Hi Keston,

my response to your nuke was to want to ameliorate it by placing the
fragment quoted into a fuller context. I'll come on to other suggestions
extrapolated re Andrews in a following post.

But I never mentioned jazz and it's interesting that you do. I did mention
improv musics. Improv (as much of a nuissance monicker as lang-po with
which it broadly contemporary) was a reaction against jazz; against the
reconventionalising aspects of jazz that we now see so fully realised in
Winston Marsalis. As was 'lang-po' against the Beat sensibility, or
undergraduate as opposed to the post-grad lifestyles that it saw lang-po
proposing (to use something that Bruce said to me once). Now, yes, one
might get hot under the collar about all of this bourgeois -
anti-bourgeoisie, or academic - anti-academic presumtptions and lines in
grains of sand. That's really only a parsley on the moot point. The point
is that if you listen to Zorn in his early solo musics (with bird calls,
whistles, horns, reeds etcetera) you'll find this shifting of attack from
note to note. They aren't notes as in a run. These are almost seperate
(although of course in an energised cadence through time they never be
quite that) addresses.

Whether we can any longer (or ever could) buy one word per line as
instances of such shifts of emphasis, argument, discourse, play is of
course each to their own.

The other point you seemed fired up to make Keston is that nobody from
Cambridge etcetera would ever do such a thing and my mentioning of Tom
Raworth sems to have passed by unremarked. So i'll reiterate it. Is Tom not
really considered a 'proper' Cambridge poet now? Go on, reach for the sky

love and love
cris




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