Autobiographica « POETICKS

Archive for the ‘Autobiographica’ Category

Entry 1757 — My New Blog Set-Up

Thursday, March 19th, 2015

My new blog’s homepage, which I hope will allow you a choice of four blogs, is here. It is operational, but the three new blogs have nothing in them yet. I consider it an achievement that I even have it to the stage it is now at.

I’d appreciate it if you would click “here” and then go to any of the three new blogs you think you may bisit again when there’s something at them.  That will give me at least a little idea of what kind of nuts come here.  Thanks!

A second entry point can be found in my Pages to the right as “Bob Grumman BLOGS.”

Now to celebrate the first day of my Blog-Quartet, below is my latest visual poem, thought of and rendered in full yesterday.  Not very original, but it won’t be a stand-alone but the dividend of a long division poem now complete but for the rendering.  It uses the notes I had here a few days ago . . . no, almost two weeks ago.

TheMagicPath-secret.

AmazingCounters.com

Entry 1756 — My Audience

Wednesday, March 18th, 2015

From time to time I wonder about who my blog’s visitors are.  Each entry seems to get between ten and twenty visitors the first day it’s up.  After that, more visit it but I still don’t know how the count is made.  I don’t know, for one thing, whether or not the counter counts a visit to one day’s entry as a visit also to all the other entries on my home page.

A few times I’ve happened on some site that claims to give a count of blogs’ visitors and says I have around a hundred.  Enough to give the blog a value of $3.45 or something.

Much more important to me would be learning something about my visitors.  I consider this blog before anything else to be a workshop for ME, as well as a sometimes fun place for me to play around with ideas.  But I also want very to use it to gather some kind of following.  When I began blogging two (I think) blogs ago, I intended to cover poetry only.  I’ve wandered way off-topic since then, expecially in the past few years.  Ideally, I would continue this blog, but devote it to poetry (and related arts, I guess) only–except for an occasional update on ME.  (Note: this “ME” is my attempt to indicate that ME is every bit as important as I!)

I would (and a few times have misfired off into) also running a blog on politics.  A third on my psychology would be good, too.  Maybe I’ll do it, who knows.  Not today, though.  If I do, my goal will be to write at least one entry a day which could be for any of the three.  That makes great sense.

I see that I’ve solved one of my problems about visitors, which is figuring out how many care (1) only about my poetry entries; (2) only my psychology . . . okay, crackpot . . . entries; (3) only about my (wholly rational) political entries; or (4) some mixture of the three.  Needless to say, I wish I could find out more about you peeperz.  I’m sure of the identity of about five of you, no more.

I should try another survey sometime.  The only one I’ve tried so far asked if anyone had found an entry of mine worth reading past the first few sentences.  33 said yes before I stopped keeping it on my home page.

I just checked and found 11 had voted “No,” but the count went up to 16 as I was at it, making a few minor revisions.  Ergo, more reason for me not to trust my counters.  And makes me hope one of you might tell me how to get a reliable counter for my (WordPress) blog.

.

AmazingCounters.com

Entry 1751 — Lesson 1

Friday, March 13th, 2015

I have an excuse to avoid truly beginning my lesson in how to compose an otherstream poem: another medical procedure, this one a sound scan of my thyroid.  Routine, I guess because I’m hypo-thyroidal.  Only took ten minutes.  Errands followed.  So, I’m barely unnull.  Nonetheless, I will try to get my lesson in today, beginning with lead-in excerpts of poems by Cummings, then the original (and now final) version of my (full) ooem:

 

* * *

MaybeMandolins

* * *

 
ThunderBlossoming
 

* * *

 

ArmenianRecord

 

* * *

traffic-original

* * *
 

If I were in a high school or college teaching this lesson (which, nota bene, is for absolute beginners, although I hope anyone reading it will learn from it), I would pass out hand-outs with the poems above on them to the students (student?).   Then:

IF YOU WANT TO COMPOSE ANY KIND OF POETRY:

Dictum 1:   READ POETRY!!!

(I’m tempted to end my first lesson there, but–heck–you’re all my good friends!  I can’t cheat you.)

Listening to poetry is okay, but reading it means you have it continuingly in front of you, so seems to me better.  It’s also difficult to attend readings or buy recordings compared to getting books or magazines with it, or going online after it.  In any case, I will be referring to printed poetry only.

I suspect anyone teaching a how-to-course in any kind of literature will tell you the same thing.  That doesn’t mean it’s wrong.  In fact, it’s received wisdom, and received wisdom is right much more often than not.  This bit of received wisdom is maxolutely valid–i.e., it could not be more valid.

The more you read poetry, the more of an idea of what it is you will get.  Beyond some dictionary’s probably inept, and certainly incomplete definition of it.  But by far the most important reason for reading poetry is to find poems you like!  And you will find a few before long, even if you read only publications recommended by college professors or other authorities if you seriously intend to compose poetry–as either a hobby (and there’s nothing wrong with that) or a vocation.

If you get through a few hundred poems and find none that genuinely excite you, ask someone who’s been around (like me) where to go for poetry different from what you’ve been reading.  If that doesn’t help–if, that is, you sincerely explore a reasonable wide variety of poems and are not excited by any of them, accept that you’re simply incapable of appreciating poetry–as I am incapable of appreciating gymnastics.  So what.

I should think anyone who knows enough about poetry to want to compose it will find poems that he really likes.  When this happens, as common sense would indicate, he must find out who wrote them, and look up that poet’s other poems.  If this goes well, he will automatically be strongly attracted to one or more, enough to become at least temporarily addicted to his work.

SubDictum 1:  When you have found a poet whose work you are extremely drawn to, read everything you can about his life.  If you feel like it.  I add that, and make this rule a “SubDictum,” because I followed it with great enjoyment and, I think, got a useful push from my vicarious identification with various literary heroes of mine.  But it won’t make a poet of you, and I suspect there are those without my interest in poets rather than their work, or literary history.  In short, ignore this SubDictum if you have little urge to follow it.

Dictum 2: This is my first teaching that a lot of poets and not all that few teachers of poetry will reject.  In fact, I would agree that it is not necessary for one wanting to become a poet; however, it is necessary, in my opinion, for one who wants to become among the best poets.  Those I therefore direct to read as much commentary on the poets whose works you most enjoy as you can.  Poetry criticism be Good!  So what if much of it, maybe most of it, is not too good; 90% of poetry is mediocre or lousy, too.   So read as much as you can, and zero in on those whose commentary you enjoy the way you zeroed in on poets whose poems you enjoyed.

One important thing they should do for you is path you to other poets writing work like the ones you like do.  Negatively-Positively, they may expose you to flaws in a favorite of yours that helps you to appreciate up to a higher level of enjoyment.  They should introduce you, in their negative commentary, to poets whose poor work will increase your appreciation of inferior work, which it is important to learn.  Or perhaps make you realize there’s poetry out there the critic doesn’t like but you do.  And you will begin developing a critical view of your own.

Dictum 3: WRITE POEMS!!!

Start by imitating the poems you’ve found you like.  Remember that you are just beginning and that it takes time to become anything of a poet.  In the meantime, it should not take too long for you to experience the happiness of effectively imitating something a hero of yours has done.  The chances are 999 to 1 that it will be part of a sub-mediocre poem, but that’s of no consequence.  Every poet’s first attempts are poor.  Regardless of the mothers or friends or teachers who praise them.

At this point I was going to show the value of imitation using the four texts above.  While writing my way to here, however, I realized that I should have used an earlier example of my own work.  I wrote a fair amount of bad imitative poetry when I began, and nothing any good until I was around 25 and wrote my “traffic” poem above.  It’s a bad example, though, because (in my opinion) quite good, although imitative.  There are special reasons for its success.  One is that it’s based on the simplest poetic form, the Classical American haiku form (which is derived from the form the Japanese invented–apparently–but significantly different from that in ways I won’t go into right now).  What’s more, the Classical American Haiku form is extremely explicit, and therefore easy to get technically right.

*  *  *

I feel I could keep going for at least a few more full paragraphs but I also think I’ve reached a good stopping point, and have a topic to discuss which may take a while to get through:  haiku-sensitivity, which I think a person is either born with or will never have, and I have it.  Urp.

.

