I think that they occur pretty commonly among langpo types, and also
some of the under 50 Cubans and Brazilians. Hence postmodernists.
Poets who sometimes don't write for the voice so much as the page,
without being vizpo or concrete poets. Somebody out there probably
has time, if not inclination, to find examples.
At 05:35 PM 11/10/2006, you wrote:
>Joanna said:
>
>>>Parentheses is just a clever way of referring to brackets of
>>>either description, and indicates no particular distinction
>>>between them. At least, so I've always believed. I'm sure the
>>>Rodent will pitch in here and correct me if I'm wrong.
>
>... to which Mark replied:
>
>>I can sense his whiskers twitching.
>
>Oh, well.
>
>I misread Joanna's original post and thought it referred to []'s. I
>think in the UK, both those and ()'s would be called parentheses (as
>Joanna suggests), but I haven't looked this up. Both are
>orthographic ways of indicating a paranthetical clause. Or something.
>
>But a question is how do you -- not necessarily pronounce them but
>signal their presence -- when reading a poem? Not difficult, with
>intonation, etc.
>
>More interesting is whether it is/would be possible to signal the
>difference between square parentheses, rounded parentheses and Emily
>Dickinson's dashes. I'd guess they would tend to all come out the same way.
>
>But ... I can envision poems which would exploit the difference
>between square and rounded parantheses. Except the difference would
>exist in the written but not the spoken manifestation of the poem.
>
>Which brings us of course to Concrete Poetry (specifically the
>sub-variety Typewriter Poetry). I'd see this as the place where (
>... ) and [ ... ] would be used, rather than among Mark's post-modernists.
>
> (Concrete Poets do it in fonts.)
>
>And then there's the question of how to pronounce the indentation in
>a non-traditional unrhymed stanza.
>
>As Ezra Pound didn't say:
>
> Spring [...]
> So long,
> Gongora [... !
>
>A Bewildered WereMouse
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