The Poetry Business « POETICKS

Archive for the ‘The Poetry Business’ Category

Entry 1284 — My Take on the NEA, 1995

Friday, November 29th, 2013

SPReditorial1SPReditorial2

Note: I did not get an NEA grant.  Does anyone think my chances would be better in 2014, 29 years later?

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Entry 930 — How to Improve Patronage of the Arts

Thursday, November 22nd, 2012

The other day I happened to get an announcement of the winners of the latest Florida grants to artists.  It got me thinking, for the umpteenth time, about how little was being done for non-mediocrities in the arts–and why.  The main reason, of course, is that grants-bestowers consider only an applicants credentials, never his achievements.  More exactly, what happens is that the money people realize they don’t know anything about the arts, so they pay “experts” to choose whom to give money to, and their experts are mainly college professors almost as ignorant about the arts as the money people.  But do they ever have credentials!  (Note: I am not saying all college professors are deadheads, but most are because the conformity required to get an advanced degree is something few people with artistic-creativity genes have.)

I suspect there’s no way this increasingly bad situation can be remedied, but here’s what I’d do for grants to poets (and by simple extension to all artists) if I had the power:

(1) Form a committee to create a . . . list of all the schools of contemporary American poetry!  Big surprise, that, eh?  For 35 or more years I’ve been calling for this in vain.  I’ve made a partial list myself, but haven’t had time to do the research necessary to make it complete, or to gather examples of the poetry produced by those in each school, and define it.

(2) Post the list (whoever forms it, which I’m sure would have to be professors) on the Internet, and announce it everywhere possible on the Internet, once-a month for a year, calling for additions.  Accept all additions–except the obviously spammed ones.

(3) Make sure each school’s poetry is described reasonably well, and that examples of poems composed by its members and some names of poets in the school are given.

(4) Post the completed list and solicit genuine experts in the poetry of each school to choose grants recipients–with an offer of a nice sum of money.  Such an expert would be someone who has composed a substantial amount of the kind of poetry of the school he claims to be an expert in or written a substantial amount of criticism of the school’s poetry.  Credentials will not count.  Perhaps passing a test would be required, one with questions about the school involved and its poets.  Here’s where the big problem will be: selecting people capable of verifying that X is indeed and expert in the poetry of School A.  I could do it, and I think there are others who could, but people like me would never be allowed to make the selections by the money-providers for the same reason we could never get a grant from their grants-bestowers.  Probably what would have to be done would have to be done by the members of the schools themselves–finding among themselves proper judges–and getting someone with money for grants.

(5) anyway, the goal would be to make a list of poetry experts, with at least one for every school with ten or more members–and draw from that group at random for the judges in any government, or government-subsidized, grants-bestowing organization, with the hope that private groups will act similarly.

It’d be nice if a single prize for which only otherstream poets were eligible were set up, too.  An otherstream poet being one who, to put it simply, is not a member of any mainstream school.  (Elsewhere, I listed otherstream schools in detail.)

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Enemies of Poetry « POETICKS

Archive for the ‘Enemies of Poetry’ Category

Entry 1284 — My Take on the NEA, 1995

Friday, November 29th, 2013

SPReditorial1SPReditorial2

Note: I did not get an NEA grant.  Does anyone think my chances would be better in 2014, 29 years later?

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Entry 968 — Another Form Rejection

Sunday, December 30th, 2012

I’m as petty as they come, but I have trouble letting mediocrities and sub-mediocrities with power in poetry or any other cultural field, however little, get away with dim-minded opposition to work in their field that is . . . different.  Like my “An Arithmepoetic Analysis of Monet’s ‘The Regatta at Argenteuil,’ Frame 4″:

A week after I mailed it to Ekphrasis, I got it (and my cover letter and my business card) back with this:

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According to its website, “Ekphrasis is a poetry journal looking for well-crafted poems, the main content of which addresses individual works from any artistic genre. . . . Acceptable ekphrastic verse transcends mere description: it stands as transformative critical statement, an original gloss on the individual art piece it addresses.”  Sorry, folks, but I really can’t see how my poem could be a more transformative critical statement than it is.  I sincerely doubt that anything published in Ekphrasis is as much as a tenth as effectively transformative as it.

