He's a devil with the buttons. You take one and find yourself in Faerie, or
Raynes Park as he calls it.
Chien Andalou. Good, once you've got over the eyeball. Same and different.
But yes.
I meant Film visually
I mean it visually
but I don't not mean it aurally
both, together and separately
It is, for me (carefully not saying what the "it" is) Stein's "this and
this and this" but also, in this and many of my cases rather fast
I feel too a kinship with Raworth's speed though I think I am not at all
doing what he's doing
text Lawrence Upton
examples Lawrence Upton
bullshit Lawrence Upton
parental guidance
On 17 July 2014 16:55, Douglas Barbour <[log in to unmask]> wrote:
> L there's a good chance I took the button from P.
>
> but: yeah: I ear it under the title 'Film' (which I admit I first read as
> 'Fan,' (dark room & my eyesight). Whether read fast or slowly (& I get that
> fast for a certain kind of performance poem), i certainly 'felt' the sense
> of overlapping images from many different perspectives (I also thought of
> that famous film that begins with a eyeball being sliced -- that kind of
> shiftiness of the images)...
>
> D
>
> On Jul 17, 2014, at 9:38 AM, Lawrence Upton <[log in to unmask]>
> wrote:
>
> > No! It's possibly faintly amusing rubbish. I answered irrelevance with
> > itself, which seems to be how Patrick and I communicate our love of each
> > other
> >
> > Now... "I felt so many fast jump cuts"
> >
> > that? you felt so many that... ?
> >
> > and "or too many channels surfed far too quickly (that button?)..."
> >
> > ignoring "(that button?)" because I'm not clear what it means here" --
> > double "too" - too many for whom? for what? & too quickly? for whom or
> what?
> >
> > & I'm not saying that to be awkward or aggressive. I appreciate being
> read
> > closely and ask this in what I hope is the same spirit
> >
> > I might be inclined with some to leave it at that and get an answer; but
> > you're a sophisticated learned man so I'll give you a kind of answer,
> > though I leave you to ponder your apparent assumptions!
> >
> > not an answer, a guide - I wrote a poem called BVM, years ago, which I
> > would read very fast, so fast that really it defied comprehension
> >
> > talking about it when challenged I remember I said that people were
> welcome
> > to read it at their leisure but that aurally it had to be fast
> >
> > I found that I made some progress against the question "Why?" with the
> > answer "Think Dziga Vertov's Man with a Movie Camera"
> >
> > Don't know if that's any use NB I wouldnt read today's poem fast
> >
> > BVM is at http://lawrenceupton.org/data/bvm.html though now I would
> eschew
> > my references to Daltrey and Pete Shelley - appologies of that just
> muddies
> > muddy water
> >
> > L
> >
> >
> >
> >
> >
> >
> >
> >
> > On 17 July 2014 16:20, Douglas Barbour <[log in to unmask]> wrote:
> >
> >> All of which is fascinating, L. But. I felt so many fast jump cuts
> >>
> >> or too many channels surfed far too quickly (that button?)...
> >>
> >> D
> >> On Jul 17, 2014, at 5:14 AM, Lawrence Upton <[log in to unmask]>
> >> wrote:
> >>
> >>> oh yes
> >>> it's usually the intelligence of crows that defeats the many
> >>> I used to patronise a noisier cafe where I did once ask a muvva to keep
> >> her
> >>> child from screaming like a crow
> >>> she objected that he didnt sound anything like that; and I gave up as
> she
> >>> was making more noise than the child bird she was ignoring
> >>> sometime later, the little tweet was climbing on an empty table - he
> >> stood
> >>> up, spread his arms and launched himself into space in one fearless
> >> movement
> >>> he didn't seem to have the idea of flapping his arms and fell straight
> >> down
> >>> hitting the ground, he began to scream, as I believe I would in similar
> >>> circumstances
> >>> the mother came to collect him, glaring at me, but I showed no emotion
> >>> neither of us exchanged a word
> >>> I see him now and then - I think it's he -- sitting on a branch of a
> tree
> >>> near the Carshalton ponds. He's only vocal near tea time;
> >>> and once he was in the middle of the road, seeing off a magpie
> >>>
> >>> L
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> On 17 July 2014 12:03, Patrick McManus <[log in to unmask]>
> >>> wrote:
> >>>
> >>>> Thanks for clarifying that L
> >>>> I've heard poets who sound as if they are turning into crows!
