Entry 353 — A Newly Revised Mathemaku « POETICKS

Entry 353 — A Newly Revised Mathemaku

Click the thumbnail below to get to one of my recent mathemaku, elaborately gussied up.  I spent a ridiculous amount of time on it at Paint Shop.  “Mathemaku in Praise of Reading, No. 1″:

I don’t like it.  It seems trivial to me.  I hope that’s because I’m in the ol’ null zone again, but I don’t think so.

Later note (8 P.M. 19 January): I’m feeling a bit better, mainly because I’m finally listening to records again after being without a local classical music station or a functioning phonograph or the money to buy many CDs for several years until getting a phonograph with software allowing me to transfer my records to my computer and thence, if I want, to CDs.  Tannhauser.  Also, I had a glass of Mountain Dew and it may have given me a boost.  In any case, I sat down and did half of my next column for Small Press Review.

I also came up with a retort to Geof’s recent comment that if you think you’re speaking for the truth, the game is already lost: if you are not concerned with speaking for the truth, the game will be too easy to win to be worth playing.



2 Responses to “Entry 353 — A Newly Revised Mathemaku”

  1. Geof Huth says:

    Truth is whatever cannot be believed.

  2. Bob Grumman says:

    What if I can’t believe your statement is the stupidest one I’ve ever read, Geof?

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Stephen Russell « POETICKS

Archive for the ‘Stephen Russell’ Category

Entry 811 — Monet & Minor News and Thoughts

Thursday, July 26th, 2012

Below is Monet’s Regatta at Argenteuil.  It’s from a calendar I’ve had hanging in my computer room for several years because I like it so much.  I now have a second interest in it: using it in one of my long division poems.  I want to do that because of an event the local visual arts center I belong to (which has a building where it has classes and puts on exhibitions, one of them a yearly national one, albeit none of them are what anyone would call close to the cutting edge) is sponsoring.  Many of its painters are painting copies of Monet works, and poets have been invited to submit poems about Monet works to be show with the paintings.  There is probably a reading, too.  I thought it would be amusing to submit one of my poems, and I’d love to be able to use Regatta at Argenteuil.  I have another couple of months I’ve just found out.  I thought I needed to get it done by August.  Which is why I scanned my copy of the painting a while ago, making it available for this entry, one more that I had nothing much else for.

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I can’t think of anything to go with the painting.  I haven’t had very few ideas for the past three or four months, and none I was interested in to do more than jot down somewhere.  Last years bout this time I found out about a contest the magazine Rattle has every year.  One can submit up to 4 poems to it, and I knew it had published some visual poems at one time, so was inspired to make a set of four long division poems for the contest, four that I still think are among my best.  They never arrived because I didn’t put enough stamps on the envelope I sent them in, unaware of the latest cost of sending.  I wish I could try again–this deadline is 1 August–but no ideas.  And the poems have to be unpublished.  I should be saving poems for contests, especially for one like this that I know will occur yearly, but I tend either to post them here, or send them to the latest editors who have invited work from me.  Another problem for me is that I’m often unsure whether or not a particular poem of mine has appeared anywhere.  The main problem, of course, is that I’m so unprolific.  I could do a bunch of Poem poems at just about any time, I think, but I don’t consider them good for contests because so dependent on my main character, whom I believe hard to take to until exposed to a number of times.  If even then.

* * *
Since this is another of my extremely lackadaisical entries, here’s a post by Stephen Russell and my responses to it at New-Poetry:
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My list would be a lot different, but yours at least is half unconventional. Also, I’d stay away from your title. I’d go with “My Favorite Poems of the Past 25 Years In English That I’m Familiar With.”
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“By Others.” I feel sorry for any poet who doesn’t include many of his own poems among his favorites, however much he should realize how subjective his choice is.
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Getting the dates right would be hard. I’d rather go with my favorite all-time poems.  Incredibly hard, though—like which of Stevens’s poems do I like best? I think to simplify, I’d limit myself to one poem per poet. Otherwise, 39 Stevenses and 38 Frosts. No Merwins or Ashberys, that’s for sure.
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From: stephen russell
Sent: Thursday, July 26, 2012 3:35 PM
To: NewPoetry List
Subject: Re: [New-Poetry] What Are the Best Poems of the Past 25 Years?
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The Folding Cliffs, W.S. Merwin
(Epic poem about Hawaii.)
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Deed, Rod Smith
(The title acts as an extended methaphor (or is that metaphor?)… for nation building).
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Eunoia, Christian Bok.
The work that introduced univolics. At least I was introduced to the concept thanks to Bok.
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(Neither his work (Bok’s), or Kenneth Goldsmith’s should be considered Da Da. Da Da was composed of quick improvs and manifestos (in large part). Not so, the work of aforementioned poets. )
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I disagree with this: what counts is the finished poem, not how it was done.
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When was Self Portrait in the Convex Mirror published? The title poem was shockingly non non-referential.
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The Age of Huts by Ron Silliman should be considered simply for its ambition, the size of the thing.
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Size may not be even the most important indicator of ambition.
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I don’t consider myself well enough versed in other stream poets to mention an actual title as of yet.
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Are we embarrassing yet?
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–Bob
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 (The last bit is a reference to someone’s calling a thread Stephen and I were on an embarrassment.)
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 Slightly later, I made a second response: “Another bit of my boilerplate is that I’d want to make a list of what poems of the ones I’m familiar with I consider the most important, many of which may not be on my list of “best poems.” One or two might not even be poems.”
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Entry 727 — Analysis of One’s Own Poems

Thursday, May 3rd, 2012

From Stephen Russell, at New-Poetry: “Occupy mainstream poetry.  I bet Grumman would be on board.”

Me: “Not quite.  Too many differences, one being that I consider that otherstream poets are the one-percent—the less-than-one-percent, actually–and that they are superior to mainstream poets whereas I consider the political occupiers inferior to the “one-percent” they are concerned with.  Another is that I believe in attacking groups I have differences with, with arguments, not crowds: it’s who has the better thinking that counts for me, not who has the most votes, or the equivalent.”

Russell: “But seriously . . . it is clear that many ‘poets’ do not study poetry.”

