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Tim, in reply to yours and somewhat parallel to what Peter says below, I’m not really talking about convergence though that might be the case. I suspect you too have a problem with the term ‘hybrid’ though for different reasons. We understand a hybrid to be the product of two different kinds of plants or animals which each have determined features. For me, these two camps have no such determined features unless we’re willing to accept caricatures or very generalised tendencies. The trouble for me is that I can’t see poets meaningfully engaging with either caricatures or generalised tendencies. In terms of the literary – leaving aside other contributary experiences – what poets engage with (and by this I mean learn from) are particular poems, particular poets. I take back what I said earlier about the ‘theoretical’! This experience is personal, grainy, magnetic, intimate, intensely focused (though I suppose all that could be theorised). There is nothing stopping a young poet, or an old one for that matter, learning a great deal from both Hill and Spicer, or from both Roy Fisher and Elizabeth Bishop. This isn’t hybridity – more like serendipity.
   I have far more concern, vaguely returning to that CW topic, about its teaching if it were to perpetuate these kinds of binaries, explicitly or otherwise, as I think it sometimes does, than I’d have about the hegemony of university networks. You found your way, Tim, to a whole set of preferences, gradually, without being steered in this manner, as I suppose all of us from an older ‘untutored’ generation did. (Yes, I know that raises other questions about an exclusionary canon, but nothing quite as restrictive...)
Jamie
 
From: [log in to unmask] href="mailto:[log in to unmask]">Peter Riley
Sent: Sunday, January 07, 2018 3:36 PM
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
Subject: Re: Where does poetry sit in relation to academia, or vice versa?
 
I think what Tim says about recent convergences is quite right.  The question is, then, how do you recognise a poetical writing as “mainstream” when it no longer has the necessary characteristics?.(For that matter how do you define Geoffrey Hill’s Clavics is a stylistic contrary to, say, Jack Spicer’s Holy Grail? (without proposing, of course they they actually agree about anything.))    Is associative definition (such an university emplacement, scale of reward) enough? Is mere assertion ("We still are not one of that lot whatever they do") sufficient?.     I think what Jamie says about the obsolescence of binary conflict as basic condition of production is quite right. 
 
pr
 
 
 
On 7 Jan 2018, at 2:45 pm, Tim Allen <[log in to unmask]> wrote:
 
With regard to 'younger poets' Jamie, I don't think you are right, not from what I've been picking up anyway. What I find is that elements of the old arguments are coming out unchanged in essence but dressed in different clothes. On the wider front, yes,  there has been a coming together of the different poetries (hybrid etc) with a more adventurous use of language from some of the young mainstream merging with a greater accessibility (in terms of subject) from some of the young avants, BUT, on the avant side there has also been a recent increase of both activity and a sense of 'we are not doing what that lot are doing'. The reasons for this are, as always, very difficult to work out, but it does seem to have something to do with the social groups that an individual finds themselves mixing with and sharing ideas with - again, this is where the influence of higher education networks become evident.
 
Cheers
 
Tim
 
On 6 Jan 2018, at 14:53, Jamie McKendrick wrote:

Perhaps I ought to preface these statements by personalising them and saying that I find the divisions mainly unhelpful, only I very much suspect that I’m not alone in that, and that a whole generation or two of younger poets will have discarded them.