> >>>>
> >>>>
> >>>> -----Original Message-----
> >>>> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]]
> >> On
> >>>> Behalf Of Lawrence Upton
> >>>> Sent: 17 July 2014 11:44
> >>>> To: [log in to unmask]
> >>>> Subject: Re: sorry for being late,let's pretend it's still Wednesday
> >> please
> >>>>
> >>>> Well, I'm there at the present. For the last hour we have overblown
> >> singing
> >>>> (volume and decoration = emotion = good) drifting down and mixing with
> >> the
> >>>> MOR of the coffee shop and for many hours an ever-changing convention
> of
> >>>> mothers with babies who sound as though they are turning into crows.
> Not
> >>>> sure that Sutton has much to do with this poem though.
> >>>>
> >>>>
> >>>> On 17 July 2014 11:32, Patrick McManus <[log in to unmask]
> >
> >>>> wrote:
> >>>>
> >>>>> Sutton has it all going on what!
> >>>>>
> >>>>> -----Original Message-----
> >>>>> From: Poetryetc: poetry and poetics [mailto:[log in to unmask]
> ]
> >>>>> On Behalf Of Lawrence Upton
> >>>>> Sent: 17 July 2014 09:59
> >>>>> To: [log in to unmask]
> >>>>> Subject: sorry for being late,let's pretend it's still Wednesday
> >>>>> please
> >>>>>
> >>>>> *Film*
> >>>>>
> >>>>>
> >>>>>
> >>>>> an arm sprouts from a person like a tree
> >>>>>
> >>>>> details of architecture draw attention;
> >>>>>
> >>>>> peaks and cliffs among the rooves and towers
> >>>>>
> >>>>> turn into clouds and dissipate upon
> >>>>>
> >>>>> a wind; she lights a cigarette; she coughs;
> >>>>>
> >>>>> the sun shines on her body; grass takes on
> >>>>>
> >>>>> the colour, texture and warmth of fur; a gate
> >>>>>
> >>>>> opens on to a chasm to which she strides;
> >>>>>
> >>>>> she sits and inhales; breeze tugs the hair; the tree
> >>>>>
> >>>>> sways, the new arm foreshortens, then withers;
> >>>>>
> >>>>> moss grows on its stump; how tiresome, she says
> >>>>>
> >>>>> to someone else about something; a many;
> >>>>>
> >>>>> multiple bird song and people making notes;
> >>>>>
> >>>>> much dead wood; decay upon rivers; as if
> >>>>>
> >>>>> film had been cut, and joined by another
> >>>>>
> >>>>> with the same actors
> >>>>>
> >>>>> she begins to hit a client
> >>>>>
> >>>>> on his erect penis, with twigs, grinning
> >>>>>
> >>>>> lasciviously; he takes it,
> >>>>>
> >>>>> pained and excited; small figures in a box
> >>>>>
> >>>>> in a luxurious doll's house; a washing machine
> >>>>>
> >>>>> spilling water over a polished floor
> >>>>>
> >>>>> a glistening weir; shining electronics,
> >>>>>
> >>>>> toys gleam at the lawn's centre.
> >>>>>
> >>>>> She leans forward
> >>>>>
> >>>>> to get a better view, totality
> >>>>>
> >>>>> curving or seeming to; and yet bony,
> >>>>>
> >>>>> meat scraped; and now, like some ship's figure head,
> >>>>>
> >>>>> ghastly of colour, ambiguous; menacing;
> >>>>>
> >>>>> wind opens the kitchen door, rattling the high cupboards
> >>>>>
> >>>>> above the empty work space; a radio
> >>>>>
> >>>>> starts; a loose wire connects; an idiot talks
> >>>>>
> >>>>
> >>>
> >>
> >> Douglas Barbour
> >> [log in to unmask]
> >>
> >> Recent publications: (With Sheila E Murphy) Continuations &
> Continuation 2
> >> (UofAPress).
> >> Recording Dates (Rubicon Press).
> >>
> >> Something else is out there
> >> godamnit
> >>
> >> And I want to hear it
> >>
> >> C.D.Wright
> >>
> >
>
> Douglas Barbour
> [log in to unmask]
>
> Recent publications: (With Sheila E Murphy) Continuations & Continuation 2
> (UofAPress).
> Recording Dates (Rubicon Press).
>
> Something else is out there
> godamnit
>
> And I want to hear it
>
> C.D.Wright
>
|