Am I over-reacting to a rejection?  No.  The editors may just not like Monet, or mathematics, or the like.  What I am over-reacting to is their telling me they “carefully reviewed” my poem.  I suspect they glanced at it, failed to recognize it as the sort of conventional crap the poetry establishment favors, and immediately put it in my SASE and sent it back to me.  Or they actually spent more than a moment puzzling over it, and–at best–form-rejected it because too weak of character to write me a short note saying they couldn’t understand it.  In other words, they tried to carefully review it but lacked the competence to do so.  Actually, what they should have done, and I wonder if any editor of a poetry periodical with a circulation of more than a few hundred would ever think of doing, is written me to find out what the poem is doing.  Could they possibly have failed to see that it may have been good if only they could understand it instead of certainly poor because they couldn’t understand it?

Here’s what the thing is doing which without question makes it a superior artwork (a masterpiece, as far as I’m concerned), unless I am without question a terribly feeble-minded sub-mediocrity: it makes the multiplication of a perfect place and time for sailing by Monet a metaphor for the creation of a window into everflowing existence that reveals the splendor of a moment of existence (the moment containing the ideal conditions for sailing), and the addition of a millennia-long welcomeness to what the window reveals a metaphor for a simple observation–to the power of minus two times i, the square root of minus one, which is imaginary, and does something very strange to the simple observation.  (It makes it something outside normal reality, it makes it art.)  Along the way, it contrasts a hand-written, conventionally-worded text that emphasizes the quotidian nature of sailing while at the same time suggesting the feeling of being bourne upward that sailing can produce due to the slant of the text’s lines with a formally-printed, italicized poetically-worded text about how Monet’s painting welcomes you into the window the poem shows it to open.)

Is my self-serving analysis invalid?  I defy anyone in the poetry establishment to show me why.

Is it idiotic of me to waste time with a rant like this against a very trivial foe?  I think not.  It is natural to respond with either anger or sadness to rejection.  As a mentally healthy male, I can’t avoid responding with anger, and anger, unlike sadness, compels one to action.  Or smouldering frustration.  Preferring the former, I have chosen this entry as my action.  Which makes me feel good.  But I believe it will make others constantly form-rejected by their inferiors, like I, feel vicariously pleased.  Most important, it makes my position against the status quo public–or, more accurately, potentially public–i.e., out where it might be seen.  If seen, there’s always the chance it will have some valuable effect, if only to get one of two innocent poetry people to discover how much larger the poetry world is than the poetry establishment wants them to know.

It gave me an excuse to critique my poem, and I love critiquing my poems more than making them.  It was encouraging to find I was able to make a case in favor of my poem that seemed as good as it did to me.  It made me feel good, too, for once again revealing myself as (very possibly) the only poet in the world telling the world why a poem of his is superior.

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Entry 944 — Pronouncements & Blither, Part 5

Thursday, December 6th, 2012

I’m so blah today, I’m just going to post the review of the Princeton Encyclopedia of Poetry and Poetics that I posted at Amazon yesterday:

A Short Counter-Blurb

Even I, an extreme enemy of the poetry establishment, was surprised by how poor this edition of the Princeton is. To find out how much it misses concerning what the best poets and poetry critics are doing now, read Richard Kostelanetz’s Dictionary of the Avant Gardes. For more particulars of my case against the thing, you’ll have to go to my blog. Oh, my recommendation to anyone already owning one of the very mediocre previous editions of the Princeton is not to bother with this one. It covers almost nothing new that is worth covering, is incompetent to an extreme on the few new things worth covering that it does cover, particularly my own area of expertise, visual poetry. (P.S., it doesn’t know what poetry is, its entry on that finding it undefinable.)

Quickly click the “no” button next to the question about whether or not this review was helpful to you now.  The Princeton needs your help!

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Entry 943 — Back to Pronouncements and Blither

Wednesday, December 5th, 2012

Here again is the John M. Bennett poem from yesterday’s entry:

eapt

 

flooded haphtic duu

stt’s yr nodte nude

)label streaming( to )ss

ed( cash an )slo

shshed( where the

moumouthless lungch

“lost’s tea cher” )fol

ded yellp(

 

sot ,dusty

 

My liking this poem started with its title.  I hope to write more about it before too long, but right now I’m too far away from my appreciation zone to want to do anything here but quote from my diary entry for today, and from a continuation of that in an e.mail to Richard Kostelanetz, which I got going on after leaving John’s poem, and taking a caffeine tablet.

