LeRoy Gorman « POETICKS

Archive for the ‘LeRoy Gorman’ Category

Entry 1533 — Autobiographical Square Root

Saturday, August 9th, 2014

I seem to be recovering nicely from my accident although the bruise on my thigh remain disquieteningly black and blue (but seemingly not infected): I played tennis this morning for an hour.  Didn’t move all that well, but this morning wasn’t sure I’d be able to run at all, or use my left arm to make much of a toss for my serve (my shoulder has a lot of little strains and pains).  I actually was almost my self coming in for balls, but no good laterally.  My toss was adequate.

In spite of my physical improvement, I still feel too blah to do much Important Work, and even my sorry blog entries are a strain.  Hence the following, the cover of LeRoy Gorman’s recent little collection of splendid math poems, including the one of its cover:

AftermathsCover

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Entry 1510 — A Working Blog Again

Thursday, July 17th, 2014

As you can see, I can post graphics here again.  I have no idea why: I tried to do what I’ve always done yesterday, and got the Pollock below posted.  Then I posted a proper version of LeRoy Gorman’s wonderful poem.

LeRoyGormanZNumber1Jackson Pollock

My own self isn’t doing better, though.   So that’s it for this installment.

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Entry 1508 — “to die in one’s sleep”

Tuesday, July 15th, 2014

I finally came back to my blog and found I can’t post graphics anymore.  I suspect I have used up just about all my storage space.  I wanted to post one of the 19 terrific math poems in LeRoy Gorman’s aftermaths, a copy of which I just got in the mail from him.  Its title is “to die in one’s sleep.”  What’s below is my attempt to show it as accurately as I’m able to at this site–in other words, not too accurately:

                                                                 z

                                                             Z

Well, on the version of my entry I have here before posting it to the Internet, I have LeRoy’s poem as a big Z in the center of my screen and a little z above it to the right.  But when I’ve posted it and gone to the Internet to check what’s there, all that’s there is a little z way off to the right.  Meanwhile, I asked mIEKAL aND, whose site this blog is part of (as I feebly understand it), what he thought was going on.  He checked, and was able to post graphics here.  I’m allowed as much space as I need, he told me.  I tried a different browser with the same result. Evidentally, my computer has some kind of virus that keeps me from using html or posting graphics.  So I guess I’ll just make it a text-only blog–until I can’t do that anymore.

As I hope will be obvious, it’s supposed to be a z with an exponent of z.  Very funny at the comic-strip level . . . but deep, in my view, at the haiku-level.  The poem is best with a properly-placed exponent, but the version above has me wondering how to make a poem based on a distant exponent, as above–or a displaced exponent of any kind. . . .

A main reason I’ve been away is that my legs and a few other parts of me haven’t been right.  I guess the oest way to describe it is that I feel like I have some kind of five- or six-inch-wide band around each of my legs just above the ankle that’s a bit too tight.  My feet feel sort of swollen, but aren’t.  They feel heavy.  My heart seems not to be the cause, nor my brain, according to the cat-scan I got when I finally went in to a hospital.  The only thing not normal in the tests I got, including several blood-tests, was an abnormal reading of my urine specimen.  So I had to take Cipro, an anti-biotic with numerous side-effects, half of which I thought I suffered, for a possible urinary tract infection.

I took the Cipro for a week, and there was no real change in my symptoms, so today I saw my GP. He scheduled me for an MRI of my back (which has been feeling fine) and a sonar scan (or whatever) of my feet for next week.  My doctor felt the pulse around my ankles and said it was “not robust.” So it looks to be circulatory. I feel better about it–apparently it’s nothing I have to be rushed to the hospital about.

