Better than cold turkey
AND this instant y McAfee software informs it has scanned my computer and
detected "no issues"
L
On 26 November 2014 at 16:12, Douglas Barbour <[log in to unmask]> wrote:
> Yeah, well, they're like Patrick's pen, my fingers...
>
> I liked it too, but...
>
> all that cold tea....
>
> D
> On Nov 26, 2014, at 4:49 AM, Lawrence Upton <[log in to unmask]>
> wrote:
>
> > Oh! I liked both typos.Particularly liked cliche version sod modernism
> >
> > another disappointment as I age
> >
> > the long dark teatime of the soul
> >
> > L
> >
> > On 25 November 2014 at 17:37, Douglas Barbour <[log in to unmask]>
> wrote:
> >
> >> Just to be clear, I need to check before I send: my fingers again
> betrayed
> >> me: 'tied' was meant to be 'tried' or 'did'; & 'sod' = 'of'.
> >>
> >> Whew.
> >>
> >> D
> >> On Nov 25, 2014, at 3:55 AM, Lawrence Upton <[log in to unmask]>
> >> wrote:
> >>
> >>> OK then. Thanks for that. Can't argue. I shall continue to pursue
> issues,
> >>> boojums being extinct due to harpooning
> >>>
> >>> L
> >>>
> >>> On 24 November 2014 at 17:57, Douglas Barbour <[log in to unmask]>
> >> wrote:
> >>>
> >>>> The issue for me, L, may be that my fingers tied that when I meant
> >>>> something else (whatever it was long gone from my mind); mainly I was
> >>>> trying to say that much was happening, some of which 'we' (in
> >>>> anglos-american poetries) got one way or another & found ways to use
> >> too.
> >>>>
> >>>> So, I didn't mean 'problematize' although perhaps I should have.
> >>>> Certainly, all that happened outside our narrow purview 'troubles' the
> >>>> cliché version sod modernism that ignore other languages & cultures..
> >>>>
> >>>> One of the good things about the Penguin anthology on Modernism was
> how
> >> it
> >>>> at least took account of what was happening in most of the major
> cities
> >> in
> >>>> Europe...
> >>>>
> >>>> Doug
> >>>> On Nov 24, 2014, at 9:46 AM, Lawrence Upton <[log in to unmask]>
> >>>> wrote:
> >>>>
> >>>>> Sorry Didn't realise it was an issue for you
> >>>>>
> >>>>> L
> >>>>>
> >>>>> On 24 November 2014 at 16:36, James Cervantes <
> >> [log in to unmask]
> >>>>>
> >>>>> wrote:
> >>>>>
> >>>>>> What's the problem here? We all have our stuffs.
> >>>>>>
> >>>>>> - Jim
> >>>>>>
> >>>>>> On Mon, Nov 24, 2014 at 10:21 AM, Lawrence Upton <
> >>>> [log in to unmask]>
> >>>>>> wrote:
> >>>>>>
> >>>>>>> So "stuffing the modernisms of other languages/cultures"?
> >>>>>>>
> >>>>>>> L.
> >>>>>>>>
> >>>>>>>
> >>>>>>> On 24 November 2014 at 15:59, Halvard Johnson <[log in to unmask]>
> >>>> wrote:
> >>>>>>>
> >>>>>>>> The word "issue" nowadays is roughly the same in meaning as
> "stuff."
> >>>>>> (Oh,
> >>>>>>>> yes, I exaggerate, but not by much.)
> >>>>>>>>
> >>>>>>>> On Monday, November 24, 2014, Lawrence Upton <
> >> [log in to unmask]
> >>>>>
> >>>>>>>> wrote:
> >>>>>>>>
> >>>>>>>>> Doug
> >>>>>>>>>
> >>>>>>>>> I apologise for this question. I have to ask but am not trying to
> >>>>>> make
> >>>>>>>> fun.
