I suppose it may reflect badly on me, but I like the following O'Hara quote, from a poem (I'm missing the lineation)

Poetry is not instruments that work at times then walk out on you laugh at you old get drunk on you young poetry's part of your self like the passion of a nation at war it moves quickly provoked to defense or aggression...

I mean, I wouldn't say I understand what O'Hara is doing, here included. But I could relate to some idea of a work of art being more than what you take from it, so that is "part of your self", whoever made it. Conceptual poetry is interesting, but for me that isn't enough to need it to exist.

On 19 November 2017 at 02:06, Luke <[log in to unmask]> wrote:

Thanks for the link. The question about narcissistic lyric poetry was the most interesting for me. Where does one draw the line, at what point is a lyric just "dull"? I think that's key, not the "quivering lip and air of self harm". Interesting that Place calls the lyric poet "dull" and it#s poetry that has the "quivering lip", I would have thought vice versa?

I liked her phrase "no longer the default mode of representation". If conceptual poetry wins out, becomes entirely hegemonic, then it probably should have, however regrettable that is.

All the best,

Luke

On 18 November 2017 at 18:05, Jeffrey Side <[log in to unmask]> wrote:
Some of you might find this feature criticising conceptual poetry interesting.

'A Critique of Conceptual Poetry':

http://www.argotistonline.co.uk/A%20Critique%20of%20Conceptual%20Poetry.htm