Me: “I’ve been thinking along those lines the past few days, too—because of a current project of mine, writing analyses of each of my poems.  A lawyer friend giving me extremely helpful layman feed-back seems to like my analyses but wondered if a poet analyzing his own poems might not be a tad narcissistic.  I do think I’m more self-involved than many, but in this case involved with my vocation, not really my self.  One defense I used was that no one else was analyzing my poems.  They seem to need it, too, because of their unusualness.  Also, I analyze lots of poems by others , too.  Later, I realized that all poets must analyze their own poems to some degree, even if they don’t necessarily do so formally, or even write out their analyses.  All writers—even lawyers writing position papers—must analyze their own writings

“Immediately I questioned that: I have trouble imagining a writer simply composing something without looking it over to see what he’s done and if there’s any way he can make it better, but I suppose there must be some who do.  A more interesting question is to what degree various poets analyze their own poems.  I doubt that many analyze them anywhere near as much as I analyze mine.  Is that good or bad?  Or neither: a matter of to each his own?  My own compulsion to analyze makes it hard for me not to believe those significantly less analytical than I deficient as students of poetry, and that their poems suffer a lack of depth due to it.  Not that the over-analyticals’ poems don’t likely suffer from an excess of Important Meaning.”

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Elderly Codger Health Report « POETICKS

Archive for the ‘Elderly Codger Health Report’ Category

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.
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AmazingCounters.com

Entry 1643 — A Drooby Day

Wednesday, November 26th, 2014

A cold day for Florida today: around sixty but very windy, seemingly from every direction.  I went out in it on my bike to the clinic I’ve been having physical therapy at for my final session.  It consisted mostly of a massage.  I have improved a good deal because of the therapy.  I may be back to about where I was a month or so ago except that I lack the running stamina I had then, although that was not all that much, and I can’t take off in anything like a true sprint the way I was almost able too at my best this past summer (and seeming then to be becoming better at).  I’m finally seriously exercising and have a reasonable hope of becoming a seventy-year-old in good shape again in another month or so, if I can keep doing my exercises.

My latest strange symptom of who knows what–a kind of pressure near my . . . sternum?  I just looked it up: yes, the sternum, but the bottom of it.  It seems to have subsided.  I still think I have a touch of stomach cancer, naturally, being the way I am, but am not yet ready to go to my doctor about it.

When I started this entry, I wasn’t planning to bore you with my latest elderly codger health report, but had nothing else to say, so it just droobed out.  And I ain’t got no more to say.
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AmazingCounters.com

Entry 623 — My Decline « POETICKS

Entry 623 — My Decline

Well, according to astrology, I’ve begun to decline vocationally after reaching my peak a week or two ago.  It wasn’t much of a peak.  I got my art on display, but doubt that more than a handful of people have looked at it, and probably no more than one or two has really looked at it.  I haven’t been very productive, either.  I’m going to return to my Shakespeare book today (after a little head-start last night).  My intention is to either finish it, or–if I have significant trouble with it–switch to another project of mine, a non-fiction book that may be of general-interest but I’ll say no more about–to keep its theme, which is original, I think, and will be its main selling point, a secret.  I will say that it’s about life in general, not about Shakespeare, psychology or poetics. 

To make this entry more than a diary entry, here’s a poem of mine from a year or so ago.   I posted it then, but just now made a slight change to it, making a whole new poem.  I changed “full” to “certain.”  I decided the implication that I’d come to understand everything was dumb.  Now what kind of understanding I’d achieved is unclear, but should come across as Important.  I don’t know whether this poem became visual later; I don’t think it did.  I think it may work best as is, but who knows.

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Entry 385 — My Most-Used Coinage « POETICKS

Entry 385 — My Most-Used Coinage

On 2/21/2011 3:21 AM, Jake Berry wrote:

Bob,  Hope this finds you well. I'm working on an essay and I'd like to use your term 'otherstream', but I want to quote your definition of the word directly. I haven't been able to find it on the internet and I have no idea where it might be among all my books and papers. So how would you define it?  Best, Jake 

Terrific hearing from you, Jake–although it makes me feel guilty by reminding me of what a horrible correspondent I’ve been for going on ten years or more.  So many people I haven’t kept in touch with but should have!  Although I do keep up with you on the Internet.

Ah, the old days when I was one of the Kings of the  . . . Otherstream because I owned my own Xerox!  I’ve had some ungood years since then.  2010 was possibly the worst year I’ve had in thirty years.  But this year, so far, is going pretty well, although right now I’m in my null zone again.

Maybe not–your e.mail has me at least partway out of it.  Great to know someone still likes my coinage, and it was fun doing my own search for it on the Internet.  I found an article about Dale Jensen and his wife, Judy Wells, in which the term was used, followed by a comment by Jack Foley (good ol’ Jack) declaring that Andrew Joron had not coined “otherstream,” Bob Grumman had!

Somewhere else some guy took credit for coining it in 1996. My guess is that I first used it around 1985, so it has just has its 25th anniversary.  If I, indeed, was the first to use it.  Who knows if I did or not.  I don’t care.  I mean, it’d be nice to know for sure some word that more than a few people use was my word, but I’m really not that big about getting credit.  I want money, not credit!

Oh, I also found out there are various businesses calling themselves “otherstream” this or that, including, I think, a broadcast network.

So, a definition.  I’ve defined it in different although similar ways.  I think I would say that “otherstream” is my adjective for kinds works of art the great majority of arts academics, well-known critics, commercial publishers and commercial magazine editors know little more than the names of, if that.  A brief definition: art that’s now taught in college classes.  For me, it means approximately but only approximately the opposite of “mainstream.”  What it’s the exact opposite of is “knownstream.”  That’s because some art is knownstream, like certain kinds of very formal verse–the sestina, say, is well-known to most literature professors but is not what you’d call a kind of mainstream poetry.  I don’t think cowboy poems are considered mainstream, either, or though fairly popular.  I used it mainly for visual poetry, sound poetry and language poetry when I began using it, but some language poetry has become mainstream.

