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	HAHHAHAHHHHHA very good ** Now what if it turns out they wer gay
all along and it was the best kept secret in the world cd/ O Meter of
Muscle by the way goes back to Whitman and has nothing to do  with macho
crapo

On Fri, 9 May 1997, cris cheek wrote:

> 
> >        Frank O'Hara said the meter of a pome ought to be like a pair of
> >jeans it either fits or doesnt. I think Hughes' work fits pefectly. I
> >suspect his rhythms are an exact reflection of his own body rhythms as
> >well. big and muscular....
> 
> Ted's Huge . . .?
> 
> This is problematic territory and befits 'the man'.
> 
> >I think both he and
> >Hughes are peferct examples of what Tzara describes as artists/poets who
> >have live poetry as a state of mind
> 
> I love this stuff cd. It's so  -  well, masculine and big and beautiful and
> thrusting.
> 
> All i remember about Ted is his scowling macho posturing and his black
> leather jacket in the late 1960s. His rough 'nation language' of northern
> grit  -  his (beautifully sent up by Jeff Nuttall in 'The Patriachs')
> lashing cadence, brooding over the Yorkshire moors, his fateful battle with
> Sylvia Plath. His HIMness. His thinly disguised misogyny in fact, an
> affliction shared by others including Jeff Nuttall (ok there are many
> others, it's almost a generational thang). Hughes is almost always loudly
> proclaiming himself. He is the kind of artist and poet that dumps us all in
> the shit of romantic agonised anti-hero, the garrett angst, the existential
> bird's nest of a hair-do blah blah dribble thistle swoon blah blah.
> 
> 'The Rattle Bag' is Hughes and Heaney doing some male bonding, Kristevan
> style, through the agency of poetry. De-lurking in their
> iron-honest-long-johns before leaping the primal forest fires with Robert
> Bly.
> 
> Such tropes are popular  -  with women as well as men.
> 
> I'm off out to pump phonemes on the prom
> 
> love and love
> cris
> 
> 



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