I like that, Doug: 'what it is I'm given to say'.
Bill
On Tuesday, 13 September 2016, Douglas Barbour <[log in to unmask]> wrote:
> This is essentially the New American Poetry maxim, especially as
> articulated by Robert Creeley, saying, more or less, I write to discover
> what it is I am given to say.
>
> Although various other ways have come along since, & when they work I
> admire them, I try to follow that way as best I can… (Note the concept of
> ‘gift’ in art there.)
>
> Doug
>
>
> > On Sep 11, 2016, at 7:34 PM, Max Richards <[log in to unmask]
> <javascript:;>> wrote:
> >
> > Would you like to write like Ashbery, Bill? NB she says:
> >
> > Ashbery always sounds as if he’s thinking, even when you can’t quite get
> at the thoughts. Jorie Graham uses those expanding and compressing lines,
> which defeat the eyes and jumble the body’s rhythms so that your mind sort
> of breaks open. Dickinson actually exposes the pauses in the brain. They
> all seem to articulate indecision, as if the poem was writing itself in an
> unfinished moment.
> >
> > On Sep 11, 2016, at 16:45, Bill Wootton <[log in to unmask]
> <javascript:;>> wrote:
> >
> >> This is interesting don't you think, from this Alice:
> >>
> >> ALICE OSWALD — British poets might put thoughts into their poems, but
> they
> >> pour them in as if the poem is a container and the thought drops in.
> >> Something about the American line just incorporates thinking.
> >>
> >> I suppose I am guilty of thought popping rather than using the poem as a
> >> vehicle for thinking.
> >>
> >> Bill
> >>
> >> On Monday, 12 September 2016, Max Richards <[log in to unmask]
> <javascript:;>>
> >> wrote:
> >>
> >>> http://www.thewhitereview.org/interviews/interview-with-alice-oswald/
> >>>
> >>> this is very striking, I think
> >>>
> >>> Max
> >>>
>
> Douglas Barbour
> [log in to unmask] <javascript:;>
> https://eclecticruckus.wordpress.com/
>
> Recent publications: (With Sheila E Murphy) Continuations & Continuations
> 2 (UofAPress).
> Recording Dates (Rubicon Press).
>
> Four or five couplets trying to dance
> into Persia. Who dances in Persia now?
>
> A magic carpet, a prayer mat, red.
> A knocked off head of somebody on her broken knees.
>
> Phyllis Webb
>
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