Hope this helps.  Thanks for wanting to use the word, which I think is a useful one.  And for inspiring me to write what I have here, which I can now use for today’s entry in my blog!  Make sure to link me to your essay when it’s online, or send it to me if it’s printed–with the hundred dollar royalty fee I charge for the use of any of my coinages.  (You can use “knownstream,” also mine, for half-price.)

all best, Bob

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Entry 1109 — Still Trying to Get People To Appreciate My Urine « POETICKS

Entry 1109 — Still Trying to Get People To Appreciate My Urine

The other day I was thinking about early childhood, how it is for most of us idyllic before we’re sent off to school.  What particularly grabbed me was the simple fact that when you’re very young, everything is new.  And important!  And magical!  Imagine a world in which one can enter a dark room, push a switch, and fill the room with light!  What could possibly be more magical than that?  For a while, I think my ability to fill a bottle with this beautiful yellow liquid that came so easily out of the thing hanging between my legs was a miracle–one, furthermore, that only I was capable of.  I kept a jar of the liquid which I showed my sister and a friend of hers–because I thought they’d appreciate it.  But my mother noticed.  No mother around now to do the same for the following two poems, both of which are miracles:

FallingAsleep

Faereality1June2013

I’m sure they’ve been on exhibit here before, but the second has been spruced up.  Each represents, it seems to me, all I’ve learned over the years as a poet.  Keats is a source for both, but especially the first.  Does anyone read him anymore?  The Grimms’ Fairy Tales my mother read to me and my sister are another.  Poetry, I suspect, has been my way of trying to return not to the Faereality of my childhood but to the wonderful paths I was sure would lead into it.  One of them (the most important?) pre-sleep bedtime when I got to within a tenth-of-a-poem of daydreaming all the way into the wonderful secret world story characters lived in, comic book characters soon prominent among them.

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August « 2010 « POETICKS

Archive for August, 2010

Entry 207 — A Day in the Life of a Verosopher

Tuesday, August 31st, 2010

Random thoughts today because I want to get this entry out of the way and work on my dissertation on the evolution of intelligence, or try to do so, since I’m still not out of my null zone, unless I’m slightly out but having trouble keeping from falling back into it.

First, two new Grummanisms: “utilinguist” and “alphasemanticry.”  The first is my antonym for a previous coinage of mine, “nullinguist,” for linguist out to make language useless; ergo, a utilinguist is a linguist out to make language useful.  By trying to prevent “poetry” from meaning no more than “anything somebody thinks suggests language concerns” instead meaning, to begin with,  “something constructed of words,” before getting much more detailed, for example.

“Alphasemanticry” is my word for what”poetry” should mean if the nullinguists win: “highest use of language.”  From whence, “Visual Alphasemanticry” for a combination of graphics and words yielding significant aesthetic pleasure that is simultaneously verbal and visual.”

I popped off today against one of Frost’s “dark” poems, or maybe it is a passage from one of them:  “. . . A man can’t speak of his own child that’s dead”–the kind academics bring up to show Frost was Important, after all.   “Wow,” I said, “Wow, he confronts death!  He must be major! “  I then added, “Frost is in my top ten all-time best poets in English that I’ve read but not for his Learic Poems.”

James Finnegan then corrected me, stating (I believe) that the poem didn’t confront death but showed its effects.   I replied, “Okay, a poem about the effect of death on two people.   What I would call a wisdom poem.  I’m biased against them.  I like poems that enlarge my world, not ones that repeat sentiment about what’s wrong with it, or difficult about it.  Frost knew a lot about reg’lar folks, but I never learned anything from him about them that I didn’t already know.  In other words, I’m also somewhat biased against people-centered poems.  But mostly, I don’t go to poems to learn, I go to them for pleasure.”

I would add that I’m an elitist, believing with Aristotle that the hero of a tragedy needs to be of great consequence, although I disagree with him that political leaders are that, and I would add that narrative literature of any kind requires either a hero or an anti-hero (like Falstaff) of great consequence.

I’m not big on poems of consolation, either.

I find that when I have to make too trips on my bike in a day, it zaps me.  I don’t get physically tired, I just even less feel like doing anything productive than usual.  Today was such a day.  A little while ago i got home from a trip to my very nice dentist, who cemented a crown of mine that had come out (after 24 years) back in for no charge, and a stop-off at a CVS drugstore to buy $15 worth of stuff and get $4 off.  I actually bought $18 worth of stuff, a gallon of milk and goodies, including a can of cashews, cookies, candy, crackers . . .  Living it up.  Oh, I did buy cereal with dried berries in it, too.

My other trip was to the tennis courts where I played two sets, my side winning both–because of my partners.  I’m not terrific at my best, and have been hobbled by my hip problem for over a year.  It may be getting slightly better, though–today I ran after balls a few times instead of hopped-along after them.  I’m still hoping I’ll get enough better to put in at least one season playing my best.  Eventually, I’m sure I’ll need a hip replacement but there’s a chance I won’t have to immediately.

I’ve continued my piece on the evolution of intelligence, but not done anything on it today.  now fairly confidentI have a plausible model of the most primitive form of memory, and its advance from a cell’s remembering that event x followed action a and proved worth making happen again to a cell’s remember a chain of actions and the result.  That’s all that our memory does, but it’s a good deal more sophi- sticated.  I think I can show how primitive memory evolved to become what my theory says it now, but won’t know until I write it all down.  (It’s amazing how trying to write down a theory for the first time exposes its shortcomings.)  If I can present a plausible description of my theory’s memory, it will be a good endorsement of it.  No, what is much more true is that if I am not able to come up with a plausible description, it will indicate that my theory is probably invalid.

Entry 206 — Shakespeare’s Sonnet 97

Monday, August 30th, 2010

Over at the Forest of Arden, I had a lot of trouble figuring out Shakespeare’s Sonnet 97, then suddenly put together an explication of it I liked so much, I’m posting it here.

Sonnet 97

How like a Winter hath my absence beene
From thee, the pleasure of the fleeting yeare?
What freezings haue I felt, what darke daies seene?
What old Decembers barenesse euery where?
And yet this time remou’d was sommers time,
The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:
Yet this aboundant issue seem’d to me,
But hope of Orphans, and vn-fathered fruite,
For Sommer and his pleasures waite on thee,
And thou away, the very birds are mute.
Or if they sing, tis with so dull a cheere,
That leaues looke pale, dreading the Winters neere.

* * * * *

Okay, here beginnith my explication:

How like a Winter hath my absence beene
From thee, the pleasure of the fleeting yeare?
What freezings haue I felt, what darke daies seene?

What old Decembers barenesse euery where?
the quickly passing year, is like being in winter.
Coldness, darkness, December’s bareness seem
everywhere to me, as everyone agrees. Vendler
adds that Shakespeare is picturing an “imaginary
winter.”  He isn’t.  He’s just making a simile.