I still think it may be some kind of nervous breakdown.  Which wouldn’t embarrass me: you run too many miles and your knees give out; you chase ideas too long and your nerves and/or glands give out.  What’s the difference? Meanwhile, I’ve done less writing these past two weeks than I usually do even when in and out of the null zone, but I got some work done. As for this blog, what I hope to do is back-up this entire blog to an external hard drive, if I can find a way to do it that won’t take a hundred hours, then delete everything here except the last six months, say. I hope to have another entry tomorrow, but can’t guarantee it.  I feel okay right now, though.
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Entry 541 — Haiku Canada Review, Oct. Issue

Sunday, October 23rd, 2011

I just got the latest issue of Haiku Canda Review, long edited by my friend LeRoy Gorman.  The first poem in it that caught my eye was this, by Roland Packer:

And here’s a nice variation (it strikes me) on Yeats’s description of “imaginary gardens with real frogs in them” (and quoted by Marianne Moore):

                                       bottomless, the well
                                       of dreams–a chickadee
                                       on the sill

It’s by George Swede.  Discussion tomorrow of both, and–perhaps–others.

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Entry 582 — Ten-Year Mathemakuical Triptych « POETICKS

Entry 582 — Ten-Year Mathemakuical Triptych

Kathy Ernst a long time ago was kind enough to commission a work of mine for to hang in her husband’s place of business.  When I dawdled, she suggested I send them my “Mathemaku for Tom Phillips,” which I had done, partly in water color, at the Atlantic center of Art in 2011, and Kathy had taken a liking to.  I wanted to send her something new, though, that would fit her husband’s scientific/technological business.  So I worked up a triptych.  There was one big problem with it:  I had to make it in pieces because my computer was too small to hold an image the size I wanted this to be (eleven by seventeen inches).  At length, I printed all the pieces involved, intending to make three collages.  At that point I got collagist’s block.  That lasted six or more years–until today.  Today I got it on disk.  It only took two or three hours of work.  Ridiculous.  Of course, I haven’t had it printed yet, but I feel optimistic that it will look okay.  Here’s the third frame, which is what it originally looked like except for a few very small changes:

 * * *

Friday, 2 December 2011, 9 A.M.  The big news of today is that last night or this morning, while I was lying in bed between periods of sleep, I realized that now the I had a computer with much more storage space than my previous one had, I could make decent copies of the frames of my “Triptych for Tom Phillips” and have them printed from a CD at Staples.  I’ve already made copies of the images I’ll be using–only to discover I already had better copies in a computer file.  All that exhausted me.  Time for a nap. 

No nap.  Little done until I finally went back to work on the Phillips piece.  I finished it at just after two.  When I started putting it together, I thought it a dazzling summation of my whole life.  Halfway through it, I told myself I ought to finish it despite how worthless it was.  It’ll probably look okay framed, though.

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Entry 1759 — A Possibly Finished Poem « POETICKS

Entry 1759 — A Possibly Finished Poem

HomageToGomringer21March2015FinalOoops, the above is not my final version, this is:

HomageToGomringer21March2015

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Anna Korintz « POETICKS

Archive for the ‘Anna Korintz’ Category

Entry 379 — “for bob grumman”

Tuesday, February 15th, 2011

Yesterday, Andrew Topol posted a mathematical poem by Anna Korintz at Spidertangle called, “for bob grumman,” so I had to post it here:

.

Thanks, Anna and Andrew!

Oh, and I have another alphabet to present, a very lame one:

abcdefghijklmnopqrstuvxyzw

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Infraverbal Poetry Specimen « POETICKS

Archive for the ‘Infraverbal Poetry Specimen’ Category

Entry 1540 — A New Work of Mine at Truck

Saturday, August 16th, 2014

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

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

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

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Entry 1538 — Curiosities?

Thursday, August 14th, 2014

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

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

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

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

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

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

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Entry 1309 — A Little Quartet

Tuesday, December 24th, 2013

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

Housekeeper

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Entry 1279 — Cumminfluenced Itemgs from 2006

Sunday, November 24th, 2013

CummingsAndGongsCoveryou'retoooldnowunderGoingGong

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Entry 1250 — Rejected Pwoermd

Saturday, October 26th, 2013

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

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Entry 1034 — A Math Poem by Ed Conti

