Frances Chung's Booklist (2000)
August 21, 2004
Date: Mon, 31 Jan 2000 10:52:53 -0500
Reply-To: UB Poetics discussion group
Sender: UB Poetics discussion group
From: "Stefans, Brian"
Subject: Frances Chung's booklist
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Hi, Anselm.
First, let
me try to say: the game, thinking
in diversity, our bewilderment detracts
"down on yourself" the best
shot as the words portend—as split in
All. (I've been relatively
quiet on this.) WHAT THE
NAME? The site
is named
'proximate'
as a nod
to the...
THE SELECTED
POEMS OF FEDERICO
GARCIA LORCA,
ed. Francisco Garcia
Lorca, and what is
at stake when I talk
about success in relation
to experimental poetry. Obviously,
I am not talking about Economic
Donald M. Allen (various translators),
PICTURE BRIDE, concept of proxemics in human
communication,
"proximate communications,"
specifically
oral communications,
Kapital, even
though this
is in fact
obtainable
by contained
extralinguistic
information,
e.g., body
language
& context.
That remote communications
such as recordings or textual communications
do not have, cannot have,
the hope of the very small minority
of experimentalist poets in
the form of grants, issues
aside from
several
respectful
conversations
backchannel
with Internet
(as some sort
of transcendent
medium) deserves
serious skepticism
when placed, in the
hundreds of thousands
of dollars, or in the endive
tunnel (location prefigured in
Tron) who, returning no e-mails,
in such a light. Such a light? CATHY SONG,
NO MORE MASKS!
AN ANTHOLOGY
OF POEMS BY
Jacques, Patrick
and others.
Please understand
that when Mark
or John also
gives us opportunity
for discovering
the positive
(there's? "choose
to post
to the List")
they are doing the sale of
personal papers and correspondance (an
unusual example would SO, only
speaking for themselves), I think of always
the tension, the conflict.
The name "proximate"
is also a pun
on intimacy
on the
internet,
as in
a proxy
mate. We all
know sex: lot
of the commentary
on the subject of
"the APG" (really she's
in history the moment
they diversify into BE... say,
Ginsberg's selling his papers to
Columbia for a million WOMEN... ed.
Florence Howe and Ellen Bass). THE has to
do more with
how the APG
has been viewed
based upon
NEW AMERICAN
POETRY, 1945-1960.
Ed. Donald
M. Allen. THE
VOICE? wingdings
as the beatbox
track chimes
in austrian
vicinity
in dollars.
But the fact that anyone reading
this post would feel that, is GREAT.
Within us? AMERICAN POETRY
OF THE TWENTIETH CENTURY., ed. Hayden
Carruth, FIVE DECADES, A SELECTION
(POEMS 1925-1970), Pablo
Neruda, all
uncomfortable
with the
idea of
their
postings
from mainly
two people
than it does with
the APG as a heavy
bastard on the beach
ball fired from a canon,
communitas in the cloisters
commingling with trismagistus, swathing
their heads, being any possible
financial renumeration for experimental writing
would only
demonstrate.
The extent
to which the
game of poetry
is one of _loser
wins_, it will
always be an
_oppositional_
game in text
and a battle
of rhetorics
such inasmuch
as it functions
by the *inversion* of the
principles organizing sells, especially
on the internet. The internet
seems to be used as an actual group of
individual people, but I'm going
to give my (that the corsair
archeologist
makes
intelligent
play) take
on some
of the questions
Brian (so Brian
Eno: "fuck-a
dis, fuck- dat,"
sometimes thoughtful
people are) confined
to wheelchairs in memory
for the seven reasons punk died.
Plastered to proxy for human contact
and proximal communication, which
gives me, asked, regarding the APG: the APG
does the business
economy—in
that cultural
production
exists fundamentally
as WHEN THE
FREEWAY AGAIN,
ANONYMOUS WITH
A SEVENTY GALLON
HAIRCUT, SOMETIMES
BRAS, Ed., trans.,
Ben Belitt., and
SUNFLOWER
SPLENDOR. Ed.
Wu-chi Liu and Irving Yucheng
Pause. Such an intuition adds to what
I sense as a sort of growing
desperation for real, physical human
contact, particularly in America,
with everyone it is as
severely restricted
as exp
poetry
is, a
production
for producers.
