HATING THE OTHER KIND OF POETRY

Originally published in Copper Nickel, this is a fascinating short article by Robert Archambeau about poetry wars and poetry politics: who is accepted and why. Well worth the short time it will take to read.

1. This is not a how-to guide
It isn’t quite a how-not-to guide either, but I suppose that’s closer.
2. “What you should be doing,” or: the limits of disinterest
A few years ago, when the Conceptualist poet Kenneth Goldsmith was making big waves in the little demitasse cup of the American poetry world, I wrote an essay that tried to explain what his work had to offer and what it didn’t. The email I received in response was gratifying in quantity, if bewildering in content. I’d tried merely to describe Goldsmith’s work, but I found I was condemned for having praised him, praised for having condemned him, praised for having praised him, and condemned for having condemned him—all in roughly equal measure. The uniform distribution of responses on the chart of praise and blame gave me some reassurance that my attempt at mere description hadn’t unintentionally become a clear act of advocacy or disapproval, but it also confirmed my suspicion that people were not particularly inclined to view as innocent an essay that did its best to remain neutral: an agenda, the thinking went, must lurk just below the surface. I am not so naïve as to believe that truly disinterested inquiry is possible, but the notion that we may approach disinterest asymptotically—like a curving line that comes ever closer to another line without ever touching it—was clearly alien to a literary audience that had been through several decades of the hermeneutics of suspicion. Only M, a critic from whom I had learned a great deal over the years, and who had always been kind to me, saw the essay for what it was, or tried to be—and she didn’t like it. “What you should be doing,” she told me, “is making a strong case for the poetry you believe in, and against the poetry you don’t.” She’d been doing exactly that for decades, and I knew people who revered her for it. I also knew people people who all but spat when they said her name. More.

Comments

Ed Dorn's # 22 From Twenty-four Love Poems

from Jacket The strengthy message here in #22 of 24 Love Songs can be summed up in two lines: ['There is/no sense to beauty. . .' and '. . .How/ the world is shit/ and I mean all of it] What I also like about this brief poem is the interplay between the title of the book and the subject of the poems (love/anti-love (which is not hate)): it's all a mass of contradictions, like love. And I have to say that the shorter poems of the Love Songs and the last book he wrote before dying (Chemo Sábe) seem to me much better and more memorable than the Slinger/Gunslinger poems. These (generally) later poems probably attempt less stylistically, but are more sure-handed, hacked from a soap bar, maybe. Easy to use, but disappear after use. In any case, Dorn is well worth the reading and re-reading, for me, though he'll never become one of my favorites. And doesn't every poet want that, dead or alive? ;-) #22 The agony

Mike James

The River’s Architecture for Louis McKee, d. 11/21/11 The river has a shape you follow with your whole body: shoulder, footstep, and ear- those who know how to listen hear how river wind is like breath, alive in lung and line. Mike James makes his home in Murfreesboro, Tennessee. He has published in hundreds of magazines, large and small, and has performed his poetry at universities and other venues throughout the country. He has published over 20 collections and has served as visiting writer at the University of Maine, Fort Kent. His recent new and selected poems, Portable Light: Poems 1991-2021, was nominated for the National Book Critics Circle Award. His last collection, Back Alley Saints at the Tiki Bar, was published in April by Redhawk. He currently serves as the Poet Laureate of Murfreesboro, TN.

Weldon Kees

Along with my Jack Gilbert kick, I've been reading the poems of Weldon Kees as well as the secondary material (very little of which seems to be available in book form), which is too bad. There's a pretty good book called Weldon Kees and the Mid-Century Generation: Letters from 1935 to 1955 , which is structured in such a way that it seems more like a biography in letters. Normally, a writer's letters are collected and footnotes are rare except to sometimes identify confusing timelines. Robert Knoll includes more narrative about Kees than it does letters. I think otherwise it might not have made a full book, otherwise.Very interesting anyway. Kees seemed poised for mainstream uber-success at 41 years old when he simply disappeared. His car, with the keys still in it, was found near the Golden Gate bridge, but with no trace of whether he committed suicide or simply ran off to Mexico, as he talked of frequently in his last years. James Reidel's book Vanished Act: t

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