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Entry 902 — the “Pleruser”

Thursday, October 25th, 2012

Do I have a good word, finally, after forty years, for “one who does more than read a poem” in “pleruser?”  I like it now, but I’ve liked probably thirty or more previous of my attempts to get a better word than my “aesthcipient” for engage a work of art fully, in general, and for not just reading but viewing a visual poem, in particular.  pluhr ROO zuhr.  From “peruser” and “PLuRal.”  Sibling: “plerusal.”

Another new coinage, but probably just an ad hoc term is “poelectricrity,” which is what a poem has to have to be major.  It comes from my latest idea about a poem that it has three contents, one of them its elecrical content.  More on that when (and if) I get the essay I’m writing about it–one paragraph done so far–finished.

I’m learning of interesting behind-the-scenes quiet differences of opinion about the Fantagraphic anthology, by the way.  Two friends having mixed views of it, or worse; an unnamed acquaintance of one of them sounding as if he thinks very little of it.   I consider it excellent–which doesn’t mean there aren’t specimens in it I’m not too fond of, although I’ve seen nothing in it that I think doesn’t deserve to be in it.   I’m not sure which would be better for the field–a no-holds-barred between those for it and those against it, or a solidity of all involved in the field it covers against the Establishment, it the latter comes out in opposition to it, as I hope it will.  Probably the best thing for now is to await further developments in the BigWorld.

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Entry 788 — Poets & Writers Questionnaire

Tuesday, July 3rd, 2012

Here it is:

1. Yes, I am interested in participating in either a phone interview (30 minutes) or focus group (90 minutes) or both
2. Please tell us what you write. Poetry, Fiction
3. Do you write genre fiction? Yes
4. If you write genre fiction, please indicate which type.  Science Fiction
5. Are you a translator? No
6. Do you write books for children?
7. Do you write books for young adults? Not yet
8. Have you published a book? Yes
9. If you’ve published one or more books, how were they published?
Both Published by a publisher and Self-published
10. Would you be willing to participate in a focus group in Manhattan? Could not afford to
11. Would you be willing to participate in a focus group in downtown Los Angeles.? Could not afford to
12. Do you use Google+ Hangouts? No (Don’t know what these are.)
13. Would you be willing to participate in a virtual focus group using Google+ Hangouts? Don’t know what it is.
14. On weekdays, what time of day would be best for you to participate in a focus group? Any time
15. Do you subscribe to Poets & Writers Magazine? No
16. Do you subscribe to our e-newsletter? No
17. Have you received payment from Poets & Writers for a reading you’ve given or a workshop you’ve conducted? That’s a laugh.
18. Are you listed in our Directory of Poets & Writers? Yes
19. Do you participate in our online Speakeasy? No
20. Your age? Over 65
21. Your ethnic background? White, not Hispanic
22. Your gender? Male
23. Please provide your name, email address and information on where you live. Provided

I find nothing in it to indicate Poets & Writers has a genuine interest in finding out what it can do to help poets and writers. They should, at the very least, have someone answering their questionnaire tell how he rates their magazine from 1 for I think it very bad to 5 for I think it very good, to be sure of getting a few people who could actually help them do what they say they want to do. They should ask for comments, too. Such as a yes/no question about whether the answerer has ever published any kind of opinion piece on the state of literature in America, with a follow-up determining how often he has, if he has. More specific question on the kind of poetry done would help–a list of the Wilshberian poetries and “other.”  If I had time, I’m sure I could think of other good questions.  The results of P&W’s effort to improve should be amusing.

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Entry 524 — The Latest Nobel Laureate

Friday, October 7th, 2011

 
Yesterday I made a sarcastic remark at New-Poetry about the blurb at the Nobel site for the latest mediocrity getting money from Stockholm in the literature department.  John Jeffrey replied, “Bob, if you go to the Noble Prize for Lit web site, there’s a list of all the laureates.  For the recent winners, those little blurbs (such as Tranströmer’s ‘condensed, translucent images’ you commented on) have been so overblown that they crack me up.  Here are some for various winners.  (See if you can guess who based on the blurb.)

 
“‘…for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat’.
 
“‘…author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization’.
 
“‘…that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny’.
 
“‘…for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories’.
 
“But it seems these incomprehensible burbs are a recent phenomenon.  It wasn’t always this way.  Back in ’23, they wrote that Yeats was awarded the prize,“for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.”  That’s probably too clearly phrased for today’s fancy-pants Nobel writers.”
  
