Entry 620 — Getting Enough Sleep « POETICKS-

Entry 620 — Getting Enough Sleep « POETICKS

Entry 620 — Getting Enough Sleep

A little while ago (it is now around 9 P.M., 9 January) I was feeling good. I attributed this to my having gotten two naps today, one of an hour, the other of one or two hours. And I had gotten six hours of sleep last night, which is about as much as I generally get. I had just about finished backing up my blog entries and was very pleased at how good many of my poems seemed to me when I noticed them during the process. Unfortunately, I got the dates up my upcoming entries wrong, and in correcting them, lost what I had written for this entry. That pretty much wiped out my mood. I can’t stand screwing up like that, but I do it all the time!

This is a pwoermd I stole from Geof Huth’s blog–because it has become too sophisticated to accept comments from dial-ups like my computer, and I wanted to comment on it. It’s by Jonathan Jones, lately of Brussels, but a citizen himself of the United Kingdom. What I like most about it is that it’s lyrical–as too many pwoermds are not. It wouldn’t be a visual poem for me, but an illustrated poem, except that I subjectively feel “apri’ll” is producing the wonderful colors of spring it is slanted into a portion of (through sheer will-power). Hence, in my taxonomy it is an infra-verbal visual poem.

Precision M4400 Laptops

This entry was posted on Tuesday, January 10th, 2012 at 12:00 AM and is filed under Infraverbal Poetry Specimen, Jonathan Jones, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 579 — The Bleed 0.1 « POETICKS

Entry 579 — The Bleed 0.1

A few days ago I got a beautifully packaged hard copy of the webzine, The Bleed 0.1, from its editor, John Moore Williams. It’s a terrific overview of current visual and related poetry and art. I got the hard copy because my computer wouldn’t let me view the whole magazine at its website–due, apparently, to the fact that I’m still on dial-up. Anyway, Eric Goddard-Scovel has five infraverbal gems in the issue that became instant favorites of mine. Here are two of them:

Minor quibble: I would have had one more numeral 1 and two less exclamation marks in “11!”

* * *

Tuesday, 29 November 2011, 3 P.M. Tennis in the morning, errands, then a nap. After the latter, I felt pretty good, but was slow getting into any of my projects–after fairly quickly getting my blog entry for the day done and posted. I just now took care of a very short exhibition hand-out. I seem now to have 17 little comments on various poems of mine plus a Curriculum Vita ready for the show. I’ve started to other hand-outs. I’ve avoided my book so far, which has become a major drag. But I expect eventually to get to it.

Okay, it’s two hours later. I did a little futzing around with the section of my book I’m having trouble with, then went to bed for a little while. Couldn’t really sleep although I’m sleepy and did doze off for a few minutes once or twice. I tried to think methodically about my problem section, then abruptly concluded that I need a break from it. So I’m going to stop work on it until I feel I’ll be able to get somewhere with it. Maybe I’ll work on the essay I need to write in response to an essay of Jake Berry’s. I should watch some tv, too, or something. Get into another cumb Clancy novel . . .

local activities

This entry was posted on Wednesday, November 30th, 2011 at 12:00 AM and is filed under Eric Goddard-Scovel, infraverbal poetry, Infraverbal Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Entry 584 — An & & My Full Triptych « POETICKS

Entry 584 — An & & My Full Triptych

It seems that almost every time I seem to be getting productive, something knocks me down. This time it’s only a lost entry–this one, that I was trying to correct some detail of and lost in the process–without realizing it, so was not able to try to find the lost material by backing up until it was too late. So now I have to spend an hour or so, restoring what I can recall of what was here two days ago.

One item was this by Moribund Face:

And all three of my frames of “Triptych for Tom Phillips”:

About the ampersand, I commented something about how it expressed the essence of “andness.” I loved the way its bird regurgitated what looked like all of itself, while looking to continue “anding” forever. I said little about my full triptych except that if you click on them, you’ll see a larger image of them which may be helpful although still very small–and in black&white. The original frames are each eleven by seventeen. Oh, one thing I did point out was that the frames are about, “departure,” “journey” and “arrival,” and are intended to be about them in the largest sense, but particularly about them with regard to arriving–for either an engagent of it or its author.

* * *

Sunday, 4 October 2011. Sunday is hazy to me now, three days in the past as it is. I played tennis early in the morning–badly. I didn’t return to my Shakespeare book, but evidentally got a blog entry posted, and probably wrote an exhibition hand-out or two.

Engagement Rings

This entry was posted on Monday, December 5th, 2011 at 12:00 AM and is filed under Aesthetics, Bob Grumman, Infraverbal Poetry Specimen, Mathematical Poetry Specimen, Moribund Facekvetch, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

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Enter 550 — Marton’s “Cursive” Again « POETICKS

Enter 550 — Marton’s “Cursive” Again

Marton got back to me about his “cursive” yesterday, giving me enough material for a full entry.

He pointed out the direction of the leaves is not consistent. I had not noticed it. Which is a good lead-in to one of my much-repeated dogmas: there’s more to every good poem, however seemingly simple, than even a good critic will find on his own. Marton believes that “the first and the second leaf are connected in a way which is not possible in nature.” Hence, for him, the poem is displaying “the surmounting (or appeasing) of that impossibility.” This is a reading in addition tomine, not a counter-reading since it is does not contradict my reading. (Dogma #2: there is more than one good reading of any good poem-but there is only one main reading–to which all the other readings must conform. That said, I read the change of the direction of the ellipsis to suggest oneleaf’s rebelliousness. It doesn’t want to be part of an ellipsis. Or, in my main reading, it it is eager for winter, and the other two leaves are not? as for the linkage of the leaves being impossible in Nature, I’m confused: I view their stems as touching. But is the image of a vine? These leaves don’t look like a vine’s leaves to me.

They don’t look like autumn leaves, as my main reading of the poem has it, either. But they are detached leaves, so can’t be summer or spring leaves.

Marton also reminded me that he had dedicated the poem to me. That, he added, “is an important piece of information.

” I was being modest, but I see that the dedication actually is important, for it connects the poem to my series, “Cursive Mathemaku.” Thinking about that connection, I thought of something else to mention about the poem–the fact that cursive writing is personal. The Nature in the poem is not a machine typing out falling leaves but an individual writing a poem with her leaves.

Discount Electric Fireplaces

This entry was posted on Tuesday, November 1st, 2011 at 12:00 AM and is filed under Infraverbal Poetry Specimen, Marton Koppany, minimalist poetry, Visual Poetry Specimen. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

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Category: Infraverbal Poetry Specimen