I'm afraid there are an awful lot of people calling themselves 'poets', and
multitudes who qualify as 'writers', who really hold to the values the
excerpt ascribes to 'society'. These dichotomies speak impasse. You have to
accept the fact of the frustration game, and carry on regardless: what's to
be gained from recognition by spidery networks of status?
(I seem to be making the same reply to an identical message from Jeffrey on
two lists. Hal, your signature's too long!)
On 26 September 2010 17:39, Halvard Johnson <[log in to unmask]> wrote:
> Thanks for the excerpt. I'd almost clicked on the link.
>
> Hal Serving the tri-state area.
>
> Halvard Johnson
> ================
>
> [log in to unmask]
> http://sites.google.com/site/halvardjohnson/Home
> http://entropyandme.blogspot.com
> http://imageswithoutwords.blogspot.com
> http://www.hamiltonstone.org
> <http://www.hamiltonstone.org>
> *Obras Públicas*
> *
> https://sites.google.com/site/vidalocabooks/halvard-johnson-obras-publicas*
> *
> *
> <http://www.hamiltonstone.org>*The Perfection of Mozart's Third Eye and
> Other Sonnets*
>
> http://www.scribd.com/doc/27039868/Halvard-Johnson-THE-PERFECTION-OF-MOZART-S-THIRD-EYE-Other-Sonnets
>
> *Organ Harvest with Entrance of Clones*
>
> http://www.amazon.com/Harvest-Entrance-Clones-Halvard-Johnson/dp/0965404390/ref=sr_1_1?ie=UTF8&s=books&qid=1283182804&sr=8-1
>
> *Tango Bouquet*
> <
> http://www.scribd.com/doc/27039868/Halvard-Johnson-THE-PERFECTION-OF-MOZART-S-THIRD-EYE-Other-Sonnets
> >
> https://docs.google.com/Doc?docid=0ATDp6rzKkBkhZGZwand2cHdfOWc1Mnh3Zw&hl=en
>
> <
> https://docs.google.com/Doc?docid=0ATDp6rzKkBkhZGZwand2cHdfOWc1Mnh3Zw&hl=en
> >
> *Theory of Harmony*
> *
>
> https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/fall04/theory1.pdf
> *
> *Rapsodie espagnole*
> *
>
> https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/rapsodi.pdf
> *
>
> *Guide to the Tokyo Subway*
> *
>
> http://www.amazon.com/Guide-Tokyo-Subway-Other-Poems/dp/0971487316/ref=sr_1_3?s=books&ie=UTF8&qid=1283183153&sr=1-3
> *
> *
> *
> *<
> https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/rapsodi.pdf
> >The
> Sonnet Project*
> *
>
> https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/hsonnet.pdf
> *
> *
> *
> *<
> https://docs.google.com/viewer?url=http://xpressed.wippiespace.com/hsonnet.pdf
> >
> G(e)nome*
> *http://xpressed.wippiespace.com/fall03/genome.pdf*
> *
> *
> *Winter Journey*
> http://capa.conncoll.edu/johnson.winter.html
> *
> *
> *Eclipse*
> *http://capa.conncoll.edu/johnson.eclipse.html*
> *
> *
> *The Dance of the Red Swan*
> http://capa.conncoll.edu/johnson.dance.html
>
> *Transparencies & Projections*
> http://capa.conncoll.edu/johnson.transp.html
> *
> *
> * <http://capa.conncoll.edu/johnson.eclipse.html>
> *
>
>
>
> On Sun, Sep 26, 2010 at 11:36 AM, Jeffrey Side <[log in to unmask]>
> wrote:
>
> > Hank Lazer interviewed by Chris Mansel --- The Argotist Onlline
> >
> > http://www.argotistonline.co.uk/Lazer%20interview%202.htm
> >
> >
> >
> > Excerpt:
> >
> > CM: Where do you suppose the self-destructiveness trait comes from that
> > occurs in so many writers?
> >
> > HL: From frustration, as a consequence of marginalization, and from
> > succumbing to a dangerous set of culturally romanticized stereotypes.
> First,
> > the frustration and maginalization routes. A writer, particularly a poet,
> > places himself in an odd position in relation to dominant cultural value.
> A
> > poet decides to value certain kinds of somewhat aimless, impractical,
> > non-money-making activities, and he decides to make room and time in his
> > life for these activities. Furthermore, he’s apt to be pursuing a rather
> > elusive mode of language – not necessarily the direct, communicative,
> > “useful,” commercially manipulative kind of language skill that society
> > readily appreciates and rewards (in advertising, in journalism, and in
> other
> > modes of persuasive and/or manipulative writing). So, what he’s doing
> with
> > his time is aberrant – hard to explain. And yet, if he is really engaged
> in
> > a serious and profound relationship to poetry, he does have certain
> sporadic
> > validating experiences – a sense of connection to a longstanding human
> > enterprise of considerable wisdom, joy, and pleasure. The
> > self-destructiveness may arise as a gesture of anger and frustration,
> > arising from a sense that one’s primary life activity is not appreciated
> or
> > understood or respected. The self-destructiveness becomes an act oddly
> > complicit with that ignoring and marginalizing by the society at large,
> > while it is also a somewhat desperate call for attention and
> significance.
> >
> >
> > http://www.argotistonline.co.uk/Lazer%20interview%202.htm
> >
> >
> >
>
--
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