Said I: “I’m a sucker for ‘cartography,’ John, so I love the blurb with that in it.  As for the Yeats blurb, well, my problem with it is the same as my real problem with all the blurbs: they treat poetry as a sociopolitical instrument; what it does for ‘the spirit of a whole nation’ is what counts, not what it does as works of art—not for a whole nation but only for its best few (although I believe in the trickle-down effect that will allow lesser talents to use the innovations of geniuses to make art most of the rest of a nation will enjoy—the Bob Dylans, for instance).  The over-blown gush the Nobel people use for their blurbs is just their way of saying they haven’t the slightest idea for what poetry is at its best—though a few times I accept that they’ve rewarded it at its best, as with Yeats.  Maybe with Tranströmer, too, who knows.  I don’t and won’t have time to, but my intuition is that, at best, he’s another Yeats—which is to say, as Brahms was to Beethoven—when Wagner had become the next Beethoven.  Not that I’d shoot someone for preferring Brahms’s music to Wagner’s, but I would shoot someone for claiming Brahms was anywhere near as important a composer as Wagner, and importance ought to be of . . . importance.”
 
I mentioned Dylan because some people are advancing him as an appropriate Nobel Laureate.  If writers like Sinclair Lewis and Pearl Buck were, then I guess he is. 
 
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Entry 476 — Bad News

Monday, August 1st, 2011

Just last night I heard of Len Fulton’s death from Karl Kempton.  A huge loss to me personally, and to the larger world.  What small visibility I have as a critic is due almost entirely to him.  What small visibility our country’s best writers have is due in large part to him, too–due to his support of the small press and micro-press for so long.  (His American Odyssey, a Bookselling Travelogue, which is about his beginnings in his vocation, is still entertainingly and informativelyl worth reading.)

I never met him personally–or even talked to him on the phone.  But we exchanged a lot of notes over the twenty years or so that I knew him.  He was always upbeat and supportive.  In his last note to me (this June), he wished me luck with my hip, which I’d just written him I was going to have replaced.

I was amused to hear that he’d been a life-long fan of the baseball Giants–and saddened that I hadn’t shared his happiness for them when they won the world series last year.  I’d rooted for them when they were the New York Giants, then for a while after they abandoned their New Jersey, New York and Connecticut fans, but only because of my emotional investment in their players.  I eventually dropped them for the Mets.  I disliked them (and the Dodgers) for many years but last year they were my team–I liked their players and felt the organization had been punished long enough for having skipped out.  Now that I find they won one for Len, I’m even more for them!

I hope he can be replaced enough to allow Dustbooks to continue.  He certainly won’t be replaced enough to satisfy any of the many who will miss him.

Entry 350 — Re: the Value of Taxonomy « POETICKS

Entry 350 — Re: the Value of Taxonomy

My good friend Geof Huth has challenged me to demonstrate why taxonomization is of value.  At first, I was somewhat dumbfounded by his belief that it was, if not useless, not of major importance.  Able occasionally to illuminate but not able to do so well enough for one to make a life-long project of, as I have.   I have always taken it as a given that an effective taxonomy is of value–of crucial value–in all fields.  Linnaeus’s Taxonomy, Mendeleyev’s Periodic Table of Elements, Euclid’s Geometry . . .   I termed it “the basis of the conceptual appreciation of art” (in a slightly different arrangement of those words), in the introductory defense of it in my A Preliminary Taxonomy of Poetry.  I also mentioned “the clarification of discussion that an effective taxonomy can accomplish.”  Later, I may have gone off the lyrico-mystical deep end when I said, “At their best, taxonomies (and analysis in general) reveal ever-smaller mysteries, and ever-vaster interconnections to discover down or up to–while allowing us a vocabulary greater than ‘oooh’ and ‘ahhh’ with which to share our pleasure with others.”  Granted, the idea that without taxonomy’s help, our vocabulary would be limited to ooohs and ahhhs is absurdly exaggerated.  Still, as I hope to show, only a taxonomy-based vocabulary is of maximal usefulness in the search for significant truths.

I soon admitted that I had not done much more than assert the worth of taxonomy, although it still seems to me that anyone who has done serious work in any kind of verosophy (i.e., field of significant material knowledge) would find plenty of support in his experiences for those assertions.  Ergo, I now must present a detailed case for taxonomy.  Not easy, for that requires a discussion of knowledge,  a main contention of mine being that taxonomies are either necessary or hard to do without in all attempts significantly to understand a discipline.  Here I ought to stop, for the possibility that I could convince anyone that my understanding of what knowledge is, and how we acquire and use it is valid is less than point oh one percent.  Nevertheless, I’ll try.  If I can figure out how to.

Warning: I’m now going to think out loud.  I will be hard to follow as I will probably jump around.  My logic will at times be very lax, and I’ll use coinages of mine unfamiliar to all but me.  Don’t expect too much in the way of articulateness, either.

