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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.

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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.

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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:

 

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MaybeMandolins

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ThunderBlossoming
 

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ArmenianRecord

 

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traffic-original

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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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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:
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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.

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Entry 461 — The Latest from the Rehab Center « POETICKS

Entry 461 — The Latest from the Rehab Center

I guess it’s about ime I posted another entry.  Not much going on here.  I had hoped to be home from now–was making good progress with my physical therapy.   The a setback: my surgical incision was infected.  Result: an IV anti-biotic has been administered to me each day for the past five days.  Five more round of it, then I get to go home, assuming it has worked, and all signs are that it will have.

I was pretty disgusted.  So much time going by with little or nothing accomplished, even compared to some of my recent poor days at home.  Then I remembered a chore I could do here: posting all my Small Press Review columns here at my new blog, something I’ve been meaning to do for some time.  It’s been hard getting them properly formatted, but I’m getting them much more quickly posted now than when I did four days or so ago when I started the chore.  They are in the Pages, under “Bob Grumman’s Small Press Review Columns,” 21 so far, but I hope to add a few more today.

I’ve read most of them as I posted them, relieved to find they seem pretty good to me.  I hope to published two books of them, with commentary.  They remain about the only published commentary on avant garde poetry anywhere in this country as far as I know.     

 

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Entry 559 — My Self-Image « POETICKS

Entry 559 — My Self-Image

I think the main thing that keeps me from being Completely Obnoxious is my sincere sense of humor about myself.  Depending on my mood, I think I’m the greatest super-genius ever, a joke (well, make that the Greatest Joke Ever, since I never quite escape megalomania), or the Most Contemptible Failure Ever.  Actually, when I’m in the kind of mood I’m in now in (10 November, around noon)–after my first dose of APCs in over two weeks (because my head felt too blitzed for me to get anywhere with my Shakespeare chapter) *, I tend simultaneously to believe I’m terrific and a colossal joke.   

*Gad, how good it made me feel to close my parenthetical expression as soon as I’d finished typing it!  How rarely I do.

My self-image intrigues me, not only because it’s mine.  It is important to me, perhaps more important to me than most people’s self-images are to them.  (A few of them may not even have one!)  True, when I take off into a project, small of huge, the project consumes my every thought.  But my self-image is usually instrumental in igniting my take-off.  I usually (I think–I really haven’t thought that much about this before) need to feel that I’m a hero with a grand quest ahead of me.  Even when merely shelving scattered books, for–behold–I am then preparing the field for the greater project to follow, whatever it is.  This has a lot to do, I suddenly see, with why I hate jobs like brushing my teeth or shaving in spite of how little time they steal: they seem to me to have nothing to do with anything of importance.  Such jobs are what we have slaves for, or should have them for!!!!  (Oops, gotta watch that elitism of mine.  Know, I implore you, that the slaves I have in mind are of all the human skin-shades.) 

On the other hand, while I often wished I could get out of it when I used to run three or more miles daily four or five times a week, each run was a mini-quest, with a time to shoot for–as well as exercise to make me fit for greater quests.  Shopping wasn’t quite the same but even it had a bit of questness to it.  And the pleasure the food or drink would give me could make up for its not being much, if anything, of a quest.  It occurs to me that normal men dislike shopping for clothes because clothes lack the pleasure, for them, of food and drink, and we have no instinct for capturing clothing.  

Those of you familiar with my theory of psychology will have realized that I’ve been speaking of what I call the sagaceptual awareness.  That’s one’s innate system of brain-cells and interconnections that causes one, when it is active, to feel oneself to be the hero of some archetypal saga–chasing one’s Venus, for instance; starting one’s ascent of Parnassus; going out on the tennis court to compete for first place in the Charlotte County B-3 over-55 men’s league . . .  This awareness becomes active much more easily for me than for others, it seems to me.  Once enheroed in it, I stop thinking of myself as a hero, from that point on it being sufficient for me to be the hero in whatever saga I’ve become a part of.  But I become aware of my self-image in flashes.  More often, the glory, or the equivalent thereof, that I will win, breaks through my concentration on the task at hand.

My impression is that the sagaceptual awareness is stronger for the greatest achievers than for others, and that most of them have no shyness about indicating it–Keats, for instance, writing somewhere (in a letter, I believe) that he wanted to be remembered “among the English Poets,” or something close to that.  Unconcealed ambition.  Others don’t want to be caught being proud.  It may be that our age is particularly harsh on those who want to rise above others.  Even I have worked out ways around that, which I actually believe in (intellectually, at any rate): for instance, I have said that followers are as necessary as leaders; an effective leader is just another necessary component of the greatness (however defined) that can only be achieved by a group of people, which includes effective followers (and their effect cats and dogs).  Actually, this is unarguable true, but I have to admit that I tend not finally to believe anyone counts but me. . . .

I  believe that existence simple is, it has no meaning.  But for biological reasons, we have to act as though it does have some meaning–which in the final analysis comes always down to the triumphant attainment of a sagaceptual goal.  Meaning is the finding of meaning. 