Wednesday, March 6th, 2013

Million

This is an extremely plural specimen of plurexpressiveness: an infraverbal, visual, mathmatical poem by the best composer of infraverbal light verse I know of, and among the best light verse poets of any kind, Ed Conti. To see some other great examples of his work, go here.
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Entry 995 — A Gem by Kevin Kelly

Saturday, January 26th, 2013

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

hearthththrob

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

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Entry 929 — a form of i

Wednesday, November 21st, 2012

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

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

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Entry 855 — An Appropriately Titled “Untitled”

Saturday, September 8th, 2012

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

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Entry 846 — A Pwoermd by Stephen Nelson

Thursday, August 30th, 2012

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

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

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Entry 372 — Mathemaku Still in Progress « POETICKS

Entry 372 — Mathemaku Still in Progress

If I ever come to be seen worth wide critical attention as a poet, I should be easy to write about, locked into so few flourishes as I am, such as “the the” and–now in this piece, Basho’s “old pond.”  I was wondering whether I should go with “the bookshop’s mood or “a bookshop’s mood” when Basho struck.  I love it!

Just one word and a trivial re-arrangement of words, but I consider it major.  (At times like this I truly truly don’t care that how much less the world’s opinion of my work is than mine.)

We must add another allusion to my technalysis of this poem, describing it as solidifying the poem’s unifying principal (and archetypality), Basho’s “old pond” being, for one thing, a juxtaphor for eternity.  Strengthening its haiku-tone, as well.  But mainly (I hope) making the mood presented (and the mood built) a pond.  Water, quietude, sounds of nature . . .

Oh, “old” gives the poem another euphony/assonance, too.

It also now has a bit of ornamental pond-color.  Although the letters of the sub-dividend product are a much lighter gray on my other computer than they are on this one, the one I use to view my blog.

2 Responses to “Entry 372 — Mathemaku Still in Progress”

  1. Kevin Kelly says:

    I really like this one; it strikes me as very E.E. Cummings-inspired, and I love that guy. I think the use of gray is a good idea because it gives the “remainder” more punch at the end. I’m a bit confused on reading your description in which you keep talking about Basho’s pond, which I don’t see in evidence here … I’m thinking if I had seen an earlier version of this, or I was better versed in the Grummanverse, I would understand that. And finally, you won’t have to struggle between “the” or “a” bookshop’s mood soon, where there’s just one bookshop left. Just had to end that with a little (sad) humor!

  2. Bob Grumman says:

    Oh, boy, I get to explain! Nothing I love more. Basho comes in because of his famousest poem, which I’ve made versions of and written about a lot, the one that has the “old pond” a frog splashes into. My poem has an “old bookshop” that has a mood with depths a street enters like (I think) the pond’s water with depths the frog enters. But now that you bring it up, I guess the allusion is pretty hermetic.

    Glad you like it. I still do now that I’m looking at it again–although it strikes me as pretty weird.

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Entry 44 — A Mathemaku & Some Poetics Notes « POETICKS

Entry 44 — A Mathemaku & Some Poetics Notes

The following, which is from #691,  is one of my earlier mathemaku.  It’s simple to understand: just think ripples, and remember that in strict mathematical equations, what’s on one side of an equals sign is upposed to stay there, and what it might mean metaphorically if it did not.

Mathemaku4Basho

Next we have a page  I scribbled some notes on in 2003 that makes good sense to me at this time, although I never took the notes into any kind of essay, that I recall:

Sept03page

And now, after two simple uploads, I’m too worn-out to do anything else, believe it or not.

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Entry 31 — Old Blog Entries 663 through 670 « POETICKS

Entry 31 — Old Blog Entries 663 through 670

In #663, I presented my Odysseus Suite–but the reproduction is too crude for me to re-post it here.   My next entry featured this, by Endwar:

TenByTenAs I announced when I first posted this, I am hoping to publish an anthology of mathematical poems, like this one, so if you have one or know of one, send me a copy of it, or tell me about it.

