but then if yer working on some long epic thing and the epic simile is sort of the cell phone some imagine it is. well what can you do? i mean beats and stresss, shit dude, thats not the thing is it now?
You lean that from that lecture Prof. Del g'ave and Chantal tol you about it?
no sweetyI learn it from her, Clair, P. and she was dialogue to my__
The prose pome cuts that out. ok. so in yer fictions there's a detail to narrative the abstracted poets don't have and then there's there overly personal onthe other side, right?
no machines at all.
I mean, you take Derek Walcott in Omeros he 's pretty good, right, lengthy long pome it is, called a novel, or chapters are named novels. he go a long way but he still work with a pretty iambic line and the terza rima thing.
in his newer book he admit he in the 19 century. he sad about that.
Shhh. Kiss me, we're on the radio. I want them to hear.
No!
Wheras Kazantakis in his long pomes he bust out of it. butin english language it be hard to bust out in long pome of them old lines and hexameters and stuff.
Yes? and ?
well so then how you gonna do that?
I don't and do.
It's a question of making other machines happen and letting the alternates float where they will. Antin was doing some of that in his talk books, right? and some others. But man do that now, you get hung. they dont like that shit. Or someone like Genet in his poem novels, or even Dickens and Burgess, they are long poem novels. right? and Martyrology too?
Honest, I am not certain as I did complete it reading it, I mean
kiss me,
No! we're on the air!
- Hide quoted text -
On 8/15/06, and you said
for me, the question in writing is how to get outside of the I, and the me, me, me, business. I think that's why I work on these fictions blogs, with their narrative elements;the fictionsofdeleuzeandguattari.blogspot.com which flirt with the edges of the personal but take it somewhere else. I mean it's more like particles and stuff.We all know pomes are filled with personal elements, but what interests me, at least most of the time, is how to transcend them....
As for long lines, well I love them, and the long line in American poetry is very strong, and goes back to Whitman, in Canada, its history picks up after WW 2 though some might argue that EJ Pratt was a precursor, with his sweeping "epic" line _ hexameter? _ and that then works through to all sorts of other poets. The question I guess, or the problem, perhaps, is how the long line gets too long and becomes a prose poem, which is beautiful because the regular lines of verse, how ever irregular they are , tends to fall into a sort of solo act. On the other hand, think of Ferlinghetti and what he can do with those short spaced out lines of his, especially in his first book . So long lines, short lines and their contrast, _ i suppose each of us takes where it feels right for us, and where it works best. I could go on all day, after all this is what I do.
to be honest honest I am not a creely fan or olsen either. but some rhythms stay not dem. but i can be rong as always. right ripe?
i mean its a machine, a medicine machine. some with bone of
oat know this. i work between the french line and english.
between the machine of its percolating rhythm
oh how swiftly they forget! (Show off! thats Walcott!)
______________
was this aired? I meant did it take to the air
in a trance, as in tobacco? oh the voices,
yea, the voices in her head. dig. and then some others . was coming to for to get her. i meant there was that
essay about Bronte right? as a poem essay: think it's easy to do stuff that like that? and when the book come out she was there with her easy chair, I sat down after reading reciteing my Kaddish thing;
other s was speedogonzales readoff spin jacket doom a mile a minute and what an ass she had. Her ass she had. was
cut up to doom, cup to .
and you said:
turn of the frigging radio Clifford.
I am the radio she said to him. Come into my radio glimpse.
o really? yes, shes the play of the thing.
Get off yer high horse and play the record, wldjya YearnY?
I want to dance he says. Dance, then dance, Writing is for the birds.
folk dont dig it, they want answers. turn the radio back . on to . off.
switch hidden carnal deities. she is my sapphic _uck. one cannot sensor the obvious it is invisible, and not risible.
+++++++++++++++++++++++++++++++++
Ok baby we gotta date
yer hot
.
