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I can't see any justification for this pessimism. All I see is a lot of young poets mostly in the creative-writing business and mostly successful, some extremely. This doesn't make them "careerists", it doesn't mean they have been "absorbed" by some socio-cultural machine.   To earn money, even from poetry, is not to be "monetarist", which is a particular economic theory. I find these new poets are mostly interested in and respectful towards old grumpy poets such as me even when the distance between us us immense. 

Poetry establishes its own forms of freedom, in or out of the classroom. The ones who are crushed in a Thatcherite period such as this are not the poets but the poor. Nobody gives a damn about the poets or knows who they are, so poetry escapes. I can see a lot of possibilities for a future: there is a mass of contradictory and inimical thought and practice round which means there are many opportunities for refreshing the senses and working a way through under your own steam. There's a lot of clutter waiting to be cast aside. All you have to do is write it. Then, if necessary, abandon it to the world.

PR

PS I just noticed the title of this thread, which isn't what I have been talking about.  There must be about twenty thousand different versions of "the avant-garde", some of them on the other side of the earth from all institutions. Nobody's going to "monopolise" them, how could you possibly control that vast loony-bin? There was a man lived in the woods near Mytholmroyd recently who wrote poems on bits of white sheet metal.  I believes he runs a fish & chip shop in Harwich now. And anyway, success, academic interest, cash, are not dirty, staining things, and they don't necessarily put any pressure on the writer. As for academisation there are enough daft theories knocking around to accommodate any kind of wild praxis you could dream up. You'll be sitting on your throne eventually in white garb with flowing beard and the young will gather at your feet while you slag off your contemporaries. 

PR

On 2 Apr 2016, at 07:52, David Bircumshaw wrote:

Yup, Pierrre, am afraid that's what's happened.

In the Nineties I used to like the ramshackle economics of poetry, its recalcitrant financial incompetence, that, despite the coating of lucre at its top end, the glories of bumbledom still prevailed through much of a seemingly innocent creature. Well, the Management has moved on apace, that free space that poetry did provide has been monetised. I don't really see a way forward for the art, it doesn't matter what people do, it will be absorbed. If you have the resources or connections, you can carry on as dissident, bourgeois, private objector; if you haven't, tough.
 I haven't; so I don't. Almost every little hideyhole I knew has been annexed by the careerists, there are so many wolves in sheep's clothing about it's a wonder the sheep haven't all died of hypothermia.
It's not that things haven't been bad before: think of how truly awful the world of literary patronage that leers from Johnson's 'Lives of the Poets' was; or how crushing the snobbery and metrics and toxic garrets of the nineteenth century were. But the Beast was so slow to react still then.

best

David

On 1 April 2016 at 14:01, Pierre Joris <[log in to unmask]> wrote:
Inneresting updates on the various poetry skirmishes (wars actually kill people) on a new website. Their opening dispatch below. Check out the site here: http://dispatchespoetry.com/ — Pierre

March 31st 2016

Dispatch #1

It seems almost fashionable these days for various poetry spokespeople to assert – without question – quote – THE POETRY WARS ARE OVER – end quote.
 
That everything is just hunky dory, lion-and-lamb-wise, in the Happy Land of Really Nice Bards.
 
That the wild poets have come in from the wilderness, set aside their war-like ways, and got jobs in the Creative Writing Department.
 
That everyone agrees the only problem facing Poetry today is equitable distribution of Art Booty.
 
That we all agree poetry is just another commodity, something to be bought and sold and traded for jobs, grants, prizes, prestige, and power (such as it is in the Happy Land of Nice Bards).
 
That poetry is a career choice, a useful pathway into a productive life of remunerative professorships, arts management jobs, and government largesse.
 
That we are all fellow citizens in the Institution, now mellowed out in the shared recognition of the Equality of Styles.
 
That differences of poetry are nothing more than differences of taste – and all tastes, it turns out, are equal in a world of markets and general equivalence – it’s just a question of what sells.
 
Hallelujah.
 
We are here to call bullshit on that.
 
Poetry is and always will be an unruly opening of profound modes of oppositional thought, a constant reset of “knowledge” and its categories, a site of revelation for unprecedented form and exorbitant meaning. 
 
As such, it calls out for – demands – constant challenge to the cyclical, careerist sprawl which replaces Poetry with curated dreck, whether it’s the Creative Writing so dear to the heart and bank account of the University or the neo-avant-garde’s commodified word dumps exchangeable for a niche in the wall of the Great Hall of Literature.
 
If there was ever a time that called for poetry war and the liberation of new autonomous zones for poetry's impolite dissent, the time is now.




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