#665 had this by Marton Koppany, which I have to post here because it was dedicated to ME:

Odysseus

Hey, it’s mathematical, too.  The next entry, whose number I fear to state, concerned this:

Bielski-Haiku-BW

This is from Typewriter Poems, an anthology published by Something Else Press and Second Aeon back in 1972. It’s by Alison Bielski, An English woman born in 1925 whose work I’m unfamiliar with. I find this specimen a charmer . . . but am not sure what to make of it. Three lines, as in the classic haiku. The middle one is some sort of filter. Is “n” the “n” in so much mathematics? If so, what’s the poem saying? And where does the night and stars Hard for me not to assume come in? Pure mathematics below, a sort of practical mathematics above? That idea would work better for me if the n’s were in the lower group rather than in the other. Rather reluctantly, I have to conclude the poem is just a texteme design. I hope someone more clever sets me right, though. (I’m pretty sure I’ve seen later visio-textual works using the same filter idea–or whatever the the combination of +’s. =’s and n’s is, but can’t remember any details.)

It was back to my lifelong search for a word meaning “partaker of artwork” in #667–but I now believe “aesthimbiber,” which I thought of in a post earlier than #667, I believe, but dropped, may be the winner of my search.

Next entry topic was about what visual poets might do to capture a bigger audience.  I said nothing worth reposting on a topic going nowhere because visual poets, in general, are downright inimical to doing anything as base as trying to increase their audience.   One suggestion I had was to post canonical poems along with visual poems inspired by them, which I mention because in my next entry, I did just that, posting a Wordsworth sonnet and a visual poem I did based on and quoting part of it–and don’t re-post here because of space limitations.  I wrote about the two in the final entry in this set of ten old blog entries.

 

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Emmett Williams « POETICKS

Archive for the ‘Emmett Williams’ Category

Entry 831 — Counting to Five

Wednesday, August 15th, 2012

I’ve probably posted this before but it’s worth a second post.  I came across it while hunting for stuff to use in my mathematical poetry guest blog.  It’s more of a joke than a poem, but a good joke is as valuable as a good poem:

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Entry 373 — “Cursive Mathemaku No. 1″ « POETICKS

Entry 373 — “Cursive Mathemaku No. 1″

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The past few days, I’ve been trying to get my mathemaku numbered and filed in order.  I’m up to Number 49.  Don’t know what Number 50 is.  It will take time to arrange the rest of my mathemaku.  I’ll have to go through a lot of diary and blog entries.  I rarely date finished print-outs, but often date rough drafts, especially the first ones.

For the heck of it, I rated my first 49: 16 of them I consider first-rate, 25 okay, and 8 not too hot.  I’ll probably keep them since sometimes others get something out of works one doesn’t think of oneself.

Anyway, the above turned up at position 34.  I’d forgotten about it and don’t think I ever posted it, so here it is.  It’s one of the ones I rate “okay.”  At the time I made it, I thought cursive mathemaku would be a fine vein for me to follow up on, but I did only this one–and my “Long Division of Haiku,” which is one of my 8 disappointing children.

Further notes about my first 49 mathemaku: they actually consist of probably something like 80 mathemaku since they include six or seven sequences, one of them quite long, The Long Division of Poetry.  I’m sure I’ve done over a hundred mathemaku by now, but I doubt that I’m up to “Mathemaku No. 100″ yet.

5 Responses to “Entry 373 — “Cursive Mathemaku No. 1″”

  1. nico says:

    this i like. keep it. do no touch ups.

  2. marton koppany says:

    A very beautiful piece!

  3. Bob Grumman says:

    Thanks:

    Nico–but I’m itching to make one very small change! I probably won’t. IF I do, I promise not to mess with it otherwise.

    Marton. Yours and Nico’s encouragement is much appreciated. Your eyes are as good as they come. I hope you get me to do a few more cursive poems. I’ve let some ideas wander in but they so far have all kept going.

    –Bob

  4. Kevin Kelly says:

    I like this. I think the cursive really flows well with the illustration. Would like to see more of these.

  5. Bob Grumman says:

    Thanks, Kevin. This one has now gotten three compliments. I did try to do another cursive but it turned off into something else. I do want to try more, though.

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