And yet this time remou’d was sommers time,

The time we’ve been apart was summer.
Still straightforward and undebatable.

The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:
NoSweatShakespeare, a website with sonnet analyses, put
an “and” at the beginning of this.  I wouldn’t, but the
“and,” which I’d previously thought of, too, then discarded
helped me accept this as just a continuation of the previous line:

I missed, Joe, Sally .  .  .  The speaker was gone during the
end of summer and much of autumn. . .   So, to backtrack:

And yet this time remou’d was sommers time,
The teeming Autumne big with ritch increase,
Bearing the wanton burthen of the prime,
Like widdowed wombes after their Lords decease:

The time I have been away from you was
summer followed by autumn, which was
bearing a good crop like women bearing dead
husbands’ offspring.

Yet this aboundant issue seem’d to me,
But hope of Orphans, and vn-fathered fruite,

However fine the autumn, abundant and promising
seemed to me a dreary place for orphans and fruit
no love-making had produced
, which is about
as nearly everyone would have it, I’m sure.

For Sommer and his pleasures waite on thee,

For, imaginatively, it’s still summer, because the realest
summer although it wasn’t exactly hers) is still waiting for
the addressee’s to continue.

Confession: I got the contrast of what’s imagined, what real,
from Vendler.

And thou away, the very birds are mute.
Or if they sing, tis with so dull a cheere,
That leaues looke pale, dreading the Winters neere.

Back in the real world, where it’s autumn, the birdies
and the leafies are sad, thinking about the nearness
of winter.

Have I more or less finally gotten it?  Regardless, I feel
quite buoyed to have come up with what I did.  Later I
discovered Robert Stonehouse had much the same
interpretation as mine, but I think I did better on
“summer/ Autumn” and “summer waits” than he,
so remain happy about my achievement.

Entry 205 — Evolution of Intelligence, Part 2

Sunday, August 29th, 2010

At this stage of the evolution of intelligence a lot of minor advances would be made: multiplication of reflexes, the addition of sensors sensitive to the absence of a stimulus, the combining of more sensors and effectors so, perhaps, a purple cell with white dots and smell B and a long flagellum will be pursued if the temperature of the water is over eighty degrees but not if it is under.

By this time, something of central importance had to have happened, or be ready to happen: the evolution of sensors sensitive to pain and pleasure. For that to happen, “endo-sensors” (sensors sensitive to external stimuli) would have to have broken free of the cell membrane to become potential “intra-sensors.” And somehow become sensitive to a chemical due to damage to the cell mem- brane–probably excessive water (a biochemist would know). Or maybe the infra-cell might become sensitive to pieces of the membrane which it would never have contact with unless the membrane were damaged. If the intra-sensor were attached to an away-from effector, natural selection would select it because of its value in helping its cell get away from whatever had damaged is membrane.

Eventually similar intra-sensors connected to toward effectors would become sensitive to some by-product, say, of a successful hunt–something eaten but not digested, that would cause the cell to pursue whatever it had gotten a good taste of. I’m now going to name all such components of a cell that carry out functions like those of the sensors and effector “infra-cells” to make discussion easier. Let me add the clarification that the connections between sensors and effectors may begin as physical channels but will soon almost surely come to be made by precursors of neuro-transmitters: i.e., a sensor with “connect” to its effector by a distinctive chemical that only the effector recognizes and is activated by.  The cell’s cytoplasm will act as a primitive synapse.

Various other “neurophysiological” improvements should soon also occur. One would be an intra-sensor’s gaining the ability to activate a toward effector when it senses pleasure but activate an away-from effector when it senses pain. The accident resulting in such an infra-cell would not be too unlikely, it seems to me: simply the fusion of two cells, one sensitive to pain and connected to an away-from effector, the other sensitive to pleasure and connected to a toward effector. Obviously an evolutionary improvement.

It also seems likely to me that intra-sensors would evolve sensitive to the activation of effectors. They would connect to other infra- cells carrying out reactions to, say, a successful capture of prey: a toward effector becomes active due to signals from a sensor sensitive to a certain kind of prey, in which case the outcome should be dinner, so a sensor sensitive to the effector’s activation which is connected to some infra-cell responsible for emitting digestive juices or the like, would be an advantage.

Certain other infra-cells should evolve to allow the step up to memory, but right now I can’t figure out what they might be, so will stop here, for now.

Entry 204 — Learning from Others’ Poetry

Saturday, August 28th, 2010

To take care of today’s entry without much work, I’m posting something I wrote for New-Poetry about what a would-be poet can learn from reading other poets’ work.

The crossfire about learning how to use blank verse from Frost got me wondering what one has to learn to be a poet. What meter and what I call melodation”–rhyme, alliteration, etc. are, for many people. Lineation for everybody. I tend to think that once you learn what these things are, there’s nothing more to learn about them. The rest of using them for poetry is simply to find good words to put into them.

After thinking more, I realized that developing an awareness of the various subtleties
involved in best use of these devices would be something learnable–through exposure to poets like Frost who use the devices well. Who might make you suddenly realize what a device you underrated could do.

I still like best those poets who are doing something other poets, and I, are not–those I
can steal new devices from. Such poets are very rare. Cummings, some of the early
language poets, Pound, Stein, maybe Williams for . . . unfiguration? Eliot/Pound or who?
for the jump-cut.

Otherwise a major thing all poets have to learn is what cliches are. Cliches of expression, idea, subject matter, technique. Read a lot and learn to–sorry–make it new. What else is there to learn?

Entry 203 — Random Thoughts

Friday, August 27th, 2010

Random thoughts today because I want to get this entry out of the way and work on my dissertation on the evolution of intelligence, or try to do so, since I’m still not out of my null zone, unless I’m slightly out but having trouble keeping from falling back into it.

First, two new Grummanisms: “utilinguist” and “alphasemanticry.”  The first is my antonym for a previous coinage of mine, “nullinguist,” for linguist out to make language useless; ergo, a utilinguist is a linguist out to make language useful.  By trying to prevent “poetry” from meaning no more than “anything somebody thinks suggests language concerns” instead meaning, to begin with,  “something constructed of words,” before getting much more detailed, for example.

“Alphasemanticry” is my word for what”poetry” should mean if the nullinguists win: “highest use of language.”  From whence, “Visual Alphasemanticry” for a combination of graphics and words yielding significant aesthetic pleasure that is simultaneously verbal and visual.”