AmazingCounters.com

Entry 1727 — Re: Kinds of Views

Tuesday, February 17th, 2015

I feel I have very few 100% views.  I also believe that if I were able to express all my political and religious views, my average view of just about everything would be right in the middle.  However, this would be completely accurate, for my median view–

         Ooops. I mean the mode, er . . . modal? view. I was best in my 5-unit college class in statistics but, except during the time I took the course, have never been able to remember the differences between “mean,” “mode,” “median,” and “average.” Well, the last was permanently imprinted on my brain by my brother Bill when he taught me what batting averages, and decimal numbers were when I was eight or nine. I will leave the terms alone, but I can barely contain neologomaniacal urge to find better names for these things. I’d dump “mean,” and use “average,” which seems much better known. How about “midvalue” for “median?” Although “median” is fine. “Mode” is the only one that bothers me. “Emphaterm?” I’m not serious.

Back to my views, which are not in the middle of everybody else’s but to one extreme of the other of everybody else’s.  (Mostly.)  Okay, I am maxilutely convinced (i.e., 99.9999% convinced) that Will Shakespeare wrote Hamlet–although bits of it may have been added or subtracted by others–and therefore maxilutely convinced that those who disagree about this who have studied the matter are psitchotic, fully psychotic, or extremely stupid.  I am 57.32% convinced that a few well-placed neutron bombs would immensely improve the world in the long run (i.e., the happiness the survivors would experience over the next hundred years would make up hugely for the unhappiness they would experience over the next ten years, and it is likely that fewer would lose their lives due to war than the bombs killed, although that would depend on the right people’s being sufficiently in power to control the world after the bombing).  I use this example (and would add that I doubt I’d be able to order such a bombing as US president, unless under serious attack by some other nation) knowing the knee-jerk reaction to it of far too many in order to exemplify honesty.

Which veers me into cursing the way-too-many who can’t simply disagree with others’ view, but must condemn those holding them as monstrously evil on both sides of the electorate, but most visibly, it seems to me, on the left–probably because they are in control of the media.  I’m 80.811% in favor of going all-out to find a way of separating those capable of objectivity about politics and religion and those not, and taking the right to vote or hold office or other consequential government position away from the latter–with certain exceptions, like allowing generals, admirals and police chiefs to have political or religious psitchoses.  On this question, as on many others, I feel I would be open to reasonable compromises.  I could even convert to the other side on issues I was less that two-thirds convinced of.

The book I had an intense desire to spend all my writing time except emails, Internet exchanges and blog entries for a few hours a week or so ago, and still hope to clear time for a strong effort at would be in part my describing as many of my emphatermic views as possible.  (I see the adjective for “emphaterm” stinks.  That’s enough to completely kill it.  I think nouns should always be easy to smooth into adjectives.)

“Emphanoom”: noun meaning “mode.”  Adjectival form: “emphanumeral.”

When I open this space for this entry, I just happened to be thinking about the kinds of views I have–mostly  (semi-intelligent, I think) extremist views.  I intended to jot that down, although I’ve written about it before, then just kept on going, although eager (thanks to a zoom-dose, or caffeine plus a hydrocodone pill) to get on with my review of Sabrina Feldman’s The Apocryphal William Shakespeare.  Now I have well over 600 words, enough to want to hit a thousand for the entry, which is stupid: I should not care how many words I devote to a piece of writing, only care about writing what my topic requires, no more, no less.  But shooting for something I can quantize is near-impossible for me to resist–continues Robert as he crosses the 700-word mark . . .

. . . and returns to the subject of neutron-bombs to criticize one of his favorite cultural figures,, Isaac Asimov, for saying, Isaac Asimov also stated that “Such a neutron bomb or N bomb seems desirable to those who worry about property and hold life cheap.”  One view of mine that is severely blasphemous (because so many people hold human life as sacred) is that property (other than the bodies people live in) can easily be more valuable than human life, because in so many cases capable of causing more human happiness than the continued existence of a substantial number of people–in ways other than simply removing a hundred people who, un removed, would have killed a thousand people, or the like.  But even from a sentimental point of view, what Asimov said was dumb since a neutron bomb would almost certainly be used in place of a regular nuclear bomb, so probably not causing many more deaths than not using it would.

* * *

Hey, I just thought of something I meant to bring up about how my Poem poems differ from the mainstream poems of our time: their flow-breaks are more adventurous.  This, by itself, should make them capable of greater expressiveness, but only does so slightly.  However, it does make them harder to speed-read, which I consider a cardinal virtue of any poem so long as not over-done (and here, as I guess is the case more frequently than I’ve suggested above, I’m in a neither too little or too much middle).

I’m usually too lazy to spend much time on my flow-breaks (in my solitextual, or textual-only, poems), which are mostly standard line-breaks, but often enough include interior line breaks or infraverbal li        breaks (like the one I just made) for my flow-breaks to be noticeably different than the standard ones of mainstream poems.

Here I remembered the Asimov passage I spent some time on above, and crossed the thousand-word mark discussing above.  So I can quit working on this entry now, with no entry needing to me written tomorrow., which is especially good, because I have tennis in the morning and a doctor’s appointment in the afternoon (about my esophagus, which may have some kind of obstruction, but I don’t think it does, nor that it will be a serious on if I do . . . not that I’m not worrying about it, as I always do about physical things not quite right with me.

.

AmazingCounters.com

Entry 1716 — “Bar Cripe”

Friday, February 6th, 2015

While going through my diary in search of accomplishments, I came across a poetry exercise I’d begun in March: the standard write-a-poem-a-day exercises many have tried–spontaneously, without worrying about whether or not what you wrote was any good.  I’d forgotten all about it even though I wrote 39 Poem poems over the course of 39 day, putting them in my diary entries but not here (so far as I know).  Often I wrote how bad they were although once in a while I thought one had possibilities.  I just skimmed through them yesterday, but collected them into a single file and printed them after noticing a few I thought I might make something of.  Looking over my print out, I read the very last poem of the series, and thought it possibly one of my best ever, so decided to feature it in this entry:

Bar Cripe

Actually, the above has been slightly revised.  I had trouble carrying its formatting over into this entry, and at one point accidentally stuck the end of it under the rest of the poem tilted.  I liked the effect, so used it as shown.  Some of it depends on a reader’s knowledge of other Poem poems of mine, but I think it reasonably accessible to anyone who has read widely in poetry without know my poetry.  I love the ending.  Note: I myself am unsure exactly what a few locutions mean but keep them for what seems to me their tonal effect.

.

AmazingCounters.com

Entry 1715 — “Long Division of Dreams, No. 1″

Thursday, February 5th, 2015

The assignment I assigned myself today was to summarize the year I just had.  I wrote an excellent paragraph about it, so my computer went into a loop that forced me to restart it, thus killing my paragraph.  That’s the way my new year has been going so far.

I remember beginning my entry saying that my impression of year number 74 was that it was a complete zero.  Not so, of course, but the only moderately high moment I could recall was getting a book review and an essay into an issue of the Journal of Mathematics and the Arts.  It seemed long, long ago when I was heavily into a back&forth with editors about those.

I then tried to put down my other accomplishments for the year.  Chief among them was my getting six more columns into Small Press Review, again, as well as ten to twenty reviews, and a guest editorial and! a response to a questionnaire.  Neither made me a household name in culturally advanced homes.  As usual, the insanely optimistic urceptual persona in me—I just came up with that and now wonder if we all have an urceptual optimist and pessimist among our inner selves . . .  Be that as it may, my inner optimist thought the editorial, another cry for greater recognition of American poetry’s research and development department, with my standard plea for a list of all the varieties of poetry Americans are composing, might actually make at least a little splash in the big world.  Hey, maybe it has, but it was somewhere too far away for me to hear.

Well, I just repeated all of the text I lost, I’m pretty sure—and added thoughts that improved it significantly, as I usually do when forced to re-do something.  And I haven’t drooped out of my good mood yet.  I will now go through my diary entries for the past year to see if there are any other verosophical accomplishments, besides simply a lot of promising blither-in-progress, worth reporting.  When finished with that, I’ll spend the rest of the day commenting here on the poems I composed during my past year—and, I hope, turning a few of the failed ones enough to consider them keepers.

To my diary now.  Early in the year I tried to get ARTnews to let my contaminate and issue with a piece about visual poetry.  I had to write them a second time to get a response from them.  That help me financially because I no longer had to spend anything on a subscription to it.

It was my most lean year as a pluraexpressive poet in many years.  I got pieces into a number of Internet venues, principally into three issues of Truck, and the design Craig Kaplan and I made for Journal of Mathematics and the Arts made that magazine’s cover.  A minor aesthetic accomplishment but the design’s central feature was my “Mathemaku No. 10,” so it got that poem a bit of high-class exposure (with close to no significant effect on my career).

