L there’s a good chance I took the button from P.
but: yeah: I ear it under the title 'Film’ (which I admit I first read as ‘Fan,’ (dark room & my eyesight). Whether read fast or slowly (& I get that fast for a certain kind of performance poem), i certainly ‘felt’ the sense of overlapping images from many different perspectives (I also thought of that famous film that begins with a eyeball being sliced — that kind of shiftiness of the images)…
D
On Jul 17, 2014, at 9:38 AM, Lawrence Upton <[log in to unmask]> wrote:
> 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
>>
>
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
|