> >>>>>>>>> When you say:
> >>>>>>>>>
> >>>>>>>>>> I think you're right that some of us (like me) tend to be too
> >>>>>>>>> anglo-centric,
> >>>>>>>>> thus issuing the modernisms of other languages/cultures.
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>> and say "issuing", do you mean "problematising"?
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>> I first came across the word "issue" as an alternative to
> "problem"
> >>>>>> or
> >>>>>>>>> "mistake" etc, a way by corporations it seemed to me of
> rewriting a
> >>>>>>>>> complaint, making it less worrying for them. I am due later to
> >> write
> >>>>>> to
> >>>>>>>>> Centrica, who deal in gas of all kinds over here, who have
> >> expressed
> >>>>>>>> regret
> >>>>>>>>> that I have issues when what I said was: they never answer
> >>>>>>>> communications!
> >>>>>>>>>
> >>>>>>>>> If I read you correctly, this is a use of the word where the
> >>>>>> transition
> >>>>>>>> is
> >>>>>>>>> complete. BUT for all I know it is commonplace over there. I
> >> haven't
> >>>>>>>>> crossed the Atlantic in 2 and a half years.
> >>>>>>>>>
> >>>>>>>>> Really a mere inquiry
> >>>>>>>>>
> >>>>>>>>> L
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>> On 22 November 2014 at 22:07, Douglas Barbour <
> >> [log in to unmask]
> >>>>>>>>> <javascript:;>> wrote:
> >>>>>>>>>
> >>>>>>>>>> I take your point(s), Lawrence.
> >>>>>>>>>>
> >>>>>>>>>> Indeed, it's clear the many rods of 'modernism's Britain were
> >>>>>>> confused
> >>>>>>>> &
> >>>>>>>>>> confusing (certainly overlapping in many odd ways).
> >>>>>>>>>>
> >>>>>>>>>> I do think Donald Davie got a lot right in his Under
> Briggflatts,
> >> &
> >>>>>>>> that
> >>>>>>>>>> his account of the various streams is useful.
> >>>>>>>>>>
> >>>>>>>>>> I think you're right that some of us (like me) tend to be too
> >>>>>>>>>> anglo-centric, thus issuing the modernisms of other
> >>>>>>> languages/cultures.
> >>>>>>>>> As
> >>>>>>>>>> someone limited to the English language, I only know such work
> >>>>>>> through
> >>>>>>>>>> translation, but it still allows for a lot. Yet, because what I
> >>>>>>> learned
> >>>>>>>>>> most from are works in english, even there I suspect I red
> poetry
> >>>>>>> from
> >>>>>>>>>> other languages through the english language poetics most
> >> important
> >>>>>>> to
> >>>>>>>>> me.
> >>>>>>>>>> Thus, how I read Celan, for example.
> >>>>>>>>>>
> >>>>>>>>>> Still, a useful nudge to think more subtly & in context(s)...
> >>>>>>>>>>
> >>>>>>>>>> Doug
> >>>>>>>>>> On Nov 21, 2014, at 10:39 AM, Lawrence Upton <
> >>>>>>> [log in to unmask]
> >>>>>>>>> <javascript:;>>
> >>>>>>>>>> wrote:
> >>>>>>>>>>
> >>>>>>>>>>> Walking to my place of work this morning I was thinking of all
> >>>>>> the
> >>>>>>>>>> things I
> >>>>>>>>>>> was going to say - and most of it I haven't - in reply
> >>>>>>>>>>> One was picking up on the mention of Hardy. & I wanted to aver
> my
> >>>>>>>> high
> >>>>>>>>>>> regard for those poems & also a lot of the modernist push...
> but
> >>>>>> I
> >>>>>>>>> wanted
> >>>>>>>>>>> to say that it ain't so simple(resisting the temptation to go
> all
> >>>>>>> ira
> >>>>>>>>>>> gershwin there) & thomas would have been one of my examples...
> >>>>>>>> well,the
> >>>>>>>>>>> example, but I was sure there were others. I'm not sure about
> >>>>>> that
> >>>>>>>> now.