Chris Lott actually bought a copy of my “Mathemaku for Macbeth” and is now distributing note paper with that at the top of it, speaking of exposure.

* * *

Whew, this job is taking a lot of time.  I’m going to have to make the entry a two- or three-parter.  So, back tomorrow with more.  Before leaving, though, here’s the one poem I composed last year that I consider a masterpiece, “Long Division of Dreams”:

ReasonIntoDreams10October2014

I have to admit that I felt “reason” times all those swans could reasonably equal anything that might get into a dream–ergo, anything, but told slant.  And I let my boy John Keats emphasize its magicalness.  A masterpiece?  All I’ll say is that anything of mine is that, this is.  I’m glad I made it.

.

AmazingCounters.com

Entry 1705 — More about Me & School

Monday, January 26th, 2015

I forgot to say, when ranting about compulsory formal education, that I would never claim I learned nothing while in school–but that’s only because a human being is designed to learn things no matter where he is.  I merely say that I do not believe I learned more in school than I learned outside school.  I also feel that the most important things I learned, I learned outside school.  They include what a learned about art in general from my life as a kid magician.

I feel I would have learned everything I did learn while in school outside it had I not be forced to go to school.  I more or less knew how to read before kindergarten, although not well-and that was from nursery school!  Our teacher read from a nursery rhyme book to us, pointing to words as she read them.  That was enough for me to read “Hickory Dickory Dock” to my sister on time when we sneaked into the little house where the nursery school’s books were and looked through them.  (We lived next door, as I remember–or very close by if not exactly next door.)

My sister, a year younger than I (5, I guess), accused me of just remembering the rhyme, but I distinctly remember connecting each of my spoken words to the proper printed version of it.  Certainly, I had no trouble reading once “taught” it in school.  I learned arithmetic mainly from my older brother, particularly long division, the staple of my incredibly advanced poetry.  That came from my having been a fanatic fan of baseball and wanting to know about batting averages.  Of course, you could say I still learned it from school, but my brother’s, not mine.

I learned most of algebra when excited enough by it on first exposure to it in high school to read ahead a couple of chapters in our textbook on my own.  By most, I mean its general principles, not anything like all the tricks you need to learn.  I’m convinced, though, that the book would have been enough to teach me as much as I learned in school–and probably would have because of my innate attraction to mathematics.

I also liked just about all my teachers, but the only subject I really liked was physical education–except, beginning in junior high, having to take a shower with the other boys, because I was either the last kid in my class or the second-to-last to reach puberty (at just about exactly the age of 15-and-a-half when, in the bathroom, I learned something weird about my penis–and thought for a little while was wrong with it but kept quiet about until things I’d heard about but didn’t understand clued me in on what was going on).

I think almost no assigned reading got me excited but I have to admit books from the school library, some recommended by a teacher, were important to me–although many became so after I left school.  Individual poems–from the Rubaiyat of Omar Khayam and Keats, for sure, did excite me as a high school junior or senior.  Definitely not anything by Emily.  I also used the regular public library regularly, and my parents did, too, and bought paperbacks I began reading as a teen-ager: science fiction and mysteries, mostly.

Once stuck in a classroom, I often enjoyed something–for example: making clay models of the Egyptian pyramids (with secret rooms inside), dinosaurs and something boys apparently aren’t allowed to make now: ray guns, one with a straw for shooting others with little clay pellets was my favorite.  There wasn’t too much I really minded about school, except that I wasn’t free the way I was on vacation.  And, the stress of test-taking, which I never adjusted to, even though I just about always did well on them until virtually giving up trying to do well on them at around the age of 17.

.

AmazingCounters.com

Entry 1692 — Beining to the Rescue Again

Wednesday, January 14th, 2015

For the third day in a row I was running around most of the day.  In the morning I had my teeth cleaned, in the process finding out I had three cavities that would be shoving me further into credit card debt in two weeks.  In the afternoon riding five miles to pick up a prescription, do some marketing and pick up my dead external hard drive, then five miles back, on a crummy cold-for-Florida, overcast day.

I thought the drive worth picking up in hopes one day there will be some breakthrough allowing its data to be retrieved for less than a thousand dollars.  Hey, I just thought of a good plot for a thriller.  Someone like me needs data retrieved from a drive gone bad, so convinces the CIA he’s a soviet spy (i.e., works for Putin) and has important info on his bad drive.

In short, I’m again too beat to come up with anything of my own for a blog entry.  So it was lucky that a post card from Guy Beining with the following was in my mailbox:

Long Deconstructing

.

AmazingCounters.com

Entry 1685 — Two Plumbing Updates

Wednesday, January 7th, 2015

Yesterday, thinking about today’s appointment with my cardiologist when I would find out how the carotid artery exam I had last week came out, I thought how much finding out my carotid arteries were okay would boost me out of my current zone, which is a better zone than my null zone, but only barely.  Well, I got what I was told was good news: 25% blockage  in the left artery, 30% in the right.  This doesn’t sound very good to me but is good for someone my age.  You’re not in bad shape until the blockage reaches 70%.  Note: I’m not sure the percentage refers to blockage, only that it’s something that would be zero for a artery in perfect condition.

I was relieved, but it didn’t have much effect on me.  Why?  Well, last night, around nine, my bedtime, I noticed some water seeping into my bathroom.  This has happened before at least twice due to my A/C ‘s having a clogged drainage tube, so I checked that.  The tube seemed okay.  I thought about calling the company I bought the A/C from but decided to wait until morning to avoid an extra charge,  The seepage seemed very slow.  But it keep on, so I eventually called in a guy I thought would be able to do something about the leak regardless of whether or not it was an A/C problem or a damaged pipe.  He turned out to be only an A/C  specialist.  Sometime after one A.M., he basically gave up.  My A/C’s drainage system had nothing wrong with it, he said, but he put a cap on a tube inside the house that was supposed to be on whatever the tube was.  Its being off may have caused the problem.  It made no sense to me, and he thought it unlikely.  So I was as bad off as I’d been when I’d called him in, except that I was out his $129 fee for an emergency visit.  (A daytime visit would have cost $100 less.)

I took a sleeping pill to make sure I got some sleep, thinking it might be difficult for me to.  But I went back to a thriller I was reading for a while, then checked the leak to make sure it wasn’t worsening.  It had stopped.  I watched where the water had been seeping in, which I’d dried.  No seepage.  Yes, my bad luck turned out to be less bad than I had feared.  The area has now been dry for almost 24 hours.  I still worry that it’ll return, but it hasn’t yet.  It was enough to mess up my day today, though.  I did get four hours of sleep, but the day after I use a sleeping pill, I usually feel a crappiness different from the way I general feel–not replacing it, but adding to it.  In short, I had a crummy day.  Hence, this old man whine for today’s entry here.
.

AmazingCounters.com

Entry 1675 — Warning re: 2015

Sunday, December 28th, 2014

I’m feeling guilty about having steered this blog so far west of its supposed subject during the past few months (or more?)  And now I have worser news: I will probably be even further below poetics and poetry here for the foreseeable future although I’ll try at least once in a while to mention them.  Blame it on the stars, mainly the constellations Mars and Venus and Venus are in, because they iz inciting me something awful now that, as I told you yesterday, I’m in my first house, to fare forth on mine Final TruthQuest, to wit: a definitive total verosophy.  Okay, the opiate in me from the pill I took a little while ago (do to the advice of the stars) is making me exaggerative.  What I intend to do (as long as my opiates last) is try for an at least semi-unified babblation of my views on all the important stuff, but principally My Political View (which, for some reason, I feel is clarifying), and my knowlecular psychology, starting with my theory of awarenesses–unless I feel like taking on an essay I’m itching to write about my theory of the nature and evolution of cerebrevaluceptuality, and music as the first True Art.  Oh, a third very important project I expect to take on is a definitive description of my theory of temperament types and its application to those on both sides of the Shakespeare Authorship Question (SAQ).

Dang, the stars and the opium got me wanting to do all of these at once right now: instead, I will jump into the main thoughts that have been bothering me of late, because of too much reading about that idiot Obama (and his Republicans, who are avoiding being as idiotic as he only because they lack his power, which I add in hopes it will somewhat assuage you lefties who have a better opinion of Barry than I).  But I’m also taking off from The Pity Party, a book I’m reading that’s basically for (intelligent) adherents to the tea party by William Voegeli that I mostly agree with and will be referring to more than once.  (Hey, it’s the first book I’ve begun reading on my new Kindle!  The Kindle is part of the preparations I’ve made for mine TruthQuest, an important result of which, I hope, will be two or more books of mine available for Kindle at Amazon before 2016.  The SAQ should be the first of these, for I think I’m much closer to being able to finish my definitive thoughts on that than I am on the other subjects.)

