*[VOLUMES 01 – 07 OF REMOVE A CONCEPT ARE AVAILABLE] *
Remove A Concept was written by Peter Ganick in the late 1980s in a café in
the South End of Hartford CT. It consists of 3350 sections running
approximately 4500 pages.
The covers feature colorful abstract art by the author, art that suits the
abstract nature of the text.
Commentary regarding each volume by Ivan Argüelles, Sheila E. Murphy, Jim
Leftwich, John Crouse, Olchar Lindsann, Michael Peters, and Richard Deming
can be read below.
Each volume is approximately 300 pages, and is available as a printed copy,
a PDF-download, and readability in full for free at each volume’s web-page.
Remove A Concept is expected to fill 16 volumes before its completion
sometime before Summer 2010. Stay tuned for further updates.
Take a chance and read some of one of the volumes in the free-read version
at each of the webpages. Just click on ‘Preview This Book’ near the bottom
of each page.
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Remove A Concept vol 01 / blurb by Ivan Argüelles
www.lulu.com/content/7642668
Peter Ganick's REMOVE A CONCEPT written in the mid 1980's, comprising 3350
sections and employing registers of language that range from the colloquial
of jazz refrain to the enigmatic typlogies of the "seer". Between the
convulsive high notes of Archie Shepp and the intricate silences of a
himalayan Rishi this amazing text baffles stimulates irritates and gratifies
the reader who has the patience and intellectual curiosity to plumb the
depths and extents of this "ghost-ridden astrologic theater" , which can
also be read as a continuous? segmented? alleatory composition in the manner
of John Cage. It is as if Jackson Pollock had chosen to use words
(syllables!) rather than pigments as his medium. Ganick says "the poem was
exciting to write" and indeed its almost naive exuberance, fracturing syntax
in every possible way, is a principle characteristic of this monumental
Text. This is not to deny the underlying lyricism in the content of its
intense fragmentation, as in "over full, read is anothered to morning in
sky," ... The at times oneiric segmentation cannot help but remind one of
Holderlin's "Fragments". The enormous and sometimes puzzling breadth of this
Text can best be summed up in a single phrase: "Light & Maya".
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Remove A Concept vol 02 / blurb by Sheila E. Murphy
www.lulu.com/content/7762352
A principled uncertainly proposes hypotheses, examines each with a cool
calculus infused with depth of feeling. One of the welcome ironies of this
extended text is the centrality of a pressurized short segment that stands
discernibly as a focal gem. Peter Ganick’s disciplined attention to the
situational mystique reveals that single points of focus enrich the whole
mental field with meaning. Here, a fine, musical ear sharpened by
considerable and continual study and experience, trusts the occupation of a
locus, finds a panoply of linkages embedded within situations to yield
concise renderings of surfaces and their multiple under-layers as a
recognition of infinity.
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Remove A Concept vol 03 / blurb by John Crouse
www .lulu.com/content/7800085
yr remove a concept, its endless/open as yr other writings. while it tells/
says one thing, it can be other things @ other readings/looks. yr words dont
seem harvested by program, i would say theyre not, theres alot more going on
than random splice and splat & see what sticks. the kind of reading i
experience, or what i experience while im reading yr work is a kind of
terminal freedom, a velocity that glides unbiased like gold thread can keep
stretching while retaining valence and value. terminal as endless as well as
endless places to board and depart.
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Remove A Concept vol 04/ blurb by Jim Leftwich
www.lulu.com/content/7841069
thinking in this text, *what if *soon becomes *as if*, and if, one by one,
concepts proposed are removed as other concepts emerge, then *as if* becomes
*is*, concept yields to process, being yields to becoming, and one is no
longer thinking, or at least not thinking of concepts, one is in the
process, no longer reading for content, or at least not for concepts as
content, nor is one engaged in a process of reading as writing, one is
rather reading as a process of following poetry as it unfolds, as if a poem
might be about the time spent writing or reading it, as is the case with
this poem, and perhaps with all other poems, once the concepts are removed.
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Remove A Concept vol 05 / blurb by Olchar Lindsann
www.lulu.com/content/7962709
A poem to be read by the morning, when routes of possibility are to be
discerned winding amongst the gaps between shifting particles of thought, of
thoughts still porous, not utterly cohered: so that the removal of a concept
is the opening of a trapdoor, an infra-verbal space in which one shuttles
back and forth: so that the poem forms itself around spaces, in undulating
and arrhythmic cascades of language, then waits: so that one thinks *between
*the nascent concepts lunging in staccato or gushing languorously on either
side (...) A space for movement, to form itself around.
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Remove A Concept vol 06 / blurb by Michael Peters
www.lulu.com/content/7962708
This important historical work bears its age with increasing intrigue,
simply because it would seem to suggest the inversion of time via its
manipulation of absence—before and after you were born. It is unlike some
of the more known, smaller works comprising Peter Ganick's publishing
history—and a must have, but good luck finding yourself within it. This
massive body of words becomes porous, wildly poetic—a veritable sea of
holes, a space machine, or a supervaast field of labias. Ganick's RAC,
a.k.a. "Remove a Concept," stretches you way out, makes you cross vaast
spaces where you are uncertain of removals and insertions, and this
contemplation includes yourself. Then if you realize it was undertaken in
the late 1980s, the kinks in its thinking creates wild, definitive
indefinitiveness where even the uncertainties are doubtful.
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Remove A Concept vol 07 / blurb by Richard Deming
www.lulu.com/content/7962853
A “fond energy” surges through the veins of Peter Ganick’s herculean *Remove
A Concept*, powering the poems forward at every turn and creating an
inescapable gravitational that pulls together its far-flung parts. Ganick,
an unsung, underground master, has given his life to poetry and to music and
it shows throughout this latest volume of his massive undertaking. To
read *Remove
A Concept* is to be reminded, that even at this late hour language can still
surprise us and can yet reveal those moments when “to enfold envelops you
out.”
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