I popped off today against one of Frost’s “dark” poems, or maybe it is a passage from one of them:  “. . . A man can’t speak of his own child that’s dead”–the kind academics bring up to show Frost was Important, after all.   “Wow,” I said, “Wow, he confronts death!  He must be major! “  I then added, “Frost is in my top ten all-time best poets in English that I’ve read but not for his Learic Poems.”

James Finnegan then corrected me, stating (I believe) that the poem didn’t confront death but showed its effects.   I replied, “Okay, a poem about the effect of death on two people.   What I would call a wisdom poem.  I’m biased against them.  I like poems that enlarge my world, not ones that repeat sentiment about what’s wrong with it, or difficult about it.   Frost knew a lot about reg’lar folks, but I never learned anything from him about them that I didn’t already know.  In other words, I’m also somewhat biased against people-centered poems.  But mostly, I don’t go to poems to learn, I go to them for pleasure.”

I would add that I’m an elitist, believing with Aristotle that the hero of a tragedy needs to be of great consequence, although I disagree with him that political leaders are that, and I would add that narrative literature of any kind requires either a hero or an anti-hero (like Falstaff) of great consequence.

I’m not big on poems of consolation, either.

Entry 202 — Back to Gladwell’s 10,000 Hours

Thursday, August 26th, 2010

Certain cranks are questioning the possibility that Shakespeare wrote the works attributed to him on the grounds that he could not have gotten the 10,000 hours of practice at his craft Malcolm Gladwell says every genius needs.  What I want to know is, if Shakespeare had his ten thousand hours when he wrote the Henry VI trilogy, where does it show?  There are serious scholars out there who think Heminges and Condell were lying when they said he wrote them.  Many mainstream critics won’t accept that he wrote certain scenes in them.

I claim that any reasonably intelligent non-genius actor of the time could have used the historians of the time, as Shakespeare did, to have written them.  Add, perhaps, a cleverness with language that some 14-year-olds have.  The only way his histories improved after the trilogy was in the author’s becoming better with words, through practice, of course, but only what he would have gotten from contin- uing to write plays (and doctor plays and–most important–THINK about plays), and getting interested enough in a few of his stereotypical characters to archetize them as he did Falstaff.

It seems to me that the requirements for being a playwright are (1) a simple exposure to plays to teach one what they are; (2) the general knowledge of the world that everyone automatically gets simply by living; (3) the facility with the language that everyone gets automa- tically from simply using them all one’s life.  The rank one as a playwight will depend entirely on his inborn ability to use language, and his inborn ability to empathize with others, and himself.  Of course, the more plays he writes, the better playwright he’ll be, but I’m speaking of people who have chosen to make playwriting their vocation (because they were designed to do something of the sort).

I speak out of a life devoted to writing and having read biographies of dozens of writers.  I would never be able to agree that I’m wrong on this.

Entry 201 — Evolution of Intelligence, Part One

Wednesday, August 25th, 2010

A week or so ago, I read an article in Discover about the shrinkage of the human brain over the past 20,000 or more years.  Well-written, fairly interesting piece thought didn’t go very deep because only certified authorities were consulted for explanations as to what was behind the shrinkage.  I was provoked enough to scribble a list of eight possible reasons for the shrinkage, planning an essay on the subject, for the heck of it mainly, but also to send to the author of the Discover article in hopes she might find it interesting, and perhaps do another article on the subject for some other magazine, and this time mention me.  Or think enough of what I wrote to get my views when doing another article on the brain.  Yeah, more delusional day- dreaming on my part.  But just to write an essay on the shrinkage seemed to me a good idea.  Another achievement, if I finished it, and a chance to clarify my thinking about my knowlecular psychology, too.  Also perhaps enough fun to break me out of the dry spell I’ve been going through as a writer.

This it did, for a day, for I wrote 1150 words the day I wrote the above. After that, I wrote a few hundred words about it daily for a few days, then missed a day.  That was okay with me because the reason I slowed down, then wrote nothing was that I thought I needed to back way up and explain intelligence, starting with its evolution.  A tough job even if I could remember as much of my theory as I needed to.

After a day or two of inactivity, I managed a few words a day four a couple of days.  They were of much value but they did start awakening my understanding of my theory. Eventually, I got the beginnings of my take on the beginnings of intelligence, if by intelligence we mean “choice of behavior” as opposed to random activity.

Let’s begin with the first living cell, a protozoan.”  It moves randomly through water.  Eventually it accidently acquires a sensitivity to light, let’s say, although it could be salt denisity or temperature, it doesn’t matter.  So, it has the prototype of a nervous system, a single sensor sensitive to light.  The next consequential accident will be its evolving a component that makes it move in some direction as opposed to being moved by environmental forces.  Call it an “effector.”  It may evolve this before it evolves a sensor, it doesn’t matter, What matters is that eventually many protoazoa will have non-functioning but not seriously biologically disadvantageous nervous-systems.  They’ll be superior (no quotation marks: they will have the potential for intelligence other protozoa lack, so will be superior to them, if not to invincibly egalitarians halfwits, whom I’m insulting here in the hopes they go away and I won’t have to hear the nonsense I eventually would if they didn’t).  Ergo, I will call them “alphzoa.”

The first key accident leading to intelligence will be an alphazoan’s forming a linkage forming its light-sensor and effector, allowing the former to activate the latter.

If the effector causes movement toward light, and light is beneficial–as perhaps a source of energy–alpazoa with this capacity will soon become dominant.  Alphazoa which light causes to move away from light will die out.  Or perhaps evolve differently, finding something in darkness that makes up for lack of light–concealment from prey, maybe.  In any case, a functional, useful nervous system will have come into being, or what I’d call simple reflexive intelligence.  The march to Us hath commenced. Eventually some sensor will evolve that is sensitive to the color, say, of one of the alphazoan’s prey and links with an effector causing the alphzoa to move toward the prey, a “toward-effector.”  Ditto, a reflex with an “away-from effector” attached to a sensor sensitive to the color or some other characteristic of some kind of predator on the alphazoan.  Not a technical advance, but certainly a big jump in improving the alphazoa’s biological fitness.