* * *

I doubt I’ll say anything new about politics but gotta say it anyway.  First Dogma: no system of government is worth a damn.  Second Dogma: all systems of government are equally worthless.  By that I mean that no over-all pleasure-to-pain ratio for the population of any tribe, regardless of how it is governed (or, in the case of those who were free of governments of any kind far in the past, or have somehow managed to be free of it now) is more than five or ten percent better or worse than any other’s.  The pleasure-to-pain ratio, by the way, is–according to my Third Dogma–my sole way of comparing the effectiveness of one system of government with another (see this blog entry of mine. There’s something in it about this ratio. You may find something else about “pleasure-maximization” in this essay, too, although it’s already out-of-date (due to my adding magnaceptuality and practiceptuality to my theory).

It is important to note that I evaluate a system of government on the basis of the pain and pleasure of everyone in it.  That will always include people whose pleasure-maximization ratio is very high, thanks to the government.  In other words, each system will have winners and losers, cancelling each other out.  Having a system half totalitarian and half free (to put it roughly) the way ours is, doesn’t help: it just reduces the unhappiness of the masses at the expense of the ruling class.

Something else is important: the fact that the system of government an individual has to put up with will seldom be as significant a determinant of the individual’s pleasure-maximization ratio as the individual himself.  Assuming, as I do, that genes count.  If so, some will find a way to reasonable happiness no matter how bad their government is, others will be miserable no matter what form their governments take.

One way of classifying governments is to try to measure the freedom-to-security ratio experienced by their subjects–or, better, the freedom-to-security ratio they seem to favor, all governments allowing some freedom to some of its people, along with the security (or enslavement for their own good) the majority of every government’s people benefit from.  A somewhat novel way of considering this ratio is as male individualism versus female collectivism, or–relatedly–as male aspiration versus female compassion.

This, in any event, is where my thoughts about William Voegeli ‘s ideas of “liberal compassion” have taken me.  The introduce that, let me quote portions of the letter I wrote Voegeli after reading an essay of his in a (free) conservative pamphlet I get from Hillsdale College, an institution notorious for refusing all government hand-outs so it is free to run itself the way it wants to instead of the way the government does:
.

Dear Mr. Voegeli:

I recently read your analysis of liberal compassion in Imprimis with enjoyment.   I was especially interested in it, though, because I’ve for some time been trying to work out an explanation of why so many people are liberal (as now defined) and find your explanation an excellent one.  But I feel it is only one of several equally applicable explanations.  Since I’m forever responding to essays in periodicals, I quickly wrote the following response to yours.  I only rarely send any of my responses to the authors I’m responding to, or anywhere else, however, being doubtful that anyone would be interested in what I have to say.  I’m also sure that what I have to say about politics would offend a great many people.  I’ve elected to send the following response to your essay to you, however, because I think there is an outside chance you may actually like some parts of it, even if you conclude fairly quickly that I am a crank.  (I sincerely don’t know whether I am or not but have enough self-confidence to believe that if I am, I’m a superior crank.)

 . . .

I wrote my response to your essay two weeks ago, thinking from what you wrote for Imprimis, you would be more likely to sympathize at least a little with my ideas than any other writer I might try them on.  Still, it took me till today to dare send my response to you.  I will understand if you find it of no value, and will not further bother you again if so.  But I would greatly appreciate your at least letting me know you’d prefer not to discuss any of it with me if that is the case.  In any case, keep up the good work against liberalism!

Re: Liberal Compassion

In a recent issue of Imprimis, a pamphlet published by Hillsdale College, William Voegeli has an excellent piece called, “The Case Against Liberal Compassion,” which concludes that a main motive of liberals is not so much a need to improve the lot of the poor and otherwise needy, but to be perceived as persons who want to do that.  This neatly explains why such liberals seem not to care how effectively the welfare state carries out its acts of compassion, by making sure that a maximum of the taxes spent on the effort is efficiently used, for instance, and even (subconsciously, I’m sure) hope it will never fully succeed–because they need people in need to be compassionate about.   About my only difference with Voegeli here is that I feel he fails to appreciate the many reasons other than a need either to be compassionate or to be perceived as a compassionate person that various people become liberal, such as the compulsion of many of them simply to regulate, or have a government that regulates.   Many conservatives have this failing, too, the kinds of regulation favored being the main difference between the majority of present-day conservatives and liberals, not the need to regulate.

Related to this is a need for sameness, which I think is why leftists promote egalitarianism and economic equality—not out of any kind of genuine compassion but to make everyone the same, to protect leftists from too much human diversity.

Be that as it may, my main reason for writing this is that Voegeli’s essay gave me what I think is an Interesting Thought: that liberal compassion (whether a genuine motive or only something a liberal wants to be perceived as feeling) is actually standard innate female compassion–and that there is such a thing as male compassion that liberals seem unaware of.  It is an empathetic identification not with the sick, poor, bullied, etc. but with—this I haven’t clear in my mind yet but do have a fair impression of: failed quest-seeking.  More commonly, blocked quest-opportunity.  Simple example: female compassion for inner city have-nots consistently triumphs over male compassion for those who want to conquer outer space.  That is, liberals (most of them) have no compassion for those who need adventure rather than hand-outs.  Closely connected (although in a minor way) is the female compassion which causes liberals to over-protect explorers: no trips to Mars until we’re 99.999% certain of the total safety of the crews involved.

Those with stronger female than male compassion (and every healthy person has both kinds) will have extreme trouble with foreign policy because they lack much genuine feeling for those suffering significant enslavement (and/or suffering from lack of wilderness, and here is where I have problems with conservatives, at least those for maximal “development” of wilderness).   Indeed, I suspect few of them would even be able to consider the possibility that any sort of male compassion could exist.

It’s all extremely complex: I just now thought of another factor: that those with female compassion often have it so badly that they assume that anyone lacking it to the degree that they have it can be cured by reason.  In foreign affairs, this means negotiation, never use of the military.  In any case, if I am right, or even not entirely wrong, it seems to me that conservatives ought to publicize their kind of compassion as such to a greater degree.  Our country sorely needs people motivated by both kinds of compassion.

I wrote that a month-and-a-half ago, and Mr. Voegeli actually replied to it–favorably.  So I bought the Kindle edition of his The Pity Party and hope to write a review of it at Amazon.  I expect that to get a reasonable number of money men to back me for the Republican nomination for President.

Amazing; the opiate loses its effect after four hours, and I took my dose of it almost five hours ago, but am still hilariously funny.   It’s not giving me the zip to go on, though.  More tomorrow.

.

AmazingCounters.com

Entry 513 — 11 Forebears « POETICKS

Entry 513 — 11 Forebears

Is it possible, as I’m thinking right now, that the feeling of being importantly part of a “major adventure,” as my recent mathemaku has it, could be the only thing that can make life worthwhile?  Many things can cause such a feeling—for me, at any rate.  Being in the groove on the tennis court, as I wasn’t except for a point or two this morning, although I was on the winning side, thanks to my partners, in the only two sets I played. (I doubt if the feeling will be possible for me, except momentarily, in tennis until I get my left leg back.  It still can’t seem to give me the thrust I need to sprint, although I’m optimistic that it will.)

Mostly for me, being in the groove while composing a literary work—as I never quite was during the work I’ve recently done on my reaction to Jake Berry’s essay.  In fact, I’m in my null zone again because I couldn’t get into the groove working on that reaction yesterday in spite of a dose of APCs.  Nor could I get a major adventure going anywhere else, or even one planned and possible, if not begun.  On the other hand, toward the end of the day I did write a 240-word letter to Free Inquiry about the immortality of the consciousness.  It was pretty good, but didn’t excite me. 

It’s around one in the afternoon as I write this.  I haven’t felt like bothering with anything since returning from tennis around ten, but realized I hadn’t done a blog entry.  That I’ve done one a day for over a week now got me to the keyboard—gotta keep my streak going.  Who knows, maybe it’ll get me going.  I haven’t taken any drugs, by the way.  Nor do I right now plan to—don’t have any confidence they’d do me any good after yesterday.