One last thought before I leave this for an attempt to continue my Shakespeare chapter (into Greatness): that there is a role in the sagaceptual awareness for each of us to take, that of the spectator.  This allows us to root for ourselves, something too few others generally seem willing to do.  The best because they are busy rooting for themselves; the non-best because they’re too dumb to recognized our worthiness of cheers.  Until we’re safely dead, of course.

Whee.

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Entry 276 — The Irratioplex « POETICKS

Entry 276 — The Irratioplex

Another day in the null zone for me, perhaps because I’m going without the pain pills I’ve been on for my bad hip as an experiment.  I played tennis this morning without any more of the slight hip pain I’ve been having with the pain pills.  That was nice but since I got home from that and a little marketing (for socks and new sneakers), I I’ve been feeling blah.  A nap didn’t help.

Meanwhile, I’m been feeling bitter about my reputation as a defender of Shakespeare.  SHAKSPER, an Internet discussion group I’m in, has for several days been discussing the proper reaction to a movie coming out called Anonymous, in which the Earl of Oxford is depicted as Shakespeare–and as Queen Elizabeth’s son–and Southampton is depicted as Oxford and Elizabeth’s son.  I think it may destroy Oxfordianism the way the preposterous codes found in Shakespeare’s plays “proving” Bacon wrote them pretty much destroyed Baconism.

What irks me is that several who comment at SHAKSPER mentioned James Shapiro’s recent book on the authorship question, and books and articles on it by others, but not my book.  No doubt I’m biased, but I consider my book the best refutation of anti-Stratfordianism in print, and the only one that presents a serious theory of what makes people become anti-Stratfordianism–whether valid or not.  Yet the Shakespeare establishment, and their little followers at the two authorship sites I participate in don’t mention me, or respond to my posts to SHAKSPER.  Maybe they don’t want it known that our side has a crank like me on it.   A crank, morover, who calls anti-Stratfordians “psitchotics.”

Nonetheless, my attempt to understand what causes reasonably intelligent people to become psitchotics where Shakespeare is concerned, and–more important–find a way to express my finding entertainingly and coherently, continues, with a minor development today, the new term “irratioplex.”  This I pronounce ehr RAH shuh plehks.  Do I misspell it?  Possibly, but “irratiplex” doesn’t do it for me.

And irratioplex is an irrational knowleplex.  There are several.  Two of them are the rigidniplex and the enthusiaplex.  I now maintain that all anti-Stratfordians are afflicted with one or the other of these two irratioplexes.  The new term allows me to couple them as victims of irratioplexes, then show how they differ from one another by virtue of their (slightly) different irratioplexes.  The rigidniks’ irratioplex is forced on them by their innate psychology; the enthusiasts’ (who are frrewenders) acquire their irratioplexes during fits of enthiuiasm, making them quickly too strong thereafter to resist.  Both irratioplexes act the same once active. both nearly impossible for their victims’ to resist.

My new strategy for the description of wacks is to concentrate on irratioplexes in general, proceed to  rigidniplexes and enthusiaplexes in general, then to how the latter two specifically enslave their victims to anti-Stratfordianism.

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Entry 1125 — More House Fun « POETICKS

Entry 1125 — More House Fun

Water from the burst water heater was seeping out of the walls.  Finally it worried me enough to follow the advice of the plumber who’d taken care of the heater and called in some water extraction people.  So now I have two de-humidifiers and four (noisy) fans going.  They’ll be drying the walls for three days, then technicians will return to replace some of the worst parts of my walls and poison the mold that was found.  Cost: $1000.  Meanwhile, an air-conditioning man showed up because yesterday my air conditioner had stopped.  Ants got in where they shouldn’t have and caused a short-circuit.  $89.  But I got a ballpoint and a nice little pad.  (What’s $89 after a bill of a grand?)

Now you know why I’m taking the rest of the day off.  Bit I do have one happy news item: I was at one of my doctors for a routine check-up–my urologist.  I found out my PSA was still about as low as it can be: 0.1.  I’d been worrying about it (and thinking about how important test results continue to be for me so long after I left school).  My younger older brother had prostate cancer at the same age I did and had about the same treatment.  He went 15 or 16 years before it came back, then hung on for two or three more years.  I’ve now have mine for 15 years.  But I had a stronger dose of radiation than he had, so maybe I’ll be luckier

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Dreams « POETICKS

Archive for the ‘Dreams’ Category

Entry 1436 — A Comment Regarding Dreams

Sunday, April 27th, 2014

I don’t accept the “recent findings in cog sci” mentioned (“that one of the functions of dreams is to consolidate memory and learning, by transferring mental content from ‘working (short-term) memory’ to ‘long-term memory’”), although I’m sure dreams help organize our memories.  I believe dreams have two principal functions: (1) the detonation of the potential mistakes that accumulate during a person’s daytime life while sleep paralysis prevents the process from causing harmful physical actions; and (2) allowing combinations of incongruous images and ideas to form,some of which may prove beneficial–again, in the security of sleep paralysis.  See my essay, “Mistakes, Dreams and Creativity” at /knowlecular-psychology/2470-2/ for details.

I just stuck the attempted post to Aeon above as a record of it, because one version of it I attempted to post there seems to have been rejected, and I’m afraid this one will, too.

