wompo discussing the poetry article re: bad people / good or bad poetry vis a vis Orr's phrasing "bad men"
my initial response, but methinks some thinking about bad poetry and kasey's "sufficiency" in order
One of the reasons I began (although have been muddling through with mixed results as I don't have an academic career that supports such effort) scanning and uploading women's "early modernist" (pre-1922 American) poetry was that I had access to it and didn't really know it existed, other than dribs and drabs in anthologies and the like. Surprisingly many in Children's poetry anthologies.
But I think it is fair to say that the majority of these women are women that TS Eliot actually had in mind when he called them "scribbling women" back when the wasteland was a crown of sonnets or whatever and Pound revised. The circle surrounding Harriet Monroe at Poetry is one nexus and the New York leftist circles form another. There is exciting work here, an urban imagism, a feminist mythos for Australia / New Zealand Anglo Irish settlement, the woman-written long poem, the female poet-journalist, the female poet-novelist, the female poet-screenwriter, female political figures/writers, American female poet trust fund babies, American female poet bohemians, American female poet divorcees --
which -- it would help ME certainly, as Mary Chapman's, Julia Lisella's, Nancy Berke's, Lynn Keller's, Rachel Blau Du Plessis', Marjorie Perloff's, and many others' writing have -- if we continue to or start to talk on this list not on mechanics or minutia but the real MAtter of what we are writing and thinking --
generation after generation, but I have focused on those before 1922 because the work is in the public domain so that there is no commercial interference -- I've encountered a lot of commercial interference even there, and from women, who just don't get it, whether it be granddaughters who think the poems are worth as much or more in dollars and cents of mine than the linen tablecloths; well-intentioned self-appointed literary executors who want to build an academic career on a stash but being female, get assigned additional familial duties, and so nothing happens, and no one else has access (this happens across the board -- even with male executors of women poets' estates); academic institutions that've paid a fortune or academic institutions who've suddenly come into several boxes of "what is this" that think that offering a small grant to study materials to academics and only letting academics view the holdings and _not letting_ interested people scan and upload the materials is the way to preserve them
I've "done" Hazel Hall (she really needs more attention, and the new Oregon collected book didn't get it for her), Lola Ridge (a lot there still to be done), Alice Duer Miller (Mary Chapman's done a lot of great work with dialogue a la Bahktin but I was unable to get my ass in gear to complement her paper with something... but some of the poems are online already), Marjorie Allen Seiffert (http://jacketmagazine.com/17/daly-spec.html), and some others, and have Mary Aldis, Alice Corbin Henderson, mother - daughters writing, and more.
in other news, I'm having a spelndid new year thus far thank you
but gosh darn it why did so many people go see cheaper by the dozen 2, when I find it unwatchable, and yours mine and ours (remake) such a sweet movie by comparison?
saw LAYER CAKE -- wonderful, surprising, want to read the novel now
saw War of the Worlds (didn't want to, but Ron said "we're stretching -- watching what we wouldn't ordinarily" crap crap crap and that hilarious character of Tim Robbins and why did he have to die? and how grim the on ramp to the veranzo narrows bridge can be (was raining here as it usually does out east for a few days -- trees, powerlines down yesterday, had to drive over curbs or "kerbs" to get home --
my initial response, but methinks some thinking about bad poetry and kasey's "sufficiency" in order
One of the reasons I began (although have been muddling through with mixed results as I don't have an academic career that supports such effort) scanning and uploading women's "early modernist" (pre-1922 American) poetry was that I had access to it and didn't really know it existed, other than dribs and drabs in anthologies and the like. Surprisingly many in Children's poetry anthologies.
But I think it is fair to say that the majority of these women are women that TS Eliot actually had in mind when he called them "scribbling women" back when the wasteland was a crown of sonnets or whatever and Pound revised. The circle surrounding Harriet Monroe at Poetry is one nexus and the New York leftist circles form another. There is exciting work here, an urban imagism, a feminist mythos for Australia / New Zealand Anglo Irish settlement, the woman-written long poem, the female poet-journalist, the female poet-novelist, the female poet-screenwriter, female political figures/writers, American female poet trust fund babies, American female poet bohemians, American female poet divorcees --
which -- it would help ME certainly, as Mary Chapman's, Julia Lisella's, Nancy Berke's, Lynn Keller's, Rachel Blau Du Plessis', Marjorie Perloff's, and many others' writing have -- if we continue to or start to talk on this list not on mechanics or minutia but the real MAtter of what we are writing and thinking --
generation after generation, but I have focused on those before 1922 because the work is in the public domain so that there is no commercial interference -- I've encountered a lot of commercial interference even there, and from women, who just don't get it, whether it be granddaughters who think the poems are worth as much or more in dollars and cents of mine than the linen tablecloths; well-intentioned self-appointed literary executors who want to build an academic career on a stash but being female, get assigned additional familial duties, and so nothing happens, and no one else has access (this happens across the board -- even with male executors of women poets' estates); academic institutions that've paid a fortune or academic institutions who've suddenly come into several boxes of "what is this" that think that offering a small grant to study materials to academics and only letting academics view the holdings and _not letting_ interested people scan and upload the materials is the way to preserve them
I've "done" Hazel Hall (she really needs more attention, and the new Oregon collected book didn't get it for her), Lola Ridge (a lot there still to be done), Alice Duer Miller (Mary Chapman's done a lot of great work with dialogue a la Bahktin but I was unable to get my ass in gear to complement her paper with something... but some of the poems are online already), Marjorie Allen Seiffert (http://jacketmagazine.com/17/daly-spec.html), and some others, and have Mary Aldis, Alice Corbin Henderson, mother - daughters writing, and more.
in other news, I'm having a spelndid new year thus far thank you
but gosh darn it why did so many people go see cheaper by the dozen 2, when I find it unwatchable, and yours mine and ours (remake) such a sweet movie by comparison?
saw LAYER CAKE -- wonderful, surprising, want to read the novel now
saw War of the Worlds (didn't want to, but Ron said "we're stretching -- watching what we wouldn't ordinarily" crap crap crap and that hilarious character of Tim Robbins and why did he have to die? and how grim the on ramp to the veranzo narrows bridge can be (was raining here as it usually does out east for a few days -- trees, powerlines down yesterday, had to drive over curbs or "kerbs" to get home --
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