Okay, now to what I thought I’d write about here, something I’ve thought about many times but most recently just a day ago: that I really don’t know the work of many poets well enough to believe I could be a knowledgeably good critic of their work.  I came up with a list of just eleven Anglophonic poetic forebears of mine—poets writing in English a generation or more before I that I feel I’ve studied enough to be an authority on.  Not that I couldn’t (and haven’t) said good things about many other poets, just that what I’ve said was about individual poems or lines, not oeuvres—and if valuably insightful, mostly so by luck alone.

My list has nothing but standard poets on it, all major in my view and the world’s: Shakespeare, Keats, Wordsworth, Yeats, Cummings, Roethke, Frost, Stevens, Pound, Dylan Thomas, Williams. Coleridge and Shelley just missed.  Maybe Emerson, too, except that he didn’t write very many superior poems.  The only foreign forebears who have been as important as these to me have been Issa, Buson, Basho.  I feel I can be, and have been, knowledgeably good about the Japanese haiku tradition as a whole.

By no means am I saying I have been or am capable of being academically erudite about any poets.  Able to quote reams of a given poet’s work, for instance, or say with much certainty when any of the poet’s works was written or published, or even instantly tell the poet’s work as his.  Knowing a poet’s work as a creative artist and/or as a critic is different from knowing it as an academic—and, no, not necessarily superior to it, although I prefer it.

I know a number of my contemporaries poetry quite well, but don’t believe one can be knowledgeably good on any poet until one has gone over just about all of it, which one can’t do with a living poet’s work. 

Before leaving, here’s an announcement: yesterday I posted the first of the ten visual poems I plan for my new page, “Ten Superior Visual Poems,” along with my commentary on it.  The poem is Marilyn R. Rosenberg’s “Drifts.”  Next will be something by some Hungarian.

Leave a Reply

Shakespeare and the Rigidniks « POETICKS

Posts Tagged ‘Shakespeare and the Rigidniks’

Entry 412 — Commercial Activity of Sorts

Wednesday, March 30th, 2011

Just a small announcement: if you go here, you’ll find my new agent’s author’s box for my Shakespeare and the Rigidiks. Whitt Brantley is my agent’s name.  I had a nice conversation with him on the phone yesterday.  Seems energetic and intelligent–and a nice guy.  He’s hoping to sound out some publishers soon about doing something with my book.  Fingers crossed but I’m afraid I don’t expect much.  Which isn’t a vote of non-confidence in Whitt but in the world.

Internet Problems Again « POETICKS

Internet Problems Again

I’ve been disconnected from the Internet and e.mail since Friday. Things look bad.  Staples says there’s nothing wrong with my computer.  My computer says my modem is defective, but I have two, one of which I just bought, and neither works.  Aside from that they work with my laptop–but I can’t connect to the Internet using it, either, who knows why.  No telling when I’ll be on the Internet again.  I hope everyone knows that another installment of my Scientific American blog is up.

best to all, Bob

 

Leave a Reply

Norman Friedman « POETICKS

Archive for the ‘Norman Friedman’ Category

Entry 1627 — Norman Friedman, RIP

Monday, November 10th, 2014

A day or two ago I got the sad news that Norman Friedman died on the 6th of November.  He for many years was probably the foremost critic of E. E. Cummings, one of my three favorite pre-1960 American poets.  Certainly I learned more than a little about Cummings (and poetics) from his writings over the years.  He was also a very nice man, as I found out when I met him at a literary conference where I presented a paper on Cummings several years ago.

This  morning curiosity about him sent me to Wikipedia where, to my shock, I was unable to find an entry on him.  Along the way, though, I found an essay of his on Cummings at jstor.org, a site you can read academic writings at for a fee. The fees are way more than I can afford but I took advantage of an offer allowing me to read three essays for free, so am now midway through Friedman’s “E. E. Cummings and His Critics,” (1962).

In his essay, Friedman is making an excellent case for Cummings as what academics should consider a serious poet–i.e., one with a serious outlook on life that he expresses in his poetry.  I suppose he is right but for me, “all” Cummings did was celebrate existence, using all the verbal means he could think of in order to able to do that maximally.

Oh, sure, he was diverted from this central concern to take on collectivism (which I applaud) and science (which I don’t applaud) but at his best he did the only thing I believe poets should do, which is use the whole of their language to celebrate existence–which I think requires them at the same time to show by contrast what’s wrong with it.  I think what I mean is that a poet should side with, and celebrate, beauty in his poetry, which he can’t do without opposing, and condemning, ugliness (at least implicitly) as when Basho celebrates the beauty of the many moments existence’s best moments combine in his old pond haiku while at the same time implicitly rejects–and I should have used “rejecting: instead of “condemning” earlier in this sentence–existence’s lesser moments, the one’s with only the present in them, or–worse–only some solely intellectual or solely unintellectual present in them.  Or nothing at all, unless the nothing that includes all isn’t what many of the greatest minimalist poems are about.  (Yeah, I’m going a little over-mystical there.)

You’re in luck.  I don’t have time right now to knock out several thousand words on the poetic moment I’m talking about.  The traditional haiku moment is an instance of it, but only one instance, whatever the wacked-out anti-Western idolizers of the Far East maintain.
.

AmazingCounters.com

Vacation Time « POETICKS

Vacation Time

I seem to be back on the Internet, and getting e.mail.  Getting there took too much out of me these past three days for me to  catch up with this blog, so I’ve decided to keep off it for another few days–till this coming Saturday, I think.  I hope you poor folks won’t be too devastated. 

Look for slowness of e.mail response, too–although I’ll try to check my inbox once or twice a day.

Leave a Reply

POETICKS

Entry 434 — More Time Off

April 26th, 2011

.

I’ve decided I need more time off from my blog.  I seem to have less than zero energy, at least for any kind of productive writing or other art-making.  Could be gone a week or more, who knows.

Entry 433 — Graham vs. Grumman, Part 99999

April 25th, 2011

It started with David Graham posting the following poem to New-Poetry:

.              Mingus at The Showplace
.
.              I was miserable, of course, for I was seventeen,
.              and so I swung into action and wrote a poem,
.              and it was miserable, for that was how I thought
.              poetry worked: you digested experience and shat
.              literature. It was 1960 at The Showplace, long since
.              defunct, on West 4th St., and I sat at the bar,
.              casting beer money from a thin reel of ones,
.              the kid in the city, big ears like a puppy.
.              And I knew Mingus was a genius. I knew two
.              other things, but as it happened they were wrong.
.              So I made him look at the poem.
.              “There’s a lot of that going around,” he said,
.              and Sweet Baby Jesus he was right. He glowered
.              at me but he didn’t look as if he thought
.              bad poems were dangerous, the way some poets do.
.              If they were baseball executives they’d plot
.              to destroy sandlots everywhere so that the game
.              could be saved from children. Of course later
.              that night he fired his pianist in mid-number
.              and flurried him from the stand.
.              “We’ve suffered a diminuendo in personnel,”
.              he explained, and the band played on.
.
.                                                           William Matthews
.                                                           Time & Money
.                                                            Houghton Mifflin Company
.
I Liked it for the same reasons I like many of Charles Bukowski’s poems, so I said, “Good poem. Makes me wonder if he was influenced or influenced Bukowski.  Seems like something by Bukowski, Wilshberianized.”

Mike Snider responded that “Matthews was a far better poet than Bukowski thought himself to be, and he did indeed know his jazz. At the other end of some cultural curve, I love his translations of Horace and Martial.

“And I love your work, Bob, but ‘Wilshberia’ is getting quite a bit past annoying.”

I may be unique among Internetters in that when I post something and someone (other than a troll) responds to it, I almost always carry on the discussion. I did that here: “I think Bukowski at his rawest best was equal to Matthews, but extremely uneven. One of his poems about a poetry reading has the same charge for me that this one of Matthews’s has. I haven’t read enough Mattews to know, but suspect he wrote more good poems than Bukowski did.

“(As for my use of ‘Wilshberia,” I’m sorry, Mike, but it can’t be more annoying to you than Finnegan’s constant announcements of prizes to those who never work outside Wilshberia are to those of us who do our best work outside of it, prizelessly. Also, I contend that it is a useful, accurate term. And descriptive, not derogatory.”

At this point David Graham took over for Mike with some one of his charateristics attempts at wit: “Sorry, Mike, but I have to agree with Bob here. Just as he says, ‘Wilshberia’ is a useful, accurate term, in that it allows someone to see little important difference between the work of Charles Bukowski and William Matthews.