At the same tiime, alphazoas will naturally be increasing their numbers of such reflex pairs.  Eventually, there’d have to be a sizable group of alphazoa with several effective reflex pairs, to significantly improve their chances of those pairs lucking into new combinations of high importance. A good example would come about when an organism preying on the alphazoa evolved the same coloring as the alphazoa’s prey.  Misfits without the toward-gray reflex would suddenly have an advantage on those with it.  Some such misfits would develop withdraw-from-gray reflex pairs.  Eventually some of them would also develop a sensor sensitive to something the prey had that the predator did not have but the gray prey did, smell A, say, and connect it to the move-toward effector.

Conditions would then be right for the next essential evolutionary step toward full intelligence.  Alphazoa would exist, each of which has an away-from-grey reflex and a toward-smell A reflex.  So they would flee from gray cells without smell A–but both flee from and go after gray cells with smell A.  Safety, but no meal unless the prey swam into them.  This problem (or one like it) would be crucial in making conditions right for the advent of a rudimentary form of “choice,” however.

I’m sure messy partial solutions would come about and probably clever mechanisms different from the one I think may have carried the day.  But something along the lines of the solution I’m about to propose had to have occurred.  It would depend on the evolution of inhibitors–and we know inhibition has a major role in the nervous system.

An inhibitor is device which prevents any effector it is connected to from acting just the way a sensor causes the activation of any effector it is connected to,  Like everything else, it would pop up by chance but persist when it happened, say, to be connected to a smell-A sensor and inhibited an away-from effector.  Ergo, the alphazoa blessed with such an inhibitor would flee a gray cell which lacked smell A, but go after such a cell if it had smell A, because it sinhibitor would prevent the away-from effector from preventing it from doing that.

So, life will now have achieved the ability to choose between advancing or withdrawing in the direction of a gray cell.  It will still be a very primitive computer, but with something like intelligence, anyway.

***  That’s as far as my coherent writing got.  Extremely difficult to write although what I said  could probably not be more simple and unoriginal.

Entry 200 — Can a Non-Grind Become a World-Genius?

Tuesday, August 24th, 2010

There have always been mediocrities who desperately want to believe that one can become great if only one applies oneself. Even more partial to the idea are totalitarians, who–if training is shown to be everything–will have a good chance of being allowed to totalitarianly force training on unfortunate children. Malcolm Gladwell is no doubt one of them. In his recent book, Outliers: The Story of Success, he argues that high achievement is only possible for grinds, and that there is no such thing as what he calls “an outlier,” an individual who rises to the top without being a grind. To support his view, he presents a study (by someone named Ericsson) of violin students at a Berlin musical academy, tracking them from age five to age twenty. All were gifted, all stayed with the violin for fifteen years. Here’s what Gladwell says of the study (which I got from a post to one of my Shakespeare Authorship Debate discussion groups, by a Marlovian):

By the age of twenty, the elite performers had each totalled ten thousand hours of practice. By contrast, the merely good students had totalled eight thousand hours, and the future music teachers had totalled just over four thousand hours.

Ericsson and his colleagues then compared amateur pianists with professional pianists. The same pattern emerged. The amateurs never practiced more than about three hours a week over the course of their childhood, and by the age of twenty they had totalled two thousand hours of practice. The professionals, on the other hand, steadily increased their practice time every year, until by the age of twenty they, like the violinists, had reached ten thousand hours.

The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any “grinds,” people who worked harder than everyone else, yet just didn’t have what it takes to break the top ranks. Their research suggests that once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That’s it. And what’s more, the people at the very top don’t work harder or even much harder than everyone else. They work much, much harder.

My response:

I’ll have to read his book in order to pin down Gladwell’s errors. I probably won’t bother because my life experience refutes him. Good grief, any reasonably academically clever child finds himself surrounded throughout his school years with kids who actually have to study to get B’s when he can sleep through classes and get A’s. I don’t find it surprising that Ericsson found no grind who got in his ten thousand hours of practice and was still lousy. That’s obviously because lack of talent for playing the violin is so obvious that even a grind will soon find that there are things he simply can’t do, and give up. It’s easier for a grind to find ways to fake it in intellectual fields and put in his ten thousand hours, and become certified, and rise in his field thanks to the aid of fellow mediocrities. Good grief, just look around at the academic authors of dozens of books apiece all of whom are third-rate at best.

That Ericsson found no one who equaled the grinds without putting in ten thousand hours does surprise me. I suspect his sample was too small to include any naturals, who would no doubt be very rare.

As usual, anti-Stratfordians have no idea how Shakespeare could have gotten his ten thousand hours because they don’t know anything about epistemology, or the creative process, or what specifically is needed by a would-be dramatist. The believe ten thousand hours of formal study is needed, for they have no idea what informal study is. I do tend to think there might be something to the idea that excellence in any field requires a lot of practice, but that–one–the ability to devote massive amounts of time to a field is genetic, and–two–there are many ways to devote oneself to a field.

When I was the only one in my high school class (400 or so, some of whom ended up in Harvard, Princeton, Berkeley, Yale, etc.) to reach the semi-finals of the Merit Scholarship competition, those in my class who didn’t know me well but knew I paid little attention to my teachers in class, got almost all my homework done during class or in study hall, and thought there was something wrong with anyone who had to study. Ergo, I must have photographic memory.

The truth, though, is that I had been diligent in an informal way: I’d gotten in thousand of hours of random reading outside school, some of it of mildly advanced texts, and done something else that should count but would not likely be counted by someone like Gladwell, I THOUGHT about things. I wrote my first full-length play at 19–but by that time I’d probably written hundreds of scenes in my head starring me–and, at the beginning, Donald Duck and his three nephews. The play wasn’t very good, but I wrote two more plays before I was twenty, and the second of these was, I believe, promising. But not good, though certainly as good in many ways as Titus Andronicus.

One can certainly argue that I was not a great dramatist, and the reason for this was that I didn’t have enough proper training to be one, but the question is still how I’d gotten to where I could write literate full-length plays at the age of 19.

My only serious point here is to suggest how easily Shakespeare could have reached the level he did in his twenties. Lots of reading, and lots of THINKING. He also had, apparently, one huge advantage over me: he probably acting  as an amateur of became an actor, then play doctor, the playwright, for an acting company while still young.

I’m with Felix (a Stratfordian who posted on the subject), by the way, in claiming that every reasonably intelligent twenty-year-old will have had ten thousand hours training in language, and that that is sufficient for any kind of literary vocation. All artists by twenty will have put in ten thousand hours or more in the study of human beings, too, so will be able write about them or depict them in paint.