I’m going to start with the knowleplex.  That’s what I call the complex of knowlecules (bits of knowledge) that a person’s brain forms when learning his way around a portion of reality containing interrelated matter–one’s neighborhood, for instance, or marine biology, or the study of the photon.  There are many kinds of knowleplexes.  The most effective, for verosophers, is the verosoplex.  That’s because it is systematically organized.  Not perfectly, but always aiming for maximal systemization.

I would claim that one reason many plenty dislike taxonomy (and reductive thinking and everything else having to do with science and related fields) is that they are incapable of forming verosoplexes.  Some whom I call “milyoops, tend because of their innate temperaments, mainly to form sloppy clumps of knowlecules some of which interrelate with some of the others in the knowleplex  but few of which interrelate to all or even a majority of the others in it.  The milyooplexes, as I call these, lack a unifying principle, something that makes a big picture possible.  An effective taxonomy is the ultimate such unifying principle.

It’s just like a city: an ideal system of streets will get you with maximal efficiency wherever you want to go; streets designed merely to connect one building to one or two others, will be worthless outside a give neighborhood.  Similarly, a city with an effective system of streets will tend to fill up with building at eay to find and get-to locations.  A really well-organized city (impossible because Nature must make it so) would have a center from which the whole of the center would be in view.

Another kind of knowleplex is the rigidniplex.  It’s formed by people I term rigidniks whose innate temperament compels them to create unsound unifying principles–conceptual skeletons, so to speak–that are too inflexible to form a unifying basis for sufficient knowledge to provide a rational understanding of a field.  They over-unify too little data.

Milyoops are satisfied by their milyooplexes because they allow pleasurable short-term connections–the pleasure of vaudeville versus the pleasure of a well-written full-length play.  Or pop songs versus classical symph0nies.  They can’t experience long-term pleasure or be other than bored by anything aimed to provide that, so they oppose it.  They love to learn small facts, but avoid systematic knowledge.  Another way of putting it is that a milyoop lacks much of an attention span–a pop song’s immediate variation on its initial theme will give them pleasure, but forget a second movement of a symphony’s providing a (probably more complicated) variation on a (probably more complicated) theme played ten minutes previously.  They can’t use a taxonomy, which does, basically, what a fine symphony does, so they reject it.

The whole idea is that a small understanding of some small portion of a knowleplex will give pleasure, but if one also can connect it to some other portion of the knowleplex, one can enjoy the second portion at the same time, and if one can also–do to one or more such connections, intuite something of the way everything in the knowleplex interrelate, one can enjoy a truly superior pleasure.  Indeed, such an understanding can suggest the sense of the oneness of all things that religions hype as the ultimate happiness–and which I believe all verosophers experience in their best moments, and have spoken of.  Artists, too–although not by means of a verosoplex, but by means of (this is a new idea of mine) an intuiplex–a knowleplex whose unifying principle is protoceptual rather than reducticeptual.  Or sensual rather than conceptual.

This is a good moment for me.  Due to the taxonomical thinking I always do when working with my theory of psychology.  I classify artistic temperaments as different from scientific temperaments on the basis of their brain make-up, which I won’t go into here.  And suddenly perceived how I could be nice to artists with this intuiplex, which I genuinely see can be a route to large truths equal to the verosoplex.  But also what causes the two cultures C. P. Snow wrote about, and which I fully accept.

The intuiplex much more than the verosoplex aids the pursuit of beauty, which I hold to be as important as the search for truth, but probably hinders the latter–except when used by someone who also is capable of verosoplexes.  Similarly, verosoplexes tend to get in the way of the pursuit and appreciation of beauty.

Again, I yield to the temptation of using my present reasoning to support the value of taxonomy.  Only because of taxonomy have I been able on the spur of the moment to hypothesize an intuiplex–because it is based on the knowleplex, which is only a taxonomical level one step above it, and the verosoplex, which it is recognizably identical to (to me) except for one thing, its being an arrangement of primarily protoceptual knowlecules (think of the somatic knowledge that some highly unintellectual highly effective athletes have) instead of reducticeptual knowlecules–which, by the way, is taxonomically very similar, and in the same taxon as protoceptual knowlecules, differing from them only in that their ultimate source is the data conveyed to the brain more or less directly from the senses rather than extracted from the senses pre-cerebralling and converted to reducticepts (or conceptual knowledge, like words, numbers or geometrical shapes).

An important point to recognize is that the validity of my theory of psychology is irrelevant so far as the value of its taxonomy is concerned: its taxonomy greatly facilitates my navigation of it, and ability to understand it–and find gaps worth trying to fill I’d never find without it,

I really think I know what I’m talking about, however little it may seem so.  I hope someone somewhere in time and space gets something out of this installment of my adventure in Advanced Thought.  More, I hope, tomorrow.

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