“Think how handy to have such a term in your critical vocabulary. Consider the time saved. Sandburg and Auden: pretty much the same. Shakespeare and Marlowe: no big diff. Frost and Stevens: who could ever tell them apart?

“It’s like you were an entomologist, and classified all insects into a) Dryococelus australis (The Lord Howe Stick Insect) and b) other bugs.”

Professor Graham is always most wittily condescending when he’s sure he has ninety percent of the audience behind him, which was sure to be the case here.

Needless to say, I fired back: “Seeing a similarity between those two is different from seeing “little important difference between” them, as even an academic should be able to understand.

“Wilshberia, for those who can read, describes a continuum of poetry ranging from very formal poetry to the kind of jump-cut free association of the poetry of Ashbery. The sole thing the poets producing the poetry on it have in common is certification by academics.

“No, David, (it’s not like being an entomologist who “classified all insects into a} Dryococelus australis [The Lord Howe Stick Insect] and b} other bugs). Because visual poetry, sound poetry, performance poetry, cyber poetry, mathematical poetry, cryptographic poetry, infraverbal poetry, light verse, contragenteel poetry, haiku (except when a side-product of a certified poet) and no doubt others I’m not aware of or that have slipped my mind are meaninglessly unimportant to academics as dead to what poems can do that wasn’t widely done fifty or more years ago as you does not mean they are the equivalent on a continuum of possible poetries to a Lord Howe Stick Insect in a continuum of possible insects.” Then I thanked the professor for “another demonstration of the academic position.”

My opponent wasn’t through: “A rather nice nutshell of my oft-expressed reservation about Bob’s critical habits above. Note how in his definition of Wilshberia above, ‘the sole thing’ that characterizes such poetry is ‘certification by academics.’ I think we all know what ‘sole’ means. OK, then, it has nothing whatsoever to do, say, with technical concerns. There is no meaningful aesthetic distinction involved. And thus it is obviously not definable according to whether it is breaking new technical ground, because “the sole thing” that defines it is whether academics ‘certify’ it, whatever that means. And as we well know, academics tend to appreciate a spectrum of verse, from the traditional forms and themes of a Wilbur to the fragmentation and opacity of various poets in the language-centered realm.

“But look at the second paragraph above. What are academics being accused of? Oh, it seems we don’t appreciate poetry that breaks new technical ground or challenges our aesthetics. We don’t like poetry of various aesthetic stripes recognized as important by Bob.

“Whether or not that accusation is even true (another argument), does anyone else see a certain logical problem here?”

I didn’t say much. Only that he was wrong that “There is no meaningful aesthetic distinction involved” involved in my characterization of Wilshberia because aesthetic distinctions are involved to the degree that they affect academic certifiability, which they must–as must whether the poetry of Wilshberia is breaking new technical ground.

I proceeded to say, “The meaning of academic certification should be self-evident. It is anything professors do to indicate to the media and commercial publishers and grants-bestowers that certain poems are of cultural value. Certification is awarded (indirectly) by teaching certain poems and poets–and not others; writing essays and books on certain poems and poets–and not others; paying certain poets and not others to give readings or presentations at their universities; and so forth. What (the great majority of) academics have been certifying in this way for fifty years or more is the poetry of Wilshberia.” “Only,” I would now add.

I also noted that I had I previously defined Wilshberia solely as academically certified poetry. “Implicitly, though,” I claimed, “I also defined it as poetry ranging in technique from Wilbur’s to Ashbery’s. Since that apparently wasn’t clear, let me redefine Wilshberia as “a continuum of that poetry ranging from very formal poetry to the kind of jump-cut free association of the poetry of Ashbery which the academy has certified (in the many ways the academy does that, i.e., by exclusively teaching it, exclusively writing about it, etc.”

Oh, and I disagreed that ” . . . as we well know, academics tend to appreciate a spectrum of verse, from the traditional forms and themes of a Wilbur to the fragmentation and opacity of various poets in the language-centered realm.”

“My claim,” Said I, “remains that the vast majority of them think when they say they like all kinds of poets from Wilbur to Ashbery that they appreciate all significant forms of poetry. I have previously named many of the kinds they are barely aware of, if that.”

That was enough for the professor.  He retired to an exchange with New-Poetry’s nullospher, Halvard Johnson, about not having a certificate indicating he was a poet in good standing.

Entry 432 — 3 Lunberry Jars

April 24th, 2011

Close-ups today from top to bottom of Breton, Cezanne and Freud, or SKY, TREES and WATER.

.

.

.

.

Entry 431 — More on the Lunberry Installation

April 23rd, 2011

.

When I visited Clark’s installation, I somehow failed to notice that he had three texts, not just one, in water-filled jars in the three-part lobby showcase–because, I guess, two were in colored water.   In one respect, I was lucky: at the time, the one I saw, the central one, may have been at its best state of decomposition, for I found it enchantingly like a jut-filled, twisty opening in a secret caves.  Here, according to Clark, is a more accurate description of the trio of  showcases:

The showcases were divided into three sections, mirroring the stairway (and, of course, something or other outside the library)—water, trees, sky—with each section filled with books selected because that key word happened to be in its title. The selection of books was, as a result, wildly eclectic, linked only by that one word.  The water section had, immersed within it, Freud’s Interpretation of Dreams; the trees section had The Selected Writings of Paul Cézanne; and the sky section had André Breton’s surrealist classic Nadja.

Of the three, Cézanne’s writings degraded the most dramatically over the four weeks of their immersion and, by the final week, had taken on something of the geologic look of Cézanne much-painted mountain, Mt. Ste. Victoire.  The quality of paper, etc. must have contributed to that.

For the most part, I left the books alone to degrade at their own pace (I’d added color-appropriate water colors to each jar), but a couple of times I got into the jars and shook them up a bit, accelerating the decay (and the variety of pages visible).  By the end, the books were, in fact, stinking to high heaven; removing the jars was a disgusting experience, especially the Cézanne; it smelled like a rotting carcass!
.

Entry 430 — Re: Clark Lunberry’s UNF Installation

April 22nd, 2011

.

Go here to see a slide show about it, which will give you a much better idea of the adventure it was–the evolving adventure–than my entries on it.

Entry 429 — Some Grumman Logic

April 21st, 2011

The sentence below this one is false.

The sentence above this one is true.

What can we now say about the two sentences above?  That, if we dispense with the false true/false dichotomy, neither is either true or false: each is true/false or paradoxical.  Parodoxes are inevitable in any human language, which in my thinking includes the language of mathematics and all the sciences.  It seems to me they never occur in nature.  That is, nothing in reality except our attempts to describe is ever paradoxical.  Hence, two parallel lines can meet each other in Non-Euclidean geometry, but not in the real world.

An aside: I’ve always wondered at the fact that many intelligent people with scientific backgrounds find the idea that parallel lines that meet will exist if the universe were the surface of a sphere.  Only in geometry.  In the real world nothing that has less spatial dimensions than two can exist.  Start drawing a line on your universe as the surface of a sphere and your first tiny dot with burst out if it on both sides.

Related to this absurdity is the idea of curved space.  But that’s just an absurdity of expression–saying, for instance, that a curving ray of light curves due to the effect on space of gravity rather than due to the effect of gravity on it.

It applies, too, to the idea of transfinite numbers.  The idea behind that, according to George Gamow is that you can’t form a list of infinitely-repeating decimal fractions that contains them all as shown by the fact (and this is true) that if someone brings up a fraction he claims is not on your list, giving you the first ten digits, say, and you show him it is on your list, he can show it isn’t by showing you the eleventh digit on his is different the eleventh digit on yours,  or–in the one in ten chance thatthe digits match, that some other later digit on his fraction is different from the one in that spot on yours.

But that procedure can work oppositely: you can make a list of all possible decimal fractions including infinitely-repeating ones and challenge him to find an infinitely-repeating decimal fraction of a given length that’s not on your list.  If you take all the integers in order, reversed, and make them infinitely-repeating decimal fractions by putting a point in front of each one as here:

.1 .2 . . .  .9 .01 .11 .21 . . .  .91 .02 . . .  .99 .001 . . .

he will not be able to give you any decimal that you can’t immediately indicate the location of on your list of a decimal fraction matching whatever string of digits he gives you.  Say it’s 00958746537 . . .  That will be the 73564785900th number on your list.  He can’t then say his number’s twelfth digit is different from your number’s because you can honestly say you don’t know what your number’s twelfth digit is.  But that his second number can be as easily found as his first.

So you have two true statements about mathematics that contradict each other.  I say they are therefore true/false statements, or paradoxes.

