Sincere thanks Jamie
S
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From: [log in to unmask]
To: BRITISH-IRISH-POETS <[log in to unmask]>
Sent: Thu, 27 Nov 2014 17:03
Subject: Re: the avant garde vs. the lyrical:the telephone book
Olson books at UC Press:http://www.ucpress.edu/search.php?cx=003468885755146690115%3Aomb6ogek1s8&cof=FORID%3A10%3BNB%3A1&ie=UTF-8&q=charles+olson+poet
Cheers,
J
___________________________
Jaime Robles
On 27 Nov 2014, at 13:53, Sean Carey wrote:
Are his books in print Mark?
-----Original Message-----
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To: BRITISH-IRISH-POETS
Sent: Thu, 27 Nov 2014 16:34
Subject: Re: the avant garde vs. the lyrical:the telephone book
#AOLMsgPart_1_7fba6f18-118e-49fa-a1d4-7df1bdabeb90 td{color: black;} .aolReplacedBody #aolmail_AOLMsgPart_0_658906ff-2ff1-49ba-b1d9-d6a841a577f5 td{color: black;} .aolReplacedBody .aolmail_aolReplacedBody {font-family: Geneva,Arial,Helvetica,sans-serif;font-size:9pt;background-color: #ffffff;color: black;} Olson remains both a lightning rod and a cult figure in the US. He's largely ignored anduntaught. For me he towers over most of his contemporaries.
Mark Weiss
-----Original Message-----
From: Sean Carey
Sent: Nov 27, 2014 3:55 PM
To: [log in to unmask]
Subject: Re: the avant garde vs. the lyrical:the telephone book
the A not an example of a new project but an elusive mouse. yes a viable option is to find a balance that can blend various strands of poetics. on Andrea I rate her work very highly but poetic theory now is of less interest than it was in past decades even when it is voiced by Andrea Brady. to move forwards requires moving into new mediums and platforms yet uncharted. Olson is gone since 1970 with nobody reaching his level which is just a personal view. he outflanked even the great 20th century novelists in scale and span as well as reaching their plateau in terms of output. the sum total of C.O.'s work is vast nor did he find the need to hide the core of his overall project by subverting the subject matter which is a flaw in Joyce's Finnegans Wake I feel. of course Joyce was constricted by the era he lived in just as Beckett was unable to translate the work of De Sade when May Beckett was alive for different reasons.
it was sad that George F. Butterick left us so early given the quality of his scholarship on Olson. often I am curious on how modern America really sees Olson given that he was no lightweight in any sense including the political. John Noto I can find little trace of online but I liked what he was doing in a poetic mode of recording the sound and landscape he dwelled in with real style. the Noto terrain was hard urban hardball and superb. in a musical sense it reminded me of the work of Peaches the Canadian rock performer whose work I admire and respect. she works in a very basic form with shades of Andrea Brady's poetry and indeed Keston Sutherland's. I regret that Noto seems to have vanished unless anyone on this list can trace him?
to lose Olson in an American context would be very sad as then the tailspin would leave him forgotten beyond America. many great poets sink without trace after their deaths if nobody picks them up and tracks them for future generations. even Joyce despite all the lip service he gets in Ireland for cultural tourism reasons is more or less dead and buried simply because his work cannot be easily thought at 2nd or 3rd level. academics and teachers do not enjoy writers who demand a serious read in the same way social workers love working 9-5pm. quality Joyce scholars are very scarce on the island of Joyce's birth.
I hope America never loses sight of Olson and if it does it should hang its head in shame.
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From: Sean Carey <[log in to unmask]>
To: BRITISH-IRISH-POETS <[log in to unmask]>
Sent: Thu, 27 Nov 2014 20:09
Subject: Re: the avant garde vs. the lyrical:the telephone book
A
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From: [log in to unmask] <[log in to unmask]>
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Sent: Thu, 27 Nov 2014 17:01
Subject: Re: the avant garde vs. the lyrical:the telephone book
Hi Tim and Sean,
It is possible to see a poem that is free of any ego as simply one part of a complex-- the narcissistic side, or self-invested side, remaining hidden. Such a poem is lopsided in its
presentation --truncating the field as it were, if one were to speak in the vein of Olson-- though one can usually feel something of what has been left out, precisely because the field is the field.
I am always surprised at this when I notice it, as I can imagine a poetry that describes the ego accurately to be as harrowing and enlightening as any undertaken, and one suitable for both a new kind of lyric and as a projectworthy of an avant garde.
David
On Nov 27, 2014, at 3:46 PM, Tim Allen wrote:
Yes, but there's still a difference between the ego being present within a poem and the ego remaining outside a poem, by which I mean we can write a poem which has no 'self' in it at all but about which we can feel very proud etc. We can be subjectively ego-centric about our objectivity.
I also like it when writers are objective about their nature as subjects, and I think a lot of the stuff I personally rate highly does that somehow.
Tim
On 27 Nov 2014, at 14:33, Sean Carey wrote:
The ego never really goes despite our efforts to try to sidetrack it from our consciousness when writing leaving total objectivity impossible in any field of human endeavour.
