I'll be blunter
> "Leave it with the slender distraction, again this.."

Just innuendo, but I read it as someone in class reminding me of my lover, who I'd like (almost) to forget now: "if the two / notes sounded together could possess themselves". I have no means to show what that expression means, what could be missed, or why it is the whole Poems suggests these things to me. I'm not saying that poem ('The Corn Burned by Syrius') does not include a meditation on the city and finance, but yeah, I'm  suggesting they're all love poems.

Luke

On 17 April 2018 at 23:43, Luke <[log in to unmask]> wrote:

> innuendo

take any point "Before is a relation, of degree two..."  heartfelt separation. "Leave it with the slender distraction, again this..". Dark woman? I mean, I don't suppose it would matter. Worth thinking about, though?

Cheers,

Luke

On 17 April 2018 at 21:30, Luke <[log in to unmask]> wrote:

Like uhh innuendo right ?

Luke

On 17 April 2018 at 07:07, David Bircumshaw <[log in to unmask]> wrote:

Poetry as the marginalia and borderlines of love? That's good ..

On 16 April 2018 at 22:10, Luke <[log in to unmask]> wrote:

If I may be blunt? I've opened Poems at I suppose twenty places, and each seems like just an exquisite lyric on (one I understand is working at many levels of difficulty simultaneously but which is)  love. Marginal, perhaps, but I wonder if the given analyses somehow miss that  expression. Maybe not.

Cheers,

Luke

On 25 October 2017 at 22:30, Luke <[log in to unmask]> wrote:

I do agree that poetry can engage with real things and world in complicated ways, though I'm not sure what the ecology metaphor means here. Hope it doesn't seem rude to try and press my question again, but...

> in the shorter manageable poems of Brass you can get everything said to fit some single subject

On Wed, Oct 25, 2017 at 4:46 PM, Tim Allen <0000002899e7d020-dmarc-reques[log in to unmask]> wrote:

Below makes a lot of sense to me. 

What I'm not so sure about is what came next - "Poetry, at least so it seems to me, more often than not hopes to outlast its moment of composition, and will, as the history of poetry suggests, outlast its historical readership. Insofar as poetry finds some niche in the world of prose, it might be said to have made a sustainable ecology for itself." 

I suppose if we look upon poetry as a thing, in the same sense as language itself is a thing (in the same sense that trees and insects are things) then I kind of understand what Drew is saying. I've always been fascinated by the idea of thingyness beyond our sentience - but that's an 'idea' that relies on my sentience.... so...

Cheers

Tim

 

On 25 Oct 2017, at 11:35, Drew Milne wrote:

What are the conditions of song in a boat crossing the Mediterranean and, perhaps, speculatively torn between Arion's hope for dolphin spirits and the reality of human trafficking? I don't think it is self-evident that poetry is writing, or that it exists for readers or for audiences. There's a good deal of evidence that many poets work out of the constraints and resistances of this earth world and its ecology – conditions of poetry's possibility – without much sense or hope of readers or audience. Indeed given the lack of readers and audiences, it would be strange if they did not, not least because the reading of poetry, insofar as it measures itself up to the intensity of poetry's composition, is scarcely ever as lively as a poem.