From my diary entry: “Each of mine days seems to be abandoning me more than the previous one did, and—lo—I feel almost nowhere in today (locution intended).  I just took a caffeine tablet, after lying in bed very worn-out for a while, after spending three-and-a-half hours going to, at, or coming from, Dr. Galliano, whom I was seeing to find out if it was time for him to perform another colonoscopy on me.  He spent five minutes with me after I’d waited over an hour to see him and decided I was indeed due for another one.  My appointment for it is 27 December.  My trip back took an extra half-hour or so because I got a flat rear tire halfway home.  Amazingly, I found I had two tubes to replace the flat one with, but then found the tire itself was bald, remarkably so considering how short a time I’ve had it, and–naturally–I don’t have a replacement.  The front tire seemed fine.  The bald tire should get me to the bike shop for two new tires and back tomorrow.

“I’ve been getting a lot of little ideas about experimentation in poetry, punctuation, the flaws of the Princeton encyclopedia.  I have a great yen to start a book called The Intelligent Person’s Guide to Poetry & Poetics that would provide superior entries on everything of value in it, except its entries on the poetry of various countries, assuming they are of value, which I doubt.  My book would be devoted exclusively to poetry in English.  I consider poems in other languages of no significant concern unless they do something of note that no poems in English do, and I have no reason to believe they do.

“I must be at least slightly energized to have written as much of this entry as I have, flowingly, except for more typos than even I usually make.  But I don’t feel ready to try to compose an appreciation of the Bennett poem in my blog entry for yesterday that I said I would discuss today.  Nor do I feel like starting the guide I just spoke of, I just feel like thinking about doing it.  One thing that is holding me back is getting a better title.  I want a confrontational one like An Anti-Academic’s Guide to Poetry and Poetics.  I don’t like “Ánti-Academic,” though.  I think because one can be stupidly anti-academic.  Also, I would not be anti-academic but anti-acadumbotic; although I would also be mildly against those scholars, including many good ones, who just restate the received understanding of some field more clearly and/or completely and/or intelligently-organized.  My book would hope to outdo the best of such scholars at what they do but, much more importantly, state the best understanding of the field as it currently is.”

* * *

From my e.mail to Richard: “I just skimmed the Princeton’s entries on “poetry” and “poems.” Amazing, an encyclopedia about poetry that doesn’t know what it is!  Another discovery, just flipping pages, is an entry on “Autonomy.” At slightly more than five columns in length, it’s about twice as long as the entry on “Assonance,” one of the few essential entries the thing seems to have. An entry on Lesbian Poetry is there, too, probably not the first time in an edition of the Encyclopedia.

(Interesting topic for an essay or book, a history of the four editions of the Princeton, showing how what seems important in poetry and poetics has changed over the years, among other things. I don’t have the first edition; may get it, just for the heck of it. There is probably a cheap one available, used.  I suspect it’s the best of the four editions.)

If an entry on lesbian poets, why not one on baseball player poets? (not just major leaguers who write poetry, and there are some, but anybody who has played baseball, loves it, and write poems having to do with it–more, I bet than lesbian poets). Cowboy poets, for sure! Gosh, I’m retrograde. I guess I’d put up with an entry on Ethno-poetry, but barely. Actually, an entry that covered ethno-poetry, homosexual poetry, prison poetry, cowboy poetry, etc. would be okay with me, but in my book I think I’d cover all that in an entry on Poetic Content.  With sub-categories?  I’d have to see.

What I may do, is write something about the Princeton daily in my blog; that way, I would not be losing time from other pursuits because writing a blog entry daily is a duty I’ve assigned myself—until I can’t any longer write. (With a few time-outs for surgery or travel allowed—but discouraged since one can make entries in advance for the days one will be away from the blog.)

Note: I’ve just decided to put the Princeton Encyclopedia on my list of enemies of poetry (in the Categories section to the right).

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Entry 874 — Have I Sold Out?

Thursday, September 27th, 2012

The other day I learned that the Harriet Blog run by Poetry had somehow come across my Scientific American guest blog and given it a nice positive write-up here.  The good of this is that it means a little more exposure for the otherstream, and more credibility for it with . . . well, those who ignore everything that is not properly certified by higher-ups.  The bad of it, of course, is its scaring me with the possibility that what I’m involved with is now at Poetry’s level.   That’s not a genuine worry.  If Harriet says something good about this blog, though, I will worry.  It’s got no seal of approval on it like “Scientific American.

To be honest, I’m pleased that the Harriet staff seems to have sincerely liked my blog entry.  People like those on it and the more advanced readers of Poetry are the audience I’m trying most to capture with my mathpo blog.  So, no more about it.