Entry 199 — The Origin of Intelligence

Monday, August 23rd, 2010

A week of so ago, I read an article in Discover about the shrinkage of the human brain over the past 20,000 or more years.  Well-written, fairly interesting piece though it didn’t go very deep because only certified authorities were consulted for explanations as to what was behind the shrinkage.  I was provoked enough to scribble a list of eight possible reasons for the shrinkage, planning an essay on the subject, for the heck of it mainly, but also to send to the author of the Discover article in hopes she might find it interesting, and perhaps do another article on the subject for some other magazine, and this time mention me.  Or think enough of what I wrote to get my views when doing another article on the brain.

Yeah, more delusional day-dreaming on my part.  But just to write an essay on the shrinkage seemed to me a good idea.  Another achievement, if I finished it, and a chance to clarify my thinking about my knowlecular psychology, too.  Also perhaps enough fun to break me out of the dry spell I’ve been going through as a writer.

This it did, for a day, for I wrote 1150 words about it Friday.  Four or five hundred Saturday and another six hundred yesterday.yesterday.   In the process, though, I veered into the evolution of intelligence and suddenly have too many problems to solve. What I thought I’d do a short essay about needs a short book to do right.

Oddly enough, one of my larger problems is defining intelligence.  All I’m sure of is that it came long before brains evolved.  I think it may just be “the ability of an organism to choose reactions to a situation based on more than one piece of knowledge.  Presence of predator equals flee would be pre-intelligence, or a reflex action.  Presence of predator when one has a spear equals destroy equals intelligence.  Even though in the final analysis all our behavior is reflexive.  It’s just that some behavior’s stimulus is both temporally and spatially larger than another’s.

Entry 198 — The Kelly Writers House

Sunday, August 22nd, 2010

Earlier today Al Fireis passed on the following announcement to New-Poetry:

“The people of the Kelly Writers House are pleased to announce – in addition to many hundreds of other readings, symposia, performances, seminars, workshops, netcasts & community outreach programs – this year’s three Writers House Fellows:

Susan Cheever, February 14-15
Edward Albee, March 21-22
Marjorie Perloff, April 25-26″
Enough of my buttons were pushed for me to reply:

“Does the house ever do artist outreach programs–by giving an artist with something fresh to say in a highly visible forum, for pay?  That said, I have to say that Albee has proven himself not an enemy of the arts by supporting (with money, I believe) the Atlantic Arts Center in Florida.  It mainly helps artists who don’t need help, but pays them to help artists (like me) who do need help, as sort of associates working together under the leadership of the artist who doesn’t need help.  If that’s the way it is still run.  I learned Photo Shop there, a program I couldn’t afford though I eventual was able to get a cheap version of it, Paint Shop.  It was a key to my development as a visual poet.

“Of course, my getting into one of the Atlantic Arts Center programs was a fluke.  Albee himself had used his influence to get Richard Kostelanetz a slot as a master artist, and Richard picked truly marginal associates.  All other master artists selected, so far as I know, have been mainstreamers, with  mainstream associates.

“Perloff, to give her credit, helped language poetry when it was otherstream.  She may well have done this opportunistically: Vendler had used Ashbery to stand out, so she grabbed Bernstein, or the language poetry people in general.  Which is fine with me.  I’d love such an opportunits to do the same for visual poetry, and will never understand why none has.  A few have tried but not gotten far with it.  Probably because few visual poets are academics, and thus close in one way to the mainstream.  More language poets had academic clout long before they had literary clout.

“As for Cheever, I can’t imagine what she has to say.  Reminiscences about her father, a one-time noted mainstreamer.

“Sorry for the Me-stuff, but the name Albee set it off.  Strangely important name in my life even though I’m not a great admirer of his plays, and probably have little in common with him in other ways, and once disliked him. I saw what may have been the premiere of his Zoo Story, along with Krapp’s Last Tape; disliked Zoo Story, very much liked Krapp’s Last Tape.  Greenwich Village Theatre when I was a teen-ager just learning my way into the arts, with high school buddies I’m still friends with, one of whom because a actor who got by but never became well-known, another who became a very wealthy Manhattan corporate lawyer, and a third who became a wealthy Bevery Hills cataract man.

“Sorry, again, but I’m feeling talkative–”writative?”  Took a pain pill with an opium derivative in it an hour ago.  Hip pain I’ll probably need hip replacement surgery to get rid of.  Also, I live alone.

“You know, I’m against the government’s subsidizing anything whatever, but if they’re going to subsidize the arts, I think they should make it a rule that any organization getting government money, even in the form of tax breaks, should be required by law to give at least one position a year like the ones Kelly House is giving to Albee and the others to someone who has never been given such a position by such an organization.  Or never gotten more for taking such a position than, say, a hundred dollars.

“One of my daydreams is of becoming a literary super-star invited all over to make guest appearances, and refusing to for a given organization until that organization has invited four or more marginal artists (or critics) to make similar appearances, paying them what it’d pay a super-star.  It would be going too far to make them do that before inviting any well-known artist or critic; I wouldn’t require more than their doing it for just one unknown if it weren’t the practice never to help an unknown (who doesn’t have somebody of influence pushing for him to be invited, or is representative of some allegedly underprivileged group, aside from experimental artists.

“Hey, looks like I’ve written my blog entry for today.  I’ve been so out of it for many months that I’ve been trying to force myself to at least write a blog entry every day.  Have done so for over a week. “

Entry 355 — My Latest Setback « POETICKS

Entry 355 — My Latest Setback

My latest setback is trivial for most points of view, but it has me reeling.  I broke down and spulrged on the latest version of the computer game, Civilization, a little over a week ago, ordering it from Amazon.  I didn’t immediately try it out when it arrived four or five days ago.  For one thing, I was in the middle of a game I was playing on my old version.  Once I’d lost that, I uninstalled the old version, and popped the new version in.  Boink.  After twenty minutes, I found out I had to install it from the Internet, and I was using my second computer for Civilization.  It was not hooked up to the Internet.

