Weird: I'm getting these out of order, which suggests the computer or
the list also controls things...<g>?
Anyway, it's all very interesting, & suggests that Ashbery is
absolutely right.
Doug
On 17-Feb-07, at 10:38 AM, Joanna Boulter wrote:
> My experience is usually that the poem (rather than me) is quite
> obviously uncomfortable until I've managed to help it, or relax and
> allow it, to find its shape. As you say, Candice, it can require a
> long gestation.
>
> joanna
>
> ----- Original Message ----- From: "MC Ward" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Saturday, February 17, 2007 5:17 PM
> Subject: Re: left margin
>
>
>> I agree with Doug that the poem under construction is
>> what determines the line breaks. The hard part of
>> writing a poem, for me, is enabling it to find its
>> shape. Until that happens, I feel physically
>> uncomfortable and doubtful that there's a shape there.
>> Sometimes there is, sometimes there isn't, but I'm
>> willing to give the poem every benefit of that doubt
>> and often return to one that's many years old to see
>> if it (or anything from it) is salvageable.
>>
>> I'd be interested to hear about others' process of
>> composition.
>>
>> Candice
>>
>> . . . [H]ow could you come down
>> with stockholm syndrome all alone?
>>
>>
>>
>> --- Chris Jones <[log in to unmask]> wrote:
>>
>>> Doug, many thanks, it does address what I wrote very
>>> well.
>>>
>>> the opposition could be seen as a convenient
>>> fiction, traditionally a
>>> basic trick with metaphysics, although I can
>>> understand the difficulty
>>> in understanding since I was using a very high level
>>> of abstraction,
>>> trying to get rid of figures so that there are only
>>> pure forces and the
>>> figures then come after or can be plugged in to the
>>> metaphysical
>>> abstract in different ways sort of like abstract
>>> painting.
>>>
>>> On Fri, 2007-02-16 at 10:28 -0700, Douglas Barbour
>>> wrote:
>>> > Sorry Chris, But I have to say I probably don't
>>> really understand all
>>> > you were saying here. But, in a larger sense,
>>> yeah, sure, 'poetry' can
>>> > be all. Where I may disagree is in this idea that
>>> the subject-writer
>>> > controls the choice of line breaks, when some
>>> might argue that the poem
>>> > under construction does that. I'm thinking also
>>> music, that aspect of
>>> > (some, not all?) poetry, where those silences
>>> alluded to through
>>> > reference to Miles Davis, tend to have something
>>> to do with spacing &
>>> > line breaks.
>>> >
>>> > I admit, although I admire prose poems, & poetic
>>> prose, I tend still to
>>> > play the page & the line, but not as fully
>>> controlling subject.
>>> >
>>> > (of course, I may not be responding to what you
>>> said at all...)
>>> >
>>> > Anyway not opposed but just traveling different
>>> paths...?
>>>
>>
>>
>>
>>
>> ______________________________________________________________________
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>
Douglas Barbour
11655 - 72 Avenue NW
Edmonton Ab T6G 0B9
(780) 436 3320
http://www.ualberta.ca/~dbarbour/
Latest book: Continuations (with Sheila E Murphy)
http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
the precision of openness
is not a vagueness
it is an accumulation
cumulous
bpNichol
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