> >>>>>>>>>> But
> >>>>>>>>>>> Edward Thomas certainly
> >>>>>>>>>>>
> >>>>>>>>>>> so ta for that
> >>>>>>>>>>>
> >>>>>>>>>>> & I was also going to say that it gets muddling once one steps
> >>>>>> out
> >>>>>>> of
> >>>>>>>>> the
> >>>>>>>>>>> anglo world & away from Ez or can do unless one does a great
> deal
> >>>>>>> of
> >>>>>>>>> work
> >>>>>>>>>>> Work's ok, but there's not always time
> >>>>>>>>>>>
> >>>>>>>>>>> I have a high regard for Ritsos, but my Greek is nowhere near
> >>>>>> good
> >>>>>>>>>> enough.
> >>>>>>>>>>> And my background reading is still undone decades after I
> stopped
> >>>>>>>>>> tramping
> >>>>>>>>>>> around Greece. So I have access to a body of work that's just
> >>>>>> sort
> >>>>>>> of
> >>>>>>>>>> there
> >>>>>>>>>>> inexplicably in a largely empty room in my head
> >>>>>>>>>>>
> >>>>>>>>>>> a bit like Syd Barrett sitting there and I'm not quite sure who
> >>>>>> he
> >>>>>>> is
> >>>>>>>>> but
> >>>>>>>>>>> he's very familiar
> >>>>>>>>>>>
> >>>>>>>>>>> *
> >>>>>>>>>>> and the oddity of how some of us start and stop with
> >>>>>> enthusiasms.
> >>>>>>>>>>> Somewhere between pre dawn and my first coffee, that crack of
> >>>>>>>>> Meliville's
> >>>>>>>>>>> about passing a coffin factory went through my mind and I
> decided
> >>>>>>>> that
> >>>>>>>>>> next
> >>>>>>>>>>> I shall read again Moby Dick
> >>>>>>>>>>>
> >>>>>>>>>>> that's all I have to say
> >>>>>>>>>>>
> >>>>>>>>>>> nice w/e all
> >>>>>>>>>>>
> >>>>>>>>>>> L
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>> .
> >>>>>>>>>>>
> >>>>>>>>>>> On 21 November 2014 16:48, Max Richards <[log in to unmask]
> >>>>>>>>> <javascript:;>> wrote:
> >>>>>>>>>>>
> >>>>>>>>>>>> [poem of the day from
> >>>>>>>>>>>> Poetry Foundation.org]
> >>>>>>>>>>>>
> >>>>>>>>>>>> The Thrush
> >>>>>>>>>>>> When Winter's ahead,
> >>>>>>>>>>>> What can you read in November
> >>>>>>>>>>>> That you read in April
> >>>>>>>>>>>> When Winter's dead?
> >>>>>>>>>>>>
> >>>>>>>>>>>> I hear the thrush, and I see
> >>>>>>>>>>>> Him alone at the end of the lane
> >>>>>>>>>>>> Near the bare poplar's tip,
> >>>>>>>>>>>> Singing continuously.
> >>>>>>>>>>>>
> >>>>>>>>>>>> Is it more that you know
> >>>>>>>>>>>> Than that, even as in April,
> >>>>>>>>>>>> So in November,
> >>>>>>>>>>>> Winter is gone that must go?
> >>>>>>>>>>>>
> >>>>>>>>>>>> Or is all your lore
> >>>>>>>>>>>> Not to call November November,
> >>>>>>>>>>>> And April April,
> >>>>>>>>>>>> And Winter Winter--no more?
