tried to post this to HUMANOPHONE, Janet Holmes' blog, but something happened and I couldn't -- don't want to lose it so here it is --
Nice Xena outfit!!!
More seriously, I think it is interesting you mention Snow's quotes and her ongoing sequences, and I was wondering abuot the positioning of Dickinson of "letter to the world" and the master letters in f2f?
The way the book weighs on its end is the heart of my unwritten comment on it. I really have to do that.
In other news from blog land, I was asked to pick 30 pages for a brief selected, so instead I am seeing if I can make a poem in one mode of composition -- the quoting and rewriting from other reading and writing mode -- from my jumbo .doc file of previously-published short poems. So far, I've got an index of titles, an index of first lines, and am debating an index of last lines (I have an unpublished piece that's all the last lines of Pounds Cantos, of the sections of Zuk's A, and of the Maximus poems -- kind of nutty, and really would be thankless to proof). I am thinking about an index of figures. But all of this is to force me through the poems.
If I were to do a similar thing with sequences, whether they'd been published or not would be a bigger piece of the consideration than now, and what a poem or section is would be a trial, like it was for that index of last lines project. Yet -- if one writes a great many series and sequences, how do they end, except either they don't, or they are abandoned, a la Stevens?
Anecdotally, if anyone has asked me why, in "Legendary," so many of the series poem titles are "FROM 'The Lives of the Decorators'" etc.... I was still writing them -- still am, but what is weird is that while I left those threads trailing to pick up again, what I ended up doing was making the whole trilogy a series, and all but dropping the individual series poems.
[the last line of OOD is "she's a series" -- I exchanged some e-mail w/ Joshua Corey but -- you know -- I'm using mathematical series, not musical]
Nice Xena outfit!!!
More seriously, I think it is interesting you mention Snow's quotes and her ongoing sequences, and I was wondering abuot the positioning of Dickinson of "letter to the world" and the master letters in f2f?
The way the book weighs on its end is the heart of my unwritten comment on it. I really have to do that.
In other news from blog land, I was asked to pick 30 pages for a brief selected, so instead I am seeing if I can make a poem in one mode of composition -- the quoting and rewriting from other reading and writing mode -- from my jumbo .doc file of previously-published short poems. So far, I've got an index of titles, an index of first lines, and am debating an index of last lines (I have an unpublished piece that's all the last lines of Pounds Cantos, of the sections of Zuk's A, and of the Maximus poems -- kind of nutty, and really would be thankless to proof). I am thinking about an index of figures. But all of this is to force me through the poems.
If I were to do a similar thing with sequences, whether they'd been published or not would be a bigger piece of the consideration than now, and what a poem or section is would be a trial, like it was for that index of last lines project. Yet -- if one writes a great many series and sequences, how do they end, except either they don't, or they are abandoned, a la Stevens?
Anecdotally, if anyone has asked me why, in "Legendary," so many of the series poem titles are "FROM 'The Lives of the Decorators'" etc.... I was still writing them -- still am, but what is weird is that while I left those threads trailing to pick up again, what I ended up doing was making the whole trilogy a series, and all but dropping the individual series poems.
[the last line of OOD is "she's a series" -- I exchanged some e-mail w/ Joshua Corey but -- you know -- I'm using mathematical series, not musical]
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