Hmm, this one took.  Dunno what happened to the previous one.  I’m glad I haven’t become a persona non grata at Aeon because it’s the latest door I’m fantasizing will admit me into the BigTime.  (Note: I don’t italicize phrases from Rome like “persona non grata” because I consider them to have become English.)  Aeon, which is something like Psychology Today, seems to be interested in many topics I’ve been thinking and writing about for almost fifty years like dreams, beauty, creativity, etc., and its writers don’t seem peer-reviewed.  Anyway, if I can get my essay on Beauty reasonably current and entertaining, that’s where the essay will be headed.

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History « POETICKS

Archive for the ‘History’ Category

Entry 1028 — Halaf Culture

Thursday, February 28th, 2013

Halaf Culture

In about 6000 B.C. the Hassuna culture in northern Mesopotamia was replaced by the Halaf culture.  Its origins are uncertain, but it seems to have developed in the same area as the Hassuna culture.  The Halaf culture survived some 600 years and spread out to over all of present-day northern Iraq and Syria, exerting an influence that reached as far as the Mediterranean coast and the highlands of the central Zagros. In some ways, however, it was outside the mainstream of development.

The plants grown were the same as in the preceding Hassuna and Samarra periods: einkorn, emmer and hexaploid wheat, two-row hulled and six-row naked and hulled barley, lentils, bitter vetch, chickpeas and flax. The distribution of Halaf settlements lay within the
area of dry farming so that most of the agriculture was probably 
carried out without the aid of large-scale irrigation. Domestic animals included the typical five species-sheep, goats, cattle, pigs and dogs-but also wild animals were hunted.

During the Halaf period people abandoned the rectangular many-roomed houses in favor of a return to round huts, called tholoi. These varied in size from about 3 to 7 meters in diameter and are believed to have housed families of one set of parents and their children. The entrance was through a gap in the outer wall, but the design varied. Often a rectangular annex was added to the circular structure. At Arpachiyeh, round buildings with long annexes formed keyhole-shaped structures almost 20 meters long with stone walls over 1.5 meters thick.

Originally the Arpachiyeh buildings were believed to be special and used for some religious ritual. However, excavations at Yarim Tepe II have suggested that most of the tholoi were used as domestic dwellings, as the rectangular chambers were entered from the circular room and did not serve as an entrance passageway as in an igloo. The tholoi were made of mud, mud-brick or stone and possibly had a domed roof. However, those at Yarim Tepe II had walls that were only 25 centimeters thick and may have been roofed using timber beams.

Tholoi have been found throughout the range of the Halaf culture, from the upper Euphrates near Carchemish to the Hamrin basin on the Iraq-Iran border. As well as having circular dwelling houses, however, the earliest and latest Halaf levels at Arpachiyeh included rectangular architecture. One such building at the latest level had been burned, with its contents left in situ. On the floor were numerous pottery vessels, many of them beautifully decorated. There were also stone vessels, jewelry, figurines and amulets as well as thousands of flint and obsidian tools. Much of the pottery and jewelry lay beside the walls, on top of charred wood that had probably been shelves. The building was at first thought to be a potter’s workshop, but that did not explain the presence of all the precious materials. It might have been a storeroom for the community’s wealth or the treasury of a local chief. In any event, there was a remarkable concentration of wealth in this one building. Yarim Tepe also had some rectangular buildings, some of which were storerooms or houses while others, which had no distinctive plan and contained no domestic debris, had possibly been public buildings.

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I suspect some of you will be wondering why I posted the above.   One reason for it is my standard quickness to post anything that’s easy to post.  But I also posted it because, as I was reading it (on pages 48 and 49 of Michaell Roaf’s Cultural Atlas of Mesopotamia and the Ancient Near East), I was filled with near-religious combination of awe and pleasure–just like when connecting to one of Marton Koppany’s poems, in fact!!!  I thought it an excellent example of the value of what I call informrature, and the fact that is is not necessarily inferior to poetry, just different.  Although, yes, the best poetry takes much more skill to create than the informrature I quote here, which is only journalism.  Informrature at the level of The Origin of Species can produce as much pleasure as the best poetry, though.  More exactly, I would claim that Darwin’s book caused its earliest prepared readers to enjoy it as much as Wordsworth’s The Prelude caused its earliest prepared readers.

That “prepared” is essential to the truth of what I am saying: I got what I did from the passage from the atlas because it read it during a peculiar moment of High Preparation (slightly helped by a caffeine pill I’d taken ten or fifteen minutes earlier because I felt so sleepy too many hours before bedtime).  The High Preparation was caused by many different things.  One of them was my having read 47 pages about Mesopotamia, and looked at the many neato photographs and drawings on them.  Another was all that I’ve read about ancient civilizations.  I was simply ready to feel the size and grandeur of the time and geography as both a moment and a period that I was reading about fusedly.  Okay, let me try to express it more calmly.  I suddenly felt the absolute banality of what I was reading about: the list of foodstuffs; the goats, sheep, etc; the ordinary families in ordinary dwellings; the trinkets, pottery, figurines, etc., all in a little piece of land, really, in a little almost static piece of time.

