From: cris cheek <[log in to unmask]>
To: british-poets <[log in to unmask]>
Cc: Mills, Billy <[log in to unmask]>
Sent: 07 September 1999 04:44
Subject: RE: intention and design
| But i'm not sure that I feel performance needs an immediate audience of
| present witnesses to be *a performance*. OK, i'll admit i don't think
| that's necessary. So the issue of public and private doesn't cut it for
me.
Yes, such a position is essential for one to think of the making of a poem
as a performance
At what point and with what intent does a poem cross a boundary
| between under the bed and not to be seen by anyone and made for one or
more
| others to engage with? And at what points does the writer cross the
| boundary and become the reader witnessing their own *performances*?
This is quite unnerving because I have *never told *anyone that I write
under the bed and I'd like to know how you know - but
the first question in the quoted 2 might be answered moronically - when you
show someone - but I am glad of your elaboration... is this, cris, to do
with a thing that you and I and others I am sure had / have I think phrased
as "when you know what you're doing it's time to stop"?
I think it is for me.
In one way obviously not. I was writing this morning. I know I was writing.
I knew I was writing at the time. But what exactly it was I was writing I am
not sure... Now I don't mean it was rough notes. Far from it. The thing has
a title and its own folder; all the conveniences; but it surprises me,
worries me, confuses me. It's performing *and performing me as much as I am
performing it...
at first it was a pile of stuff... we'd lie under the bed together, not
saying much; and then one day it began writing me - late yesterday to be
fairly precise
| i've just wandered into a room and caught myself misreading pork pies as
| dark skies
the headline on the guardian today was unultimatum
salt and vinegar
L
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