Dear Cris,
I like your tracing of connections, though I always feel that the
poetry/musical improvisation parallel misses something essential to do
with making-time. Perhaps the PRODUCTS of those improvisers you mention
evoke the poetic products, but there's a kind of collapse of time into a
thrust with Evans or Bailey that the page allows the reader to bring to it
or not, step into or not. Even Tom R's vertiginous reading speed, because
not disappearing from the world as it goes, though from your ear or brain,
doesn't have this effect on me. Maybe Bruce A has this conceit, but there
the stuff still is on the page later. This isn't the same as a record of
the reading moment.
What about actual verbal/poetic improvisers? What strategies/textures do
they employ/effect?
See Poetry Project newsletter issue, Feb 91, with various articles on
improvisation incl. by me on expenditure-based improv versus improvised
composition within a (time)-frame.
Fiona
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