I absolutely believe in, and almost worship, Cultural Progress, and here, after reading of previous Near Eastern cultures to come upon one I’d never heard of, which was almost certainly very minor, but a tributary, thrilled me.

I think, too, I’m a bit burned out as an artist and verosopher.  After my reading in the atlas, my mind drifted into a daydream of taking a year off from all mental endeavors and just reading books like it.  I can’t.  But maybe a compromise is possible.  I’ll probably have to keep a good supply of caffeine pills on hand.  I have to keep telling myself there’s nothing wrong with countering an obviously endocrinological deficiency with them, the way I take thyroid pills to aid my deficient thyroid gland.

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E E Cummings « POETICKS

Archive for the ‘E E Cummings’ Category

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:

 

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MaybeMandolins

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ThunderBlossoming
 

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ArmenianRecord

 

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traffic-original

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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.

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Entry 1750 — Found Original

Thursday, March 12th, 2015

trafficSorta interesting story about the above: it turned up yesterday in an email from Germany!  Remember, I was hunting all over for it in vain, then remembered it together–I thought.  Actually, I remembered “descent,” but changed it to “development.”  I forgot “mix.”  I think the original better than my revision.

To get back to the sorta interesting story, the email it arrived in–more accurately, the email that had a link to it–was from Kurt Henzel, a German who has suddenly discovered concrete poetry, and wanted to buy two books by Irving Weiss that I had published–and stuff of mine.  In his email, he asked for signed copies of two of my poems, the one above and “the poem r,” one of my favorite visual poems although never before mentioned by anyone.

Here’s the other:

ThePoem-rHere’s something else from the Internet:

resipiscence /res-ə-PIS-əns/. noun. Originally, repentance and recognition of one’s misdeeds. Now the act of coming to one’s senses, a change of heart. The Shorter OED’s formulation: “return to a better mind.” From Latin resipiscere (to recover one’s senses), from from sapere (to taste, to be wise).

From yesterday’s Katex–click here to find out about it. (It’s a newsletter or the equivalent put out by Chris Lott often has interesting odd words.  I posted this because it seems so much like many of my coinages–in other words, I’m not alone in my love of coining mouthfuls.  I also think I might find a use for this one.

* * *

Apologies, but that’s it for today.  Again, a tough day for me: a loss in tennis in the morning, both for me and my partner is one match, and for our team in all three of our matches.  Oh, well, we should not finish last, and the season will soon be over.  In the afternoon, two hours at my dentist’s (that increased my credit card debt by another thousand).

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Entry 1749 — Lesson One Begins

Wednesday, March 11th, 2015

I was hoping to make a complete lesson for this entry–the one I discussed yesterday for a how-to book for beginning otherstream poets.  I had so much trouble scanning the poems by Cummings I wanted to use in it that I’m too worn-out to try to write much of the lesson.

But here is my piece for the lesson again, followed by 4 excerpts of poems by Cummings that I stole the core-technique my poem depends on from Cummings, my lesson being about the necessity to steal from other poets:

            sky's piecemeal white                                development down buildings'                            dark sides into                                   tr;af:fi,c.

* * *

ArmenianRecord

* * *

MaybeMandolins

* * *

ThunderBlossoming

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Entry 1693 — Cummings’s Early Visual Poetry

Thursday, January 15th, 2015

Karl Kempton, who is in the process of writing a full-scale history of visual poetry, queried me about E. E. Cummings earlier today.  “relooking at early cummings,” said he, “i can not say his work prior to & (and) could be considered visual, except for impression III, part of tulips and chimneys, publication date 1923.”  Then he asked me for my take.  The following notes were the immediate results:

I would accept “III’ of “Impressions” as, barely, a visual poem because the way it uses the parenthesis marks at the end of it as a visual metaphor for a sack.  At the same time they are a conceptual metaphor for a shooting star’s being changed from something emphatic in the material world diminished into something parenthetical to reality–down a level from it.

“in Just-” (which i have an entry about in the Facts-on-File Companion to 20th-Century American Poetry) is a highly effective visual poem for me, albeit its visiophors (visual metgaphors) are very simple.  “hist    whist” is borderline.  “stinging” becomes super-simply a visual poem at its end, “-S.”

These poems are also infraverbal, for me; I consider Cummings more important for more or less inventing infraverbal poetry than for his visual poetry.  The passage, “so/ drunG// k, dear,” in his “I” (first stanza: “nimble/ heat/ had”) in “Portraits,” one of the sections of Chimneys, becomes infra-verbal with “drunkG” and also visual when after a space comes “k, dear” because the G in “drunG” is a verbo-auditory metaphor for drunkenness as well as what I’d call a verbo-conceptual metaphor for it.  It is the first because its mispronunciation acts as a metaphor for drunkenness; it is the second because its mistakenness is a conceptual metaphor for drunkenness.

I take its capital G as auditory rather than visual (although, yes, the whole word is something visual, but not really visual in the sense of something seen, visual in the different sense of something read); hence it seems to me the G contributes to both its mispronunciation (since it indicates, to me, an accentual emphasis on the g-sound) and its conceptual mistakenness, since it is mistakenly capitalized, according to conventional spelling. The continuation of “drunG” after the line it occupies and a skipped line by a k, makes the “k, dear” a visual metaphor for the blank-minded mistakenness that drunkenness is, and the way drunkenness tries stumblingly to be “correct.”