I don’t believe any real object can be infinite.  Space may be said to be, but it doesn’t exist, in my philosophy.  But I doubt that there’s any way of testing the truth of what is just my opinion.

Note to anyone concerned about my health: I managed to get through a stress test yesterday without having a heart attack or stroke.  I’m now wearing a heart monitor that will come off in three hours, at ten a.m.  I felt peculiar a few times while wearing it.  I hope they don’t turn up as problems on the monitor’s record.

I had trouble walking properly on the stress test treadmill.  My doctor and the woman overseeing me got quite frustrated.  I felt incredibly stupid.  I think I know what happened: there are rails to hold onto that I couldn’t grip without slightly stooping because I’m tall but have the arm-length of a 5′ 9″ white man, so I felt very awkward–until I just let my fingers touch the rails.  I also tried too hard because I thought I was going to be tested with stress.  When it was over, I asked why they’d never speeded it up.  No stress at all except the stress of feeling physically incompetent.

Hmmm, my spell-checker doesn’t like “speeded up.”  But surely “sped up” is not correct.  Weird.  I’d automatically say, “I sped home,” not “I speeded home.”  But that’s great.  The language should be crazy–as long as it tries for maximal stability.

I have opined on occasion that people who can remember rules of usage like sped/speeded may be use them to show their superiority to those who can’t–in other words, the lay/lie distinction that I hold to, for example, I hold to partly to show I’m not low-class.  But I hope my main reason is that I like ways to break out of universal rules as a literary artist.  I do believe in social classes, though.  It slightly simplifies relating to people, which is incredibly complex.  Not that my believing in it matters since a classless society is impossible.

Entry 428 — My Heart Monitor

April 20th, 2011

.

Today I’m wearing a heart monitor.  I took a stress test earlier.   Now my main concern is not doing anything that will unstick the electrode patches or whatever they are that have me stuck to the monitor in five different places.  All this is the make sure I can withstand the hip replacement surgery I’ve put in for.  It seems to me a good excuse to take the rest of the day off, so this is all I’m posting here today.

Entry 427 — Math in the Work of Kedro

April 19th, 2011

Today, because I’m interested in any literary use of mathematics, I’m posting the following poem that JoAnne Growney sent me.  It’s by the Russian, Konstantin Kedro, from Crossing Centuries: the New Generation in Russian Poetry:

Entry 426 — A New Chapbook by Beining

April 18th, 2011

There are a fair number of excellent visual poets who are excellent linguexpressive poets, as well: Karl Kempton, Sheila Murphy, Geof Huth, Crag Hill, to mention just a few.  Another is Guy R. Beining, who is also a wonderful pure visimagist (i.e., maker of visual art), as my top image of his painting for the cover of nozzle 1 – 36, his recent collection of linguexpressive poems, proves.  Following it are two of the poems in the book.  As I always wonder, as practically the only one who has discussed his work (too seldom I fear, and too worn out to do so here), why he is not better known.

Entry 425 — Lunberry Installation, Part 3

April 17th, 2011

Finally I’m returning to Clark Lunberry’s installation.  Ironically, I already had the words I’m posting written–they’re all from the diary entry I made when I got home from Jacksonville, although somewhat revised:

So, we spent time at a Farmers’ Market–part of it very very pleasantly, under a freeway underpass on a bank of the river through Jacksonville, the name of which I now forget.   We had lunch there, while listening to a girl singer accompanied by guitar–in the folk vein, I guess, and nice.  Then quite a distance to the college Clark teaches at to see his installation (as well as an excellent exhibition of some of Marton’s pieces) .  I wasn’t prepared for the outdoor part of the installation, “SENSATION” making an X with “THINKING” floating in the center of a small pond with geese swimming in it in front of where we parked.  An evolving installation: later Clark rowed out to the X in a kayak and changed “THINKING” to “INKING.”  It seemed okay to me.  The words are from a quotation from Cezanne he’s done many variations on at other installations of this particular (4-year) installation.

The installation continued in the library building next to the pond.  First, the long glassed-in  exhibition space in the library’s lobby I had a picture of a few entries ago.  In it were a huge number of books on water, trees and sky, plus an intriguing mush of torn pages of text in the jar that summed up the adventure into a secret cave that all the books contained.  Then three visual poems, each taking up one portion of the stairway window, or glass wall, that faced the pond.  The first featured repetitions of the word, “WATER,” the second “TREES, the third “SKY.”  These are in many of the other versions of the  installation’s . . .  “frames.”  Several other texts in much smaller letters, some of them sentences, crossed the windows.  I was enthralled with the way one could see through these texts into the pond, and the trees beyond, and–finally–into the sky (wonderfully cloud-clumped when we were there) .   (Sound effects were included although only the ones for “WATER” were working at this time.)

I immediately thought of Bob Lax (a favorite p0et of Clark’s too, I learned).  Clark is a big fan of Samuel Beckett’s (whom he’s been teaching many for five or more years), who is also an obvious influence.  But he’s also absorbed and created out of many other influences, many of them non-literary.

BOBGRUMMANBLOGS « POETICKS

Archive for the ‘BOBGRUMMANBLOGS’ Category

Entry 1757 — My New Blog Set-Up

Thursday, March 19th, 2015

My new blog’s homepage, which I hope will allow you a choice of four blogs, is here. It is operational, but the three new blogs have nothing in them yet. I consider it an achievement that I even have it to the stage it is now at.

I’d appreciate it if you would click “here” and then go to any of the three new blogs you think you may bisit again when there’s something at them.  That will give me at least a little idea of what kind of nuts come here.  Thanks!

A second entry point can be found in my Pages to the right as “Bob Grumman BLOGS.”

Now to celebrate the first day of my Blog-Quartet, below is my latest visual poem, thought of and rendered in full yesterday.  Not very original, but it won’t be a stand-alone but the dividend of a long division poem now complete but for the rendering.  It uses the notes I had here a few days ago . . . no, almost two weeks ago.

TheMagicPath-secret.

AmazingCounters.com

Infraverbal Poetry Specimen « POETICKS

Archive for the ‘Infraverbal Poetry Specimen’ Category

Entry 1540 — A New Work of Mine at Truck

Saturday, August 16th, 2014

Just an announcement today as I ccontinue to try to get my current reviews out of the way (and do seem to slowly be succeeding in doing so).  Go here to see “An Evening in June, 1952,” a nostalikuical long division about (sob) my lost boyhood, mostly the part of it spent in boys’ adventure books, but also actual times camping out. Click once on my poem to see a better version of it.

The codes are simple, but I’ve put hints that help down at the far right, if you need them. Further hints available for $12 apiece at HINTS, 1708 Hayworth Road, Port Charlotte FL 33952. (Note, for those of you keeping score: yes, it is a Major Poem.) (Note, for any knownstreamer accidentally here who laughs at the presumption of my declaration, I dare you to present a cogent argument against it.  Not that my declaration isn’t intended as a joke, but only in part.  I absolutely believe it.  I don’t think all or even most, of my poems are major, but if–at my age–I didn’t feel some were it would indicate that I’ve completely wasted my life.)

(((b=a, 5=e)))

.

AmazingCounters.com

Entry 1538 — Curiosities?

Thursday, August 14th, 2014

I’m really cheating today: I’m using part of a review or column for Small Press Review that I’ve been working here.  The work I’m reviewing is Richard Kostelanetz’s Ouroboros (see Entry 1535):

An ouroboros is a mythological serpent swallowing its tale, so an excellent title for this collection of 188 words like, well, “ouroboros,” swallowing their tails, each time adding at least one interesting word to what they’re saying, “sour,” in the case of “ouroboros.” They are set in a highly appropriate, highly dramatic font called “Wide Latin”—very bold and jabbingly pointed at all extremities. It’s definitely fun to find smaller words inside Kostelanetz’s specimens of “circular writing,” as he terms it: “tea,” “pet,” and “petite,” for example, in “appetite,” as well as “appetite” itself, which one discovers rather than automatically sees, or “tin,” “descent,” and, most important,” “scent” in “incandescent” (because of the poetic jolt light as an immaterial scent, or a scent as immaterial light suggest to those sensitive to connotation). But can such objects be considered poems—rather than “curiosities” .

