Hi, (apologies again for cross-posting)
i've had a couple of requests to cite examples of what i'm getting at under
neologism.
I'd been thinking about something like this from P. Inman's 'Red Shift':
'the outfielder broke stride the more i spoke / bottle allowing
a red minus. deadener put to people / leam mound, drut aniline
/ rrung lipstick / bloodied shire total ago / boswell's
shut ink, number bodied mesa / hairline upholstery / brogue
flim (period any mere) / based minuet diminished to a city'
- or of this from Maggie O'Sullivan's 'States of Emergency' (difficult to
render accurately here - so, a translation from 'Busk, Pierce'):
'Jagged Pebble Song.
Unlawful
Cliffs
Will, where no Cliffs be.
woundlark.
moochpennybreeze.
O
how the filthy
Keepsakes
Truckle Back Tripling
Ash.
Ink, launjer, red on leash,
BLOOD.
Crooked Swatch(ish,yellow) -----
Fling Flaunden
Sheenies
Quick Poppy Tie of Axe
Drumcut strip strung twists
brooch
&
pen Funerary tabletter, armistice,
Drown!
Keep
Geographies.'
- or Charles Bernstein's 'AZOOT D'PUUND' from 'Poetic Justice':
'iz wurry ray aZoOt de puund in reducey ap crrRisLe
ehk nugkinj sJuxYY senshl.'
- or the language of 'marks' and versions of 'marks' intended to be
sounded in Bob Cobbing and Lawrence Upton's 'Domestic Ambient Noise' series
(which there's no possibility of including a quotation from here -
hmmmm).
I'm also thinking of instances of nation - language and dialect spellings
as also 'new' turns of phrase or words taking on 'new' functions.
Yes, we know about transrational 'traditions' and the romance of 'coining'
a word or a term. Many neologisms develop out of social interaction - I'm
thinking of how inflection turned 'bad' or 'wicked' into 'good' and so on.
Such instances pepper our poetries in these times. Why? What drives them?
What are the political and cultural imperatives at work?
love and love
cris
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|