“Buffalo Bill’s” is, of course, a visual poem.

The gaps in many of the Tulips I consider purely verbal since they simply indicate auditory pauses of various lengths.

So, I would claim the presence of five (-and-a-half) visual poems in Tulips and Chimneys.

It’d be nice to go one into a full-length study of Cummings’s evolution as an otherstream poet–i.e., a visual and an infraverbal poet as well as an adventurer in other kinds of language poetry besides infraverbalism, but I have too many other things on my plate right now.
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Entry 1645 — Part of Something from 1994

Friday, November 28th, 2014

I was going to write something new for today but it fell apart somewhere before its midpoint.  I have hopes for it, but . . .

So, in place of it, here’s commentary on poetry from an article published twenty years ago that I actually got paid for: 9 pages on all the neglected kinds of poetry then extant (just about all of which are still extant, and neglected).  As is the case with nearly all my poetry commentary/criticism, no one every wrote me about it.

I was going to use just what I said about Kathy Ernst’s “Philosophy,” then thought it might be interesting to present the whole page in media res.  Less work for me, at any rate.  So, here is page 6 from the November/ December issue of Teachers & Writers:

Page6Teachers&Writers.

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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.
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Entry 1314 — Just-Spring

Sunday, December 29th, 2013

It crossed my mind earlier today that a flair for the use of fresh language might be the most important attribute of a superior poet.  Certainly E. E. Cummings had it, which is why he rates so high with me.  In particular, I think the invention of new words or phrases, or the use of a word in a way it was  never before used, like Cummings’s melding of “just” and “spring” in his famous poem about the balloonman, is about the most important thing a superior poet can do.  Hopkins and Dylan Thomas are two others I quickly think of who did this.  If I were fading out, I’d try to find examples, and mention more poets of fresh language.  I might even come up with a Grummaniacal name for them.

For now, I just say that one way of recognizing mediocrity in a poet is his total conventionality of word-choice and use.  You can recognize the subj-mediocrity by his used of dead poeticisms.

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Entry 1043 — A Revision

Friday, March 15th, 2013

I’m here again because the technician I called to help me with my computer won’t be to my house until later, so I can still come here.  (I’m hoping the technician can take care of my computer’s problem or problems while here, but suspect h’ell have to take my cup away for a while.)  Anyway, this poem is from a sequence of 4 I made that were published in the Cummings Society magazine, Spring.

Arithmepoetic Investigations of the Seasons for E. E. Cummings, No. 1

I’m posting it because I’ll soon be posting it in my Scientific American guest blog so went to Paint Shop to get it ready, remembering that I wanted to make a short revision of its remainder.   That had been “-(little lame balloonman).”  It came to bother me because a remainder should not be a negative term.  So I’d come up with “the absence of the little lame balloonman.”  That was the first thing I changed it to earlier this morning.  I liked the idea of a “positive” negativity like an absence of something.  But before long I thought it strained.  I changed it to “nothing else.”  That cost the reference to the balloonman that I have in all peoms in the rest of the sequence.  Result: the present remainder.  I’m not sure it’s my best, or is as good a one as I could possibly come up with, but it works, and I’m sticking with it.

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Entry 982 — A Philistine Versus Cummings

Sunday, January 13th, 2013

The following is from Poetry, America’s leading home of Philistines.  It’s part of a series of negative responses to canonized poets by mostly utter mediocrities (at best).  Guriel, author of this slam of Cummings, seems the most egregious, for the others bothered to find parts of their subject’s oeuvre worth praise, or at least not bad enough to scorn.  The author of one, on Stevens, forthrightly admitted not having the brains to appreciate him–although she may have been ironic.

It’s fitting that Cummings took the most abuse, for his best work is still a decade or more too advanced for Poetry.

Guriel may not be the most obtuse critic of Cummings ever–while Cummings was still alive, some halfwit whose name I failed to record parodied him by throwing letters on a page “almost as fast as (he) could hit the typewriter keys,” and calling the result, “Forest Fire.”  This he follows with a mock “critique” of the poem, praising its “typographically created impression of chaos, suggested by a broken word such as ‘hiss’ and by the skillfully misplaces letters and punctuation marks, all of which add eloquently to the complex simplicity and the dissociated unity of the whole.”  Ha ha, aren’t these avant garde critics dumb!

The philistine always assumes a poet he can’t appreciate is only doing one thing in his poetry, so has no problem parodying it since all he has to do is compose something that does nothing but that one thing, as here.  He, of course, disregards the fact that doing something another poet has invented is easier than inventing it.

Time now for Guriel, with my commments inserted:

Sub-Seuss

Reconsidering E.E. Cummings.

BY JASON GURIEL

Young people encounter many temptations on their way to adulthood: vampires, Atlas Shrugged, Pink Floyd, the acoustic guitar. Of course, such stuff, designed to indulge one’s sense of oneself as a unique individual, must eventually be repudiated. It’s not easy, growing up.