I told Chris Lott that I would explain why I thought certain arrangements of numbers Richard had made were more than curiosities, and that I’d soon explain why I thought that.  Here, quickly, using Richard’s circular words, I’ll give the gist of my reasoning that some  of them are, the ones that: accentuate connotative value, a virtue of poems although not necessarily a defining quality, and in the process create an image complex of aesthetic value, the way I think “appetite” turns eating into a very feminine tea party, and “incandescent” makes “scent” and “incandescence” plausible metaphors for each other; that they also sslow the reading of them, as any effective poem must (although I do not consider that a defining characteristic, either, but the result of defining characteristics, like the flow-breaks line-breaks serve as in free verse, and the extreme flow-break of a word being spelled into a circle); and, least important, but still important, they are decontextualized from prose, both by simply being called poems and by not being visually rose.

Richard’s number poems are somewhat different.  I hope to discuss them, too, before long.

One further note.  Many of Richard’s circular words combine into interesting narratives full of “heightened cross connotativeness,” by which I mean, one word’s  mundane connotation turning vividly into a related connotation due to a similiarly mundane connotation in an adjacent circular word.  For more on that, you’ll have to wait for my column, as I now see this text will become.  You will be able to do that by subscribing to Small Press Review, which I wish a few of you would do; or by waiting for me to post the column in my Pages here a few months after it is published.

Note #2: I do not consider circular words to be visual poems; for me, they are visually-enhanced infra-verbal poems–the poetic value lies almost entirely on what goes on inside them verbally.  Although you might say their visual sspin flicks connotations into view . . .

.

AmazingCounters.com

Entry 1309 — A Little Quartet

Tuesday, December 24th, 2013

With thanks to Mark Sonnenfeld in whose whose latest Marymark Press broadside it appears:

Housekeeper

.

Entry 1279 — Cumminfluenced Itemgs from 2006

Sunday, November 24th, 2013

CummingsAndGongsCoveryou'retoooldnowunderGoingGong

.

Entry 1250 — Rejected Pwoermd

Saturday, October 26th, 2013

I was going to use the pwoermd, “mythstery,” inside the open letters of “the core of faereality,” which is the dividend of a set of long division poems I’ve been working on, but decided it was too frothily cute.  But maybe not worthless?  Anyway, here it is.  And I’m outta here.

.

Entry 1034 — A Math Poem by Ed Conti

Wednesday, March 6th, 2013

Million

This is an extremely plural specimen of plurexpressiveness: an infraverbal, visual, mathmatical poem by the best composer of infraverbal light verse I know of, and among the best light verse poets of any kind, Ed Conti. To see some other great examples of his work, go here.
.

Entry 995 — A Gem by Kevin Kelly

Saturday, January 26th, 2013

The following is a pwoermd Kevin Kelly posted to Spidertangle the other day:

hearthththrob

I like the way it makes me, at any rate, close to simultaneously strongly, sympathetically identify with the one whose heart throb is involved, and laugh at the poor jerk.  The lisp of the heartbeats is any excellent touch, too.  Not to mention the stuttering attempt to say, “the,” but not be able to.  Never has “heart throb” been so fully writ.

.

Entry 929 — a form of i

Wednesday, November 21st, 2012

I got home yesterday afternoon after a very nice, mostly relaxing time at my niece, Laura’s, wedding (getting to which was the only unrelaxing time, because of my old man’s plumbing), and visiting my brother’s and sister’s families.  I got a few things done once home, and this morning, but want to take the rest of the day off, so will only post the bit of light infraverbal poetry below–which I came up mwith last night and, believe it or not, don’t consider mathematical, unless you want to call understanding that the square root of minus one equals i in mathematics makes it so.  Calling it mathematical would be like calling “1self” mathematical.  Using math symbols does not make a text mathematical; only showing and using math operations does that.  For me.

Note: in mathematics, i stands for imaginary, because solution, being impossible to determine, is “imaginary.”  I expect to be using it in upcoming math poems, and possibly the entire piece above.

.

msn spaces tracking
AllOnlineCoupons.co.uk

Entry 855 — An Appropriately Titled “Untitled”

Saturday, September 8th, 2012

The following infraverbal masterpiece is the world’s first artwork given the title, “Untitled,” appropriately. It’s just one of the 78 pieces in Identities, a collection of work by Irving Weiss just out from Xexoxial Editions.  It’s something to wonder through many more times than once, with a fantastic skitter through the arts, from low to high, 100% verbal to 100% visual, the comic to the largest ultimates (as well as a combination of both). I hope to say more about it here and elsewhere.

  .

Entry 846 — A Pwoermd by Stephen Nelson

Thursday, August 30th, 2012

Stephen composed this in a dream!  I think that happened to me once.

I consider it primarily an infraverbal poem, because dependent on what happens inside it.  But it is also a visual poem.  What makes it terrific is that, as spelled, it is a double metaphor: for (1) shape-changing flexibility, and (2) a flood surging forward too quickly for its spelling to bother with correctness–but brilliantly describing it as well as denoting it.  I got it from the Otherstream Unlimited site, where I called it “an instant classic.”

.

Entry 1227 — A New Anthology « POETICKS

Entry 1227 — A New Anthology

Yesterday Jeff Side announced the e.publication of Shadows of the Future,  an anthology of otherstream poetry (or, in some cases–in my possibly excessively picky opinion–almost otherstream poetry) edited by Marc Vincenz, and published by Argotist Ebooks.  So I’m going to use this entry for some words about it instead of going on to the second part of my investigation of protozoa.  That I will do tomorrow, assuming I choose to continue my investigation (and I hope I do–nothing more valuable for the ol’ brain than a plunge into something you don’t know hardly nothin’ about).

Interesting.  When looking for what categories to assign this entry to, I found I had none for “Poetry.”  I do now.  So I can bring up that subject to tell you the anthology has 120 works, almost all of them poems by my definition, on 166 pages . . .

and here a digression to complain about my stupid computer (or, yeah, my stupid inability to know how use it):  I would like to be able to click from here to the anthology the way I can click from here to a file on my word processer or anywhere else but totally out of it.  There must be a way to save it as a regular file I can access on my word processer; if so, I’m ignorant of it.  So I have a second copy of this entry on the slot (can’t remember its name) with everything I can click to on it.  To get to the anthology, I go to that entry, and click the link in it to the anthology.  Very annoying.

Back to the anthology now.  Marc has a nice one-page forward in it.  Following it is a page-and-a-half introduction to it by me which is just my standard boilerplate about the refusal of the Establishment to so much as acknowledge the existence of the Otherstream.  Basically it’s a polemic intended to annoy estabniks enough to make them reply to it.  It has little chance of doing that but what else can I do?  I think it presents a good definition of the establishment, though.

My only real disappointment with the anthology is how little visual poetry is in it–but that was because, for some reason, few visual poets submitted anything to it.  There were visual poems by seven people–and textual poems by five people like mIEKAL aND who often do visual poetry.  In all, 37 had works in the anthology.  When going through it doing my counts, I spent a few minutes with my own poems.  One of them disturbed me:  I decided it was wrong!  Here is the wrong version:

Mapling

 

I doubt anyone but I would see what is wrong (crucially wrong, in my view) with this, but just for the fun of it, I won’t say more about it, nor show the corrected version for a while.

I’m too worn out from being too worn out to say much more about the anthology.  Before signing off, though, I want to recommend it strongly.  It’s an excellent tour of what’s going on in the vast countryside beyond the borders of the mainstream.  The vispo cover by David Chirot is worth the trouble of clicking to it alone!  That one work will give you more to wander through thoughts and feelings about by itself than the entirety of most mainstream anthologies of contemporary poetry.

.

8 Responses to “Entry 1227 — A New Anthology”

  1. Ed Baker says:

    Bob,
    I just went through the ENTIRE anthology… what, 166 pages??
    non-stop garbage ! You used to be better than this….

  2. Bob Grumman says:

    Each to his own, Ed.

  3. karl kempton says:

    future looks bleak to me if this is a forecast. do not see much light coming out of the unconsciousness

  4. Bob Grumman says:

    Haw, I was worried that too much of my three pieces were giving off light out of my unconsciousness!

  5. karl kempton says:

    the scribbling was a side show to the shadow work

  6. Bob Grumman says:

    Not sure what you’re saying, Karl. What’s the “shadow work?”

  7. karl kempton says:

    shadow — shadow is unconsciousness

  8. Bob Grumman says:

    Now I need to know what the scribbling was–the texts? You ARE talking about my three pieces, yes? Everything in it is partially from the unconscious mind, and partially subjected to the critical consciousness. it seems to me, although I don’t really care where anything comes from, only that it seems to me to do something worthwhile.

Leave a Reply