Archive for the ‘Marton Koppany’ Category
Entry 1652 — 2 Laxian Repeater-Stack Poems
Friday, December 5th, 2014
I was having a great time commenting on an article in yesterday’s issue of the online magazine, Aeon, then pasting my comments, with further comments into this entry when my computer managed to lose one of my comments at Aeon and everything I had written here–in spite of my having remembered twice to save what I had here. So I’m in a sour mood now, and just posted a poem I just composed followed by Marton Koppany’s preliminary Hungarian translation not of it, but of my first draft of it:
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Entry 1539 — Koppany to the Rescue, Once Again
Friday, August 15th, 2014
This time it isn’t my deadness of brain that is making posting something here difficult but all the work I have to do with emails concerned with yesterday’s announcement. So I’m again grabbing something by Marton Koppany to take care of an entry. It’s called “Seer”:
Keep in mind that it is a Koppanaical ellipsis, so strongly implies an unending string of lenses . . . (That’s why I regard it as a pretty good likeness of ME.)
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Entry 1534 — “Question For”
Sunday, August 10th, 2014
Those of you have have been more or less regular visitors to this blog will know at once who made the image below:
Question For
When its author (Marton Koppany, for those of you not regular visitors here), sent a copy of it to me yesterday, I wrote back: “I had my usual reaction to your piece: I laughed. Then I grew thoughtful . . . and have remained in that state every since. If I ever come out of it, I’m going to post your piece in my blog–with sixteen different interpretations, all contradicting each other.”
He replied, “That is exactly what I meant, Bob!!!” Which takes care of the matter. Except that I want to point out that the swirly cursive question mark was almost certainly powerfully influenced by MY use of visiopoetically-expressive cursiveness, and everything else in his work is secondary.
For those of you not regularly here, and perhaps some who are, the above was me being hilariously funny about my tendency to over-estimate myself. Actually, visiopoetically-expressive cursiveness was around long before I used it, and I suspect Marton used it before seeing my cursive pieces. I like to think he may have thought to fool around with it after thinking about a piece of mine he’s due to use in the issue of Truck he’ll be guest-editing in, I believe, October. In any case, he uses it brilliantly here to show what seems a quite ppersonal (because hand-written) question unable to complete itself because somehow too inept to know where to aim itself to find an answer. Yet in greater and greater awkward loops it tries to.
Entry 1526 — Something of Marton’s Again
Saturday, August 2nd, 2014
I stole it from Halvard Johnson’s highly interesting Facebook page. A meeting of Plato and Actuality. The backgraound I first thought consisted of ocean waves, but later decided were clouds, or maybe flames. That they are really all three is part of the fascination of the piece. I don’t know what it’s title but I suspect Marton will tell us, if it has one. His pieces usually do. I count him a Kleeic Titludical (TIGHT loo dihk ul) Poem-Expander, as I try to be. Or should I call him simply “titulyrical?”
My try at a title: “Reason Urging on its Sensory Subjects,” or “Apollo Supervises Some of his Dionysian Subjects.” No good–Not subtle enough. Maybe just “A Generality.”
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Entry 1236 — “from The Adventures of Munchausen”
Monday, October 7th, 2013
Here’s the poem I received from Marton a day or two ago. I had hoped to provide you with A Full Discourse on it, but am in–not my null zone, but the slightly different cerebrotomized zone. Can’t get the thinker gears engaged. I will provide one comment on the poem, though. Pay attention: it is a terrific poem!
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Entry 1123 — Guest Appearance
Monday, June 17th, 2013
One good thing that happened as a result of my recent foolery with an ellipsis is this from Marton Koppany, which he calls, “Hunch–for Bob”:
Meanwhile, I revised my ellipsis poem yet again. I believe I am now done with it:
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Entry 1026 — “The Last Ellipsis”
Tuesday, February 26th, 2013
I’ve been putting together another of my columns for Small Press Review. Half of it is devoted to Marton Koppany’s Addenda, from which I took the piece below, “The Last Ellipsis.
I didn’t have room to be brilliant about it in my column, so brought it here. I won’t tell you what word it contains three writings of, just that the cursive does spell a word, one whose obviousness is a main reason the work is as funny as it is. It’s a tricky puzzle, but–solved–tells you what’s what almost stupidly. It shows you what’s what, too, in the process doing quite a bit more than what it tells you it’s doing, if you think–and feel–a proper way into its tile, for look at the ellipsis’s final sad struggle; reflect on its inability to state itself in some formal font. Beyond that, though, consider how barely it expresses itself–not showing itself as it is, but only weakly describing itself with abstract words. Alone, cut off from whatever it may have helping die into nothingness. BUT NOT GIVING UP! LEAVING PROOF THAT IT WAS HERE!
(Note, a primary reason I like Marton’s poems as much as I do is because of how much they make one think–but only after, and along with, how effectively they make you feel, both sensually and emotionally.)
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Entry 985 — One More Odd Thing About Me
Wednesday, January 16th, 2013
No matter how unable I feel to write anything intelligent I seem always confident that I can write something hilariously funny. Why would that be, I wonder? The automatic laughter that almost always ensues when I say anything in public? Be that as it may, the subject allows me to introduce Marton’s latest:
Entry 952 — Pronouncements & Blither, Part 13
Friday, December 14th, 2012
First of all, something I posted at Argotist Online: “Here’s a good discussion point: why are poets so unwilling to discuss poetry on the Internet? Do they discuss it in some length elsewhere? Perhaps they do like talking about it, but not where what they say will become part of a permanent record?”
Another: ““Is it possible for someone whose poetry is at the level of Pound’s or Yeats’s to publish his poetry anywhere more than a few will see it? Or have it intelligently reviewed in a publication reaching more than a hundred readers?”
Next, a corrected version of something I said in my last entry: “A poem is good in proportion to the ratio of the (unified) largeness of the beauty it evokes for its best engagents to the size of the poem.”
Finally, a work from Marton Koppany’s latest collection, Addenda–which I’m not yet ready to say anything about except that it’s terrific:
Addenda, by the way, is as certainly a major collection of poetry by a living author as any other collection I’ve seen in the past forty years.
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Entry 820 — “Still Life”
Saturday, August 4th, 2012
Something by Marton Koppany today, “Still Life”:
Works like these are what are going to make choosing works for discussion in my scientific American guest blog very difficult. Is it mathematical? Is it a poem? It shows the process of counting, or trying to count, so I think it just slips into the rubric, “mathematics.” It’s purty, so it’s art. Numerals are words, so it is verbal, and since these words are not proseated (my ad hoc term for lineation set by margins which I doubt I’ll again use), it’s a poem. In any case, I’m going to try my best to cover as many kinds of works as I can in the guest blog.
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