BG: Growing up requires one to accept that one is a sheep, and leave behind a child’s imaginativeness?

But I had no trouble saying no to the relentlessly quirky E.E. 
Cummings. Thank the high school teacher who required me to get Cummings’s “anyone lived in a pretty how town” by heart. I labored over the poem for an afternoon, recited it to the wall, gave up. What was at stake if I misremembered the order of words like “up so floating many bells down?” Does it really matter it’s not “up so many floating bells down?” Would Cummings himself have applauded the mistake as a heartening sign of a maverick mind at play?

BG: Yes, Jason, it matters.  To understand that, you must first be able to imagine yourself not necessarily superior to a poet doing unconventional things with syntax, but assume that  maybe he’s trying to give pleasure by doing so rather than irritate his readers.  Here Cummings forces his readers to slow down, the first obligation of a poet, for a poet should want those encountering his work to take the time to let its full sensual effect to reach them.  The slight change of word-order is not pivotal, but “so floating many bells” is a more charged image, it seems to me, than “so many floating bells”; the syntax of the first jarring the reader into increasing attention, wondering about “so floating” ( a slant way of saying “so floatingly” to increase the meaning of floating?), and about a “floating many,” the syntax of the second doing nothing.  I would add that Cummings uses “up” and “down” simply to describe in a way that almost forces a reader to look up and down bells floating up (and) down.  Whatever they are.  Bell-sounds and bell-shaped flowers are what they made me think of.  They do make one muse into concrete imagery, which is an important duty of poems.

The poetry, I concluded, wasn’t just sub-Seuss; it was tantamount to a teaching tool of the most condescending kind: the last resort. (No, really, poetry is crazy fun was the point one was meant to 
internalize.) Cummings seemed to have been invented to convert that stubborn student the syllabus has failed to win over to verse — or, at least, to reacquaint the kid with his inner child, the id whose 
appetite for nonsense and nursery rhymes has been socialized away. When it came to Cummings (or unstructured playtime) resistance was supposed to be futile.

BG: Here Guriel its criticizing Cummings for what he thinks his teacher used his poem for.  I haven’t spoken with his teacher.  It would be interesting if Poetry contacted the teacher and learned the motive for forcing poor Guriel to memorize a poem he didn’t like.  (Guess what?  It’s far from my favorite Cummings poem.)  It’s good to expose students to the crazy fun that poems can be, including the very best.  But the teacher might have been thinking of language poetry, so many of whose best features Cummings’s poems were precursors of, the idea being that immersion in Cummings would help the right students later to appreciate the poetry many superior contemporary poets are composing.  There are several other possibilities.  I suspect, though, that the teacher simply liked the poem and wanted to give students a chance to like it, too.  

Randall Jarrell nearly said as much when he noted that “no one else has ever made avant-garde, experimental poems so attractive both to the general and the special reader.” He should’ve said that “no one else has ever made a formula for avant-garde, experimental poems so attractive to people who don’t actually read poetry but would like to think they can write it.” Even today, it’s enough to reject an institution or two — capitalism, grammatical English — to be mistaken for an innovator. Rebel, misspell, repeat:

v    o      i       c         e  o                ver  (whi!tethatr?apidly  legthelessne sssuc kedt oward  black,this    )roUnd ingrOundIngly rouNdar(round)ounDing                                            ;ball                                            balll                                            ballll                                            balllll    — From No Thanks, Section Two

The message Cummings communicates here — and which langpo
types and concrete poets continue to internalize — is remarkably 
unambiguous: words are toy blocks, and poems, child’s play. No one else has made making it new look so easy.

BG: Actually, this excerpt is from a long evocation of the moon.  Easy as rhyming to do, sure.  

But Cummings’s poems themselves were only superficially “new.” Beneath the tattoo-thin signifiers of edginess — those lowercase i’s, those words run together —  flutters the heart of a romantic. (Is there a correlation between typographically arresting poetry and emotional arrestedness?) He fancies himself an individual among masses, finds the church ladies have “furnished souls,” opposes war. He’s far more self-righteous, this romantic, than any soldier or gossip — and far deadlier: he’s a teenager armed with a journal.

BG: Guriel mentions flaws I also find in Cummings, although I favor individualism and my heart flutters with romanticism.  Guriel is an irresponsible critic, however, because he ignores the many poems of Cummings that transcend the attitudes Cummings had and Guriel is superior to.  As he would find if he read enough of him to be fair to him.

Recording his thoughts about sex or the female body, however, Cummings’s speaker is less a teenager than a child trapped in a man’s body, which is to say a man-child: a boob blinking at a pair of  breasts. In poem after poem, he can’t help but notice such curiosities as “sticking out breasts” and “uttering tits” and “bragging breasts” and “ugly nipples squirming in pretty wrath” and breasts that are “firmlysquirmy with a slight jounce” and “wise breasts half-grown.” (Hands off, ladies! He’s spoken for.) And when he shifts his attention to other parts of the beloved — and, worse, gropes for only the weirdest words to describe them — the boob makes an ass of himself:

              i bite on the eyes’ brittle crust
(only feeling the belly’s merry thrust
Boost my huge passion like a business

and the Y her legs panting as they press

proffers its omelet of fluffy lust)

How does one excuse such lines? Is it that you can’t write a poem without breaking some eggs? That you can’t make it new without making a mess?

boys w!ll be boyss, i guess….