Entry 595 — Another Review of Poetry Magazine

Friday, December 16th, 2011

The following is another apparently unpublished review of Poetry I did for Small Press Review, this one earlier than the one I posted yesterday.

Poetry
Volume CXCVII, Number 5, February 2011. 90 pp.
Edited by Christian Wiman
published monthly except bimonthly July/August
444 n. Michigan Avenue, Ste 1850
Chicago IL 60611. $3.75, $35/year.

Critic David Orr has a review in this issue of Poetry that typifies what makes it, in my view, the largest obstacle facing superior American poets.  It is the belief that poetry “has been all but entirely absorbed by institutions of higher education,” as he quotes Mark McGurl as having put it. Only someone oblivious to all the poetry happening outside academia, most notably, visual poetry, language poetry, sound poetry, cyber poetry and mathematical poetry, can believe this.

True, Poetry once let a few so-so specimens of visual poems into an issue and some language poems into another.  But these were token gestures.  The proof of the pudding is that it has never devoted space to articles about either.  Of course, it will fairly soon give language poetry more pages now that many of the chief language poets have become established–chiefly by virtue of being professors.

What’s depressing about this is that Poetry is wealthy, influential, often-appearing and claims to want to represent the full continuum of contemporary poetry, so could do so much to help the impoverished R&D department of the poetry enterprise.

As for what poetry is in this issue, suffice it to say that Carolyn Forche is one of the two poets named on the front cover as a contributor.

Diary Entry

Thursday, 15 December 2011, 7 P.M.  A bad day.  It started with my tennis team losing two of three matches including the one I played in–horribly.  I got just about nothing done until a little while ago, after taking a couple of APCs.  My accomplishment for the day, another blog entry, and a press release for the exhibition.  I have now gotten just about all the work for the exhibition done that I need to.  I just have a couple of pieces I want to get re-framed by a professional. 

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Entry 594 — A Discouraging Force in Poetry

Thursday, December 15th, 2011

Today I’m posting a short review I did for Small Press Review that as far as I know did not get published:

Poetry
Volume CXCVIII, Number 4, July/August 2011. 110 pp.
Edited by Christian Wiman
published monthly except bimonthly July/August
444 N. Michigan Avenue, Ste 1850,
Chicago IL 60611. $3.75, $35/year.

Poetry, during its first few years, was a literary miracle: a publication devoted to poetry that was strongly under the influence of a world-class poet.  Now, eighty years or so later it features poems by knownstreamers like David Ferry, to whom the organization funding it recently gave $100,000.  One begins:

The five or six of them, sitting on the rocks,
Out at Lanesville, near Gloucester; it is like
Listening to music.  Several of them are teachers,
One is a psychologist, one is reading a book,
The page glares white in the summer sunlight;

Standard free verse, standard trivially “authentic” geographical details, a certain standard conversational randomness, a standard imagistic detail.  I thought it was going to be a very standard Iowa State meditation on an old family photograph.  Not so, not that that made any difference.  I can’t say there was anything wrong with it.  The problem is that Poetry rarely publishes anything much different from it, except when briefly pretending to cover the entire contemporary American poetry continuum by publishing some token language or visual poems.  It certainly never encourages superior poetry.

Diary Entry

Wednesday, 14 December 2011, 7 P.M.  A busy day.  I saw my cardiologist who said I was doing fine.  In fact, he took me off one of my two blood pressure pills.  I did some marketing after leaving the doctor’s.  Later, I spent an hour or so at the Arts and Humanities Council offices for a get-together.  I chatted with a few people.  I knew no one but Judy so didn’t circulate.  I’m still no good with people I don’t know, unless sitting with them, as I did with John and Howard, two guys I actually had good conversations with.  Howard went to where my Christmas poem was on display for a look.  He said he liked it.  Previous to that, one of the women I’d talked a bit with, describing my long division poems, had gone to look at it, and returned to tell me, and two friends of hers, that she liked it.  That, and the food I had, made the event a success for me!

Once home, I babbled a bit about how nice it’d be to live to the age of 500 to take care of my blog entry for the day.  My public relations visit to the A&H fesitivities qualifies as another piece of work done for my exhibition.  I did actually take care of a major chore today: this year’s Christmas cards.  I included a two-paragraph year-end letter with most of them.  I spent over two hours taking care of that.  I estimate I have three or four more cards to send.

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