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Text of the page (random words):
nd to you strain to birth the quiver of passion held common on common ground nobody gave may war with its tears and fearful famine and plague be lifted from our people and from our enemies may we wish well on all because that s easier and doesn t hurt posted by andy gricevich 11 37 am 1 comments thursday april 08 2010 michael gizzi new depths of deadpan burning deck 2009 war with its lights out eschews imagination all our buds lost their heads in the flower of their youth so we got this apartment on jockey street they used to race houses there those are two stanza paragraphs from the deep the first of the many brief prose poems that make up gizzi s book which is one of the most fun things i ve read in a long time and is marvelously strange this little excerpt gives some good examples of the ways gizzi works the sewing together of anomalous parts in the first sentence the punning on buds that turns a cliché into a literal statement which in turn doesn t quite work the sentence never stabilizing and that instability of metaphor pointing back to the first sentence s different instability that connection amplifying the sense of our buds having been killed in the war where have all the flowers gone the mishearing of race horses as race houses connecting that phrase with the preceding sentence in a doubled way with a surreal image or is it a metaphor for real estate competition for the turning of houses into apartments of ownership into rental i find this utterly brilliant and hilarious and every moment in the book is as singular complex weird and pleasurable i should make a list of poets on which gizzi would be included who seem extraordinarily free unfettered able to simply write what there is to be written without being held back by preconceptions of what their writing should be at least it seems that way from the outside this was marginally written under gizzi s influence though not much so and while listening to mendelssohn s songs without words op 109 102 117 the esques have no jism heads two songs and irregular sock type novitiate what will think a flow r perfectly carnival a sotto crystal approach bounces a puncture into king s ice if you re very having fun give ed a humor changing into skunk dress a little riverboatin ball not the resolution i m used to breaking took me by surprise balls storm cheap ultra backed up in the mine hung on the shelley hoke saming noise plugs in click armada shaped confectionesque sentescence hots him whence pocket procession nobler calendar sticking to itself and story album leaf over and under water twins its tricks a purpling corona holds three step sky hove a grappling arena to shore posted by andy gricevich 11 36 am 0 comments wednesday april 07 2010 joel felix regional noir bronze skull 2007 regional noir makes me curious about felix s writing i feel like this brief chapbook is part of a larger project or should be it s in four sections a about three pages of verse beginning with the line is found locally and continuing through a series of fragments and near complete thoughts whose connecting idea seems to be the way in which local context is constructed this explored in various senses excerpted from various places in the section the lake communicated a fifth wall as town repeats this pattern of pedestal replacement the one hundred twenty year present of extremely local ecologies if you think i m the subject then i will act suspiciously and so forth a situation defined by the length of a romance the specific objects found in a photo of the desk a desert place a storefront and its parking lot b a prose journal of a train trip from chicago to detroit apparently felix s home town especially including reflections on the appearance and economic industrial ecological character of the great lakes shore between those cities it also contains this if you reduce the scope of the text so finely that any suggestion of an outside world would be arbitrary and anomalous detail then the outside of writing would be rendered a consequence of writing but the world is not a consequence of this writing the is that coincides with writing is a feedback of the system no less than orson wells sic or orion c a brief verse meditation on the sentence as a way of linking a human life with the world the sentence as a finite place in which one can lose one s way d a prose section largely about the visit to detroit and its recent history but beginning with an account of writing as the inexhaustible need to replicate the things of the world to produce something that both is them and claims a life over them the section ends with the imagining of a little pillow cover ghost like the kind my mother made for halloween suspended in the darkness of an empty lot the relationships between these ideas just barely get played out in the course of this text and that leaves a good deal to think about but maybe too much and therefore not enough which makes me feel it as a beginning of something which is an advantage in a way for a text for a complex thought forming it s humble in relation to its own ideas doesn t want to own them except in their further exploration a made ghost a replica of the trace of a past its made ness a life denied real ghosts its own humble status preserving its particularity resisting total absorption into metaphor joel felix as a detective under a streetlight in the empty lots of detroit searching out the proper relation of the sentence to the specificity of local context a context that in its brokenness has become soaked with collective and personal memory a project i d like to see continued does a train track and what mushrooming where now big lonesome houses make a class ladder squash an elm wood which is an advantage for development aka the ugly pictures on for sale signs my neighbor is the one i brush in accidental murmur in line at the store not the association of rules on lines and lawns growing a replacement opening sentences opening sentences writing is a balloon full of the world s air when it pops there s a displacement of the sky for a short time then sky rushes in posted by andy gricevich 11 36 am 0 comments tuesday april 06 2010 kari edwards obedience factory school 2005 from the moment i opened this book i knew it would be a crucial work and i ve saved it for a few years glancing in every now and then until my attention seemed oriented toward it in the right way this is for me a good time to read it having drifted away from emphatic engagement in my own poetry with political and philosophical questions not that they ve been absent having in the last year written more in response to a sense of physiological energy bodily intuition more in arenas of the force of language and of its more nonsemantic characteristics beginning lately to miss the centrality of that engagement those questions i don t think i m going to try to excerpt from obedience here not that there aren t plenty of great lines great thoughts i ll just note some things i admire about the work obedience engages with philosophy with substantial thought about the metaphysics of space and time the ontological constitution of things thoughts bodies and identities in a way that reminds me of how necessary this kind of thought really is in engaging with the politics of everyday social existence with the language that defines and limits us that determines the range and possible meaning of terms like environment sexuality need spirit