BG: It’s easy to excuse, Jason.  You merely refer to the many many poor poems of Wordsworth, or to the large dead portions of Pound’s Cantos, and point out that the many world-class poems these two composed are a hundred times more important than any number of their bad ones a cherry-picker like you can find.

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Entry 904 — American Visiotextual Art

Saturday, October 27th, 2012

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There’s an attempt at a discussion of the Fantagraphics anthology going on at Spidertangle that I’ve contributed to, once by growling that “just saying you don’t like the anthology, or posting blurbs in its favor, won’t get us anywhere.”
 
I then brought up an idea which I would be amazed if more than three other Spidertanglers thought was a good one: the publication of a companion to the Fantagraphics anthology. If possible, it would have an essay by either Crag of Nico, or both, describing their editorial intentions, and a history of the anthology. Then maybe one or two essays on the history of visiotextual art that discusses where this anthology fits into that history. The rest of the Companion would consist of critical reactions to it—a few from from vispo people, but many I would hope from conventional literary AND visual art people.
 
I followed that with a digression to a thought about The history of American Visiotextual Art: that with Andrew, we now have a fifth generation. The first generation consisted mainly of E. E. Cummings and Kenneth Patchen. The Pre-Concrete Generation, characterized by more or less standard free verse poems with visual details I’d call minifractional but which were responsible for a large percentage of the aesthetic effect of the poems they were in. An example is the famous Cummings poem about Buffalo Bill who is described as breaking “onetwothreefourfive pigeonsjustlikethat.” A small fraction of the poem but responsible for at least half of its aesthetic effect (however little that effect may seem to those with no understanding of the magnitude of such simple-seeming freshnesses when introduced to poetry). First generation poems were basically semantic poems with just enough significant visual material to make them visual poems.
 
Second generation American visiotextual art was dominated by concrete poetry—by my definition of it as verbally meaningful texts which are also fully, or near-fully, visual images, and whose verbal and visual content combine to produce the works’ aesthetic effect.  In other words, works half verbal and half visual. Ron Johnson’s “moon,” with a third moon printed in between and above the word’s other two o’s. The Solt and Williams anthologies brought them to the attention of the public.
 
Then came a third generation of “visual poets,” the poets I think of as being published by Karl Kempton’s Kaldron or in close touch with poets who were. The important difference between them and the concrete poets, again by my definition (which ignores who did what where and believed in what politics or moral codes, etc.), was that they made works that included purely visual elements that interacted with their works’ semantic content to produce their aesthetic effect.
 
The fourth generation, now in power, consists of the asemic poets, who have basically forsaken textual elements for anything other than the way they look in designs. It seems to me that a good eighty percent of the work in the Fantagraphic anthology us if this nature. I have made only a few such works myself, but extremely like some specimens of it in the Fantagraphics anthology. In fact, it’s possible that seven of my ten favorite works in the anthology are asemic.
 
I believe there is a fifth generation in existence, but I don’t know what they’re up to.
 
All comments, as always, are welcome. 
 

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Entry 35 — Thoughts on Scatteredness « POETICKS

Entry 35 — Thoughts on Scatteredness

On Sundays, I turn off my computer at eleven in the morning and leave it off till five so people who want to talk to me on the phone can do so (which they can’t when I’m connected to the Internet because I have dial-up, and also like to stay connected to the Internet even when not using my computer so as to block junk phone calls).  Ergo, since it’s quarter to eleven as I type this, I’ll soon be off the computer.  I could still do a Major Entry offline, but it’s more difficult than doing it online and I’m lazy.  In any case, I’m going to do a quickie today, just this, quoted in its entirety with no changes from #671:

3 December 2005:

Someone I argue with on the Internet about who wrote Shakespeare asserted that “those who achieve greatness go about their work in a markedly different way than those who achieve only mediocrity. A scattershot approach to writing, wherein one works on several ‘major projects’ (forgive me for refusing to equate the composition of King Lear with the cleaning of your house, Bob, but I don’t think I’ll even bother to come up with support for this assertion) is an indication, not that we are dealing with a major talent, but rather that we are dealing with procrastination and mediocrity.” We were arguing about a recent Biography of Shakespeare that hypothesized that he finished four different plays in one year. My opponent claimed it wasn’t possible; I that it most certainly was. I used myself as an example of a writer who had a lot of major projects going at a time. Hence, my opponent’s distinguishing “mediocrities” from Shakespeare-level artists. I mentioned getting my house organized as one of the major projects I was involved in, which accounts for his reference to “the cleaning of (my) house.”

It seems to me many culturateurs (people whose contribution to world culture was major) worked on four or more major cultural projects (a major project needn’t be cultural) during a year, and some of them worked on two or more of them simultaneously, especially composers and painters. A blurriness of recall prevents me from thinking of any particular such culturateurs except for Leonardo–who was definitely handicapped by his approach to his endeavors; I wouldn’t say it was a “scattershot approach,” but it leaned that way, for sure.