> >>>>>>>>>>>>
> >>>>>>>>>>>> But I know the months all,
> >>>>>>>>>>>> And their sweet names, April,
> >>>>>>>>>>>> May and June and October,
> >>>>>>>>>>>> As you call and call
> >>>>>>>>>>>>
> >>>>>>>>>>>> I must remember
> >>>>>>>>>>>> What died into April
> >>>>>>>>>>>> And consider what will be born
> >>>>>>>>>>>> Of a fair November;
> >>>>>>>>>>>>
> >>>>>>>>>>>> And April I love for what
> >>>>>>>>>>>> It was born of, and November
> >>>>>>>>>>>> For what it will die in,
> >>>>>>>>>>>> What they are and what they are not,
> >>>>>>>>>>>>
> >>>>>>>>>>>> While you love what is kind,
> >>>>>>>>>>>> What you can sing in
> >>>>>>>>>>>> And love and forget in
> >>>>>>>>>>>> All that's ahead and behind.
> >>>>>>>>>>>>
> >>>>>>>>>>>> Edward Thomas 1878-1917
> >>>>>>>>>>>> [PF says:
> >>>>>>>>>>>> Thomas wrote his first poems in 1914 at the urging of the
> >>>>>> American
> >>>>>>>>> poet
> >>>>>>>>>>>> Robert Frost,
> >>>>>>>>>>>> with whom he forged a friendship during Frost's years in
> >>>>>> England.
> >>>>>>>> ....
> >>>>>>>>>>>> in 1915 he enlisted in the infantry and was killed two years
> >>>>>> later
> >>>>>>>> in
> >>>>>>>>>> the
> >>>>>>>>>>>> Battle of Arras,
> >>>>>>>>>>>> while the first edition of his Poems (1917) was being prepared
> >>>>>> for
> >>>>>>>>>> press.]
> >>>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>> Douglas Barbour
> >>>>>>>>>> [log in to unmask] <javascript:;>
> >>>>>>>>>>
> >>>>>>>>>> Recent publications: (With Sheila E Murphy) Continuations &
> >>>>>>>> Continuation
> >>>>>>>>> 2
> >>>>>>>>>> (UofAPress).
> >>>>>>>>>> Recording Dates (Rubicon Press).
> >>>>>>>>>>
> >>>>>>>>>> that we are only
> >>>>>>>>>> as we find out we are
> >>>>>>>>>>
> >>>>>>>>>> Charles Olson
> >>>>>>>>>>
> >>>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>> --
> >>>>>>>> :: from the desk of Halvard Johnson ::
> >>>>>>>>
> >>>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> --
> >>>>>>
> >>>>>> https://www.amazon.com/author/jamescervantes
> >>>>>>
> >>>>>> Sleepwalker's Songs: New & Selected Poems.
> >>>>>> http://www.hamiltonstone.org/catalog.html#sleepwalkerssong
> >>>>>>
> >>>>>> http://www.hinchasdepoesia.com/
> >>>>>>
> >>>>>> The Salt River Review: http://www.poetserv.org
> >>>>>>
> >>>>>> https://sites.google.com/site/jamesvcervantes/home
> >>>>>>
> >>>>>> http://www.flickr.com/photos/jamescervantes/
> >>>>>>
> >>>>>
> >>>>
> >>>> Douglas Barbour
> >>>> [log in to unmask]
> >>>>
> >>>> Recent publications: (With Sheila E Murphy) Continuations &
> >> Continuation 2
> >>>> (UofAPress).
> >>>> Recording Dates (Rubicon Press).
> >>>>
> >>>> that we are only
> >>>> as we find out we are
> >>>>
> >>>> Charles Olson
> >>>>
> >>>
> >>
> >> Douglas Barbour
> >> [log in to unmask]
> >>
> >> Recent publications: (With Sheila E Murphy) Continuations &
> Continuation 2
> >> (UofAPress).
> >> Recording Dates (Rubicon Press).
> >>
> >> that we are only
> >> as we find out we are
> >>
> >> Charles Olson
> >>
> >
>
> Douglas Barbour
> [log in to unmask]
>
> Recent publications: (With Sheila E Murphy) Continuations & Continuation 2
> (UofAPress).
> Recording Dates (Rubicon Press).
>
> that we are only
> as we find out we are
>
> Charles Olson
>
|