis, with twigs, grinning
> >>>
> >>> lasciviously; he takes it,
> >>>
> >>> pained and excited; small figures in a box
> >>>
> >>> in a luxurious doll's house; a washing machine
> >>>
> >>> spilling water over a polished floor
> >>>
> >>> a glistening weir; shining electronics,
> >>>
> >>> toys gleam at the lawn's centre.
> >>>
> >>> She leans forward
> >>>
> >>> to get a better view, totality
> >>>
> >>> curving or seeming to; and yet bony,
> >>>
> >>> meat scraped; and now, like some ship's figure head,
> >>>
> >>> ghastly of colour, ambiguous; menacing;
> >>>
> >>> wind opens the kitchen door, rattling the high cupboards
> >>>
> >>> above the empty work space; a radio
> >>>
> >>> starts; a loose wire connects; an idiot talks
> >>>
> >>
> >
>
> Douglas Barbour
> [log in to unmask]
>
> Recent publications: (With Sheila E Murphy) Continuations & Continuation 2
> (UofAPress).
> Recording Dates (Rubicon Press).
>
> Something else is out there
> godamnit
>
> And I want to hear it
>
> C.D.Wright
>
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