I’ve always alternated between pride in my scattershot approach and worry about it. Certainly, it’s kept me from finishing much. But, I claim, only so far. Next year, will be different. Actually, this year hasn’t been so bad, for I finished one long-in-progress play during it (and two such plays near the end of the year before). At the moment, I am at work on (1) my book on the Shakespeare authorship debate (which is more an introduction to my theory of psychology, (2) a central life’s work of mine); (3) and (4) two new plays, (5) my essay on E. E. Cummings’s Influence (which I hope will become book-length at some point), (6) these blog entries (and improvements to my blog), (7) my mathemaku sequence,The Long Division of Poetry, (8) a large mathemaku I’m tentatively calling “Mathemaku in Homage to Modern Technology,” (9) my mathemaku, in general, (10) my Poem poem sequence, (11) getting mine house in order, (12) various anthologies or zines I’ve agreed to send poems or essays to and/or guest-edit. Impressive-sounding, but I do procrastinate, and play Civilization too much. I won’t finish any of these this year, and may not ever. Nonetheless, I’ll be severely unhappy if I don’t take care of most of them next year–as well as get the next volume of Writing To Be Seen, the anthology Crag Hill and I have co-edited, into print, another major project. It remains to be seen whether or not the results will make it above mediocrity, but I’m betting on myself.

Just changed my mind–got curious as to what happened with the projects I was working on almost exactly four years ago.  So, here’s the list again with my comments: At the moment, I am at work on (1) my book on the Shakespeare authorship debate (which is more an introduction to my theory of psychology (Whee, finished and self-published in two editions!);(2) a central life’s work of mine) (not sure what this was but probably finishing a complete version of my knowlecular psychology theory, which I am no closer to having done than I was four years ago); (3) and (4) two new plays (unfinished, one of them possibly lost in a computer crash, but the other at least half done): (5) my essay on E. E. Cummings’s Influence (which I hope will become book-length at some point) (I finished this as a long essay but haven’t made a book of it, which I still hope to do); (6) these blog entries (and improvements to my blog) (I have kept the blog going); (7) my mathemaku sequence,The Long Division of Poetry (I have extended this significantly since then and improved it, I believe), (8) a large mathemaku I’m tentatively calling “Mathemaku in Homage to Modern Technology” (I finished this); (9) my mathemaku, in general (I’ve continue producing mathemaku, although not as rapidly as I hoped I would back then); (10) my Poem poem sequence (It’s ongoing); (11) getting mine house in order (I think I half-did this, but it’s as disorganized as ever right now);(12) various anthologies or zines I’ve agreed to send poems or essays to and/or guest-edit (A few of these done possibly, but most not).

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Entry 627 — My %!!#$&! Sonnet « POETICKS

Entry 627 — My %!!#$&! Sonnet

While reviewing my 2011 blog entries, I came on the following “final version” of my life’s-work sonnet, and was astounded that I could have thought it good:

     Sonnet from My Forties

     Much have I ranged the kingdoms Stevens forged
     Of deeply penetrating inquiries
     Into, and deft use of, the metaphor,
     And volumes filled in vain attempts to reach

     The heights that he did. Often, too, I’ve been
     To where the small dirt’s awkward first grey steps
     Toward high-hued sensibility begin
     In Roethke’s verse, or measured the extent

     Of wing-swirled, myth-electric, royal light
     That Yeats achieved, or marveled down the worlds
     That Pound re-morninged splashingly to life,
     But failed as dismally to match their works.

     Yet still, nine-tenth insane though it now seems,
     I seek those ends; I hold to my huge dreams.

The following struck me as much better:

     Sonnet from My Forties

     Much have I ranged the broad-skied latitudes
     That Stevens festivalled his inquiries
     On truth and the imagination to,
     And reams used up in vain attempts to reach

     The heights that he did. Often, too, I’ve been
     To where the small dirt’s awkward first grey steps
     Toward high-hued sensibility begin
     In Roethke’s verse, or measured the extent

     Of wing-swirled, myth-electric, royal light
     That Yeats achieved, or marveled down the worlds
     That Pound re-morninged windily to life,
     but failed as dismally to match their works.

     Yet still, nine-tenth insane though it now seems,
     I seek those ends; I hold to my huge dreams.

But “broad-skied” bothered me.  Nice thought, but I didn’t like the repetition of the d-sound, and “broad” seemed to me low in lyricality.   So, once again I improved it:

     Sonnet from My Forties

     Much have I ranged the large-skied latitudes
     That Stevens festivalled his inquiries
     On truth and the imagination to,
     And reams used up in vain attempts to reach

     The heights that he did. Often, too, I’ve been
     To where the small dirt’s awkward first grey steps
     Toward high-hued sensibility begin
     In Roethke’s verse, or measured the extent

     Of wing-swirled, myth-electric, royal light
     That Yeats achieved, or marveled down the worlds
     That Pound re-morninged windily to life,
     but failed as dismally to match their works.

     Yet still, nine-tenth insane though it now seems,
     I seek those ends; I hold to my huge dreams.

I don’t think I’ll live long enough to improve it more than thirty or forty more times.

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