Not being bright at all about such things, I thought it would be a hassle to get my second computer on the Internet, so tried to go back to my old version.  But it could no longer be installed.  I couldn’t use my main computer for the game because of lack of space.  What the heck, I though, this is a good excuse to stop wasting time with Civilization.  I’d put it aside until I have a new computer with much more space on it.  Today, though, I realized all I had to do was plug my modem into my second computer.  so I did that, got on the Internet.  At that point my setback occurred: I couldn’t find the latest version of Civilization.  I had five or six disks from two versions of Civilization III but the single one for the new version, V, was not in the drawer I keep all the software disks I use, like Paint Shop and Power Point.  I couldn’t understand why it wasn’t there, and still can’t.  I’ve gone through it item by item three times.  It isn’t there.

I can’t imagine why I would have taken the disk–and the plastic holder it was in which also had a booklet and a folded up map of some sort abd is also missing–out of my computer room.  But I searched the whole house, twice, and my computer room three or four times.  No dice.

I can endure not being able to play Civilization.  That may even be a blessing although I really wanted to find out if V would give me a chance, as III hadn’t (at the higher levels).  I can live with the loss of the fifty dollars I paid for it, too.  But I am devastated by this latest proof that I simply can’t keep things from disappearing.

No one has been in my house but me during the time the game has been here, by the way, and it’s inconceivable that anyone would sneak in and steal just it.  I must have absent-mindedly put it aside somewhere wonderfully concealing.

Don’t be surprised if I don’t post anything here for a while.  What I ought to do, and half-think I may do, is do a major job of getting the house straightened out, in part by throwing all all the stuff I ought to.  Right now I don’t feel like doing anything, though.

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Entry 464 — A Follow-Up Visit to the Surgeon « POETICKS

Entry 464 — A Follow-Up Visit to the Surgeon

I saw my surgeon yesterday.   He was very pleased with my progress.  But he said it’d be three or four more months before I would be a non-gimp.  He had told me before the operation that it’d take two to five months for me to reach that point, so I felt I’d make it in two with hard work, if the operation went well.  I’ve worked hard and the operation went well but am not considered likely to be able to do more than I’m doing now, which is walk fast in a straight line, and take care of myself in my home.  Sure doesn’t give me much motivation to continue going all-out on my exercise program.

Meanwhile, my old lethargy is still with me.  I’ve done a little work on my Shakespeare book since getting home, but not much else.   I’m hoping I’m just suffering from the stress any change in one’s circumstances tends to cause, even a good change like getting home from a care facility.

 

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Mike Gunderloy « POETICKS

Posts Tagged ‘Mike Gunderloy’

Entry 99 — MATO2, Chapter 2.07

Sunday, February 7th, 2010

What follows is something I compiled from a mixture of writings I wrote about The World of Zines. Some of it may be repetitions of passages in published materials, and some may be material I deleted from articles that were too long for publication.  I may have published some of it, too, who knows.  In any case, it adds to my picture of the history of Factsheet Five.

Comments on The World of Zines

Mike Gunderloy had been active in the micro-press for some ten years when I joined his team, having then–at the age of 22 or so–founded Factsheet Five as a sort of “zine zine” specializing in reviewing other zines (a zine being a kind of periodical that is to small press magazines what the latter are to, well, Cosmopolitan or NewsWeek).  Factsheet Five was purely a hobby for Gunderloy at first.  Working out of his garage (or the equivalent), he gradually turned it into something resembling a real business, eventually having it printed by offset and getting it commercially distributed.  His last issue had a press run of over 10,000 copies.  That in itself wasn’t enough to bring him financial success.  What it did, though, was establish him as an authority on zines, which were the subject of the book Penguin signed him up for, The World of Zines.  And now he’s getting national press coverage–and making at least a little money.

According to one newspaper article on Gunderloy, at least one other editor has recently been directly absorbed from a zine into the BigTime: a fellow named Christian Gore.  Seven years ago, at the age of 19, Gore started a six-page zine on movies called Film Threat that is now a slickzine with a circulation of 125,000.  So, while the only sane reason to begin a zine is to say things, however privately, that the mainstream isn’t, dreaming of one day reaching a public of some size is not entirely irrational.

In any event, if you’re at all interested in zines–as a publisher or would-be publisher of one, or as just a reader–I highly recommend The World of Zines to you.  It provides excellent, if brief, reviews, such as the one that follows concerning Raleigh Clayton’s Fugitive Pope (available for $1 in cash or stamps from Raleigh Clayton Muns, 7351-A Burrwood Dr., St. Louis MO 63121), which I chose at random from the 300-plus that are discussed in The World of Zines, seems to me typical of the genre.  Here’s what Gunderloy and his co-editor Cari Goldberg Janice have to say about it:

“Life as a librarian need not be terminally dull, as Raleigh proves over and over again in these pages.  He recounts strange questions encountered at the reference desk, gives us glimpses of what it’s really like in librarian school and suggests ways to discourage masturbation in the stacks.  Along the way, bits and pieces of obscure writing are dropped in–almost as much fun as finding them serendipitously among the stacks.”

Note Fugitive Pope’s resemblance to an ongoing letter.  Such is generally what most zines resemble, though a letter usually confined to some central subject–a librarian’s life here, flying saucers (UFO) or old Norse religions (Asynjur) elsewhere.  Comics, sports, sci fi, hobbies and collecting, “hip whatnot,” travel, and–this a single category– splatter, death & other good news are just some of the other general topics the zines reviewed get into.

It is refreshing to note that Gunderloy and Janice include on their pages almost as many graphics, rants, poems and other matter culled from the zines under review as they do commentary. Hence, we’re not just told about zines, we’re meaningfully exposed to parts of them.

Contact and ordering information for every zine mentioned is included, too.  Moreover, a number of pages at the book’s end deal in detail with the nitty-grit of starting, running and circulating one’s own zine.  This should make The World of Zines highly useful, particularly for people outside the knownstream who have incorrect interests, or lack credentials, but who nonetheless want to have some kind of voice in their culture, however small.

Of course, it can’t be said that The World of Zines is perfect: every connoisseur of the field will find dozens of terrible omissions (where, for example, is my favorite zine, the subtle journal of raw coinage?!?).  Considering that there are something like 20,000 zines extant (according to the authors’ estimate, which seems sound to me), this is inevitable.  It is not important, for the object of the book is to introduce the scene it covers, not exhaustively memorialize it, and this The World of Zines does with efficiency and flair.

Here endeth the history of my involvement in Factsheet Five. Later I’ll be quoting from columns I wrote for it.