conversation so much for instance depends on a concept of causality which links things in chains of effects and reflection on the being and becoming of things in the intersections of space and time involves critical reflection on the concept of cause in this sense the book is a meditation the meditation is emphatically oriented toward a utopianism always pushing pure possibility into the foreground i mean to contrast pure possibility with the possibly actual where the latter indicates the range of what can be conceived as coming into being given our current nexus of fundamental concepts pure possibility is the source of unlimited calling into question of possibility not tied to what is and questions are of the utmost importance for edwards work hir philosophical thinking means to reconceive fundamental frameworks in order to present through the poem specific indications of the workings of a desirable world obedience unlike some recent work with whose engagement and commitment to emphatic thinking i am sympathetic never falls into the trap in which the reiterated gesture of mere negation produces a consistent dark tone a tone that can seem louder than the thought that produces it sacrificing the creative thrust of negative utopianism for the sake of a feel of aestheticized protest i m sorry that this is so vague it will take more time than i have right now to figure out for myself how this works in edwards book let alone to convey it to someone else how it works certainly has something to do with all the particulars in the poem it s not all time and space there are rocks rooms knives body parts mosquitoes leaves viaducts colors emotions these are generally non archetypal meaning that they don t stand as citations of some larger argument and remain both independent of and linked to the philosophical material sometimes they become near metaphors and this kind of operation in which something kind of pushes something else in a particular direction of meaning rather than being subsumed in the work of representing it is worth further investigation edwards formalism is worth remarking zie often works with the page as a unit or with a particular set of margins or length of line or reiterative character that structures a section but these are rarely foregrounded sections don t have rigid identities which parallels edwards concern with destabilizing gender and other identities their boundaries are somewhat porous while remaining definitely present sections feature kinds of writing that are different but not drastically so i d call it a gentle formalism though not a soft one there s a good deal of structural meaning meaning generated by formal movements and juxtapositions but content is usually structuring the form as well the movement of the boundless sentence for instance gets tied into the conceptual concerns of the poem this is my muddiest post yet this april i ll just say that this is a unique provocative moving book with which i ll need to spend more time and will quit this writing while i m not ahead an improvisation follows return to scale where concept comes in constellation the incomparable in a snail of relation not the impermeability of a body strange to have enough to cry out one doesn t have a body one has an honesty that kills one has a body its skin an organ part of an organ completed in contact fenceless mapping unmapping in porosity to resist the turning of thought a question into answers inc systems shit disinfected things negation is not to innoculate that s abstract i try to stare into blinding shadows sockets blaze skull predicts its artifact dying in to scale heart divides runnels all over racing ice not i will be gone but the going in staying as web of skin skull and dirt water mushroom you burning after image that shows up as a window everywhere i look through it the clouds of names in the unnamed world we will with every no exactly this scale the one died into each breath out the window before this there s time posted by andy gricevich 2 28 pm 0 comments monday april 05 2010 beverly dahlen a reading 11 17 potes and poets 1989 having just written tomorrow s post on kari edwards i m really beginning to feel a sense of futility with regard to these little reviews i can t for instance hope to adequately convey here what it s like to read beverly dahlen s work with that in mind i ll try to keep it short i can t think of anything that a reading resembles it s a lifelong project that views writing reading and thinking as continuous with each other overlapping and often just facets of the same activity and reading overlaps with living since there s as much reading of the world here as there is reading of texts this description could i guess be applied to lyn hejinian s work since happily but the two approaches to poetry don t read in the same way at all each though conveys a thrilling sense of unfetteredness of real freedom in composition that is very rare this comes through in one way with regard to form dahlen moves with regular ease between prose paragraphs and verse lines whose lengths vary as the work and thought require there s little concern with poetry in terms of measure polysemic linebreaks and so forth at least not in any usual ways there are plenty of poetic markers the absence of initial capitals the occasional recurrence of a stein like syntax repetitions puns it s just that poetry doesn t seem to be the central concern i find this intensely valuable the sections have different degrees and areas of focus dahlen often seems to deal with a collection of topics in a given section number 11 deals with memory moving quickly from the personal to the archaeological finding a relic this fingernail survived but the source is gone and then to reflections on the human transition from prehistory and myth into history the great leap forward the idea of progress that we might enter history at last a little later this leads to a beautiful page our course through the mountains under a glaze the sun had come full circle we might step out of these clothes but we were moved towards a future there what we held in common against the end there is a common world which does not yet exist all our lives from the caves forward is a labor towards it i held her in some moment towards it there are those whom i have held towards it in moments that time towards it that moment in history in which we break and fall away towards it wherever we come to claim it it is a falling away out of this bristling standing away towards it this is not mine i have not made it there is that in which we are joined and not one among us may claim it there is that in which we are joined towards it it calls back to us from some future the substance of things hoped for calling backwards towards us our own freud s prayer to eros now come you among the powers in whom the way however obscurely might lead come some path and pathmaker come in which we might fall away from ourselves towards that common day come as such a one as ever in this life not my own but ours from the beginning 7 these concerns branch out over the remaining seventeen pages of the section which work with we origins births the structure and function of stories the unconscious and the relation between parts and wholes each always anchored in something highly specific lots of jokes flowers seaside observations accounts of conversation other sections have quite different relations to their material 12 is undeclarative 13 frequently quotes idiomatic speech the vast 16 spend...