Which, however,
is not to say
that LOW COLD MOUNTAIN,
100 POEMS BY THE
T'ANG POET HAN-SHAN.
trans. Burton Watson, or
TRANSLATIONS FROM THE CHINESE.
trans. Arthur Waley, lead the world
of alternative poetry and the world
of business, and not CH'ING-CHAO: COMPLETE
POEMS. trans.
Kenneth Rexroth
and Ling Chung.
Homologous!
The alternative
poetry world,
whatever else
it is, is a
hierarchical
social space
in which agents—poets—
working on
him- or
herself, never
time for affection, only time
for status, career, a new car. Such
use of energy may be at odds
with a not-have-an-agenda, other than
providing an opportunity for
CHINESE FOLK POETRY.
(trans. Cecilia
Liang.), or
ONE ROBE,
ONE BOWL.
(trans.
John). Make
sense, hippie!
Pennies contract
amidst the employ,
various strategies—aesthetic
practices—in order
to acquire symbolic capital—prestige—and
power: more positive force in
life. The world has some strange
dynamic property (of a certain
kind). Indeed, the power resulting from the
people interested
in poetry and
poetics (other
than the usual
Southern narrative
poetry [Stevens,
ONE HUNDRED
POEMS FROM
THE CHINESE.
trans. Kenneth
Rexroth, ABC
OF READING])
to it;
there's something
beyond our knowledge, yet
within, around: SELECTED POEMS,
Ezra Pound, THE COMPLETE POEMS
OF CHARLES BIG SUR, cataracts, dungareed
dudes with digeridoos, values,
every other muscle pure
snowflake (that
is prevalent
in Atlanta).
To get
together?
REZNIKOFF,
Vol. 1 and
2. SELECTED
POEMS, Kenneth Patchen!
Perhaps such a thing
helps explain the necessity
for contact. The acquisition
of symbolic capital is the very
thing—and that's where the pastoral
begins the satire that legitimizes
the authority of critical interpretations
and aesthetic
judgments, generally
to discuss
same, share
what they've
written, work
on some ocassional
collaborative
works, and
try to get
stuff published.
Perhaps. (And
their
reproduction
through the efficacy of institutional
cultural [the problem from the beginning]
was that since the APG defined
itself as a "group." It allowed for others
EMERGENCY POEMS, Nicanor Parra,
trans. Miller Williams.)
CONFIGURATIONS?
Internet
is often
used as
a substitute
for that
contact, but
it (to assume
that we were grouping,
because we had a
shared: (1) private
language; (2) politic;
(3) aesthetic approach, and;
(4) careerist plan) NOW can't
do that well... there IS no substitute.
The "I" that the pun OctavIo Paz. trans.
G. Aroul et
al. SUN, v. 4.2.???
I was not there
from the beginning
which offends,
in case this
ambiance is
protective
spring (1975),
NEW POETRY
OF MEXICO,
selected with
notes
by Octavio
Paz and others, ed. Mark Strand
(quite early one)—ain't such somonex
clues us. It was decided somehow
that this bunch-in on the big arrears,
"Papa don't do the small phrase
anymore," leaping leotards,
batman (my piracy's
now the
mode) cushion
—pomo,
airy and
tight—the
fragility of
a mind on ACID
MORNING (Dylan Thomas), and
ONE HUNDRED MORE
POEMS FROM THE JAPANESE
OF PEOPLE, would call
themselves something. When I
met up with John and Randy all
they told me was: "Offends... leaping
over the desert highway... into technology
and exchequer..."
and that they,
and a few other
people meet
weekly to talk
about poetry,
etc., and would
I translate Kenneth
Rexroth? "IF
YOU WANT." To
be interested
in stopping
by? "There?"
Was the stetson
blood? Is restless my bod? "On
a zine haircut, beneath the cloying smile
pill." Seems I've pivots:
"on" is relevant to a constant concern
throughout the site: no agenda,
no sales pitch, no 12
step program—just
"this
is the
poetry
that we
know": WHAT
WE ARE: A CARLOS
BULOSAN READER.
Ed. E. San Juan,
into, sort of, like
the idea for starting
the List Jr. ("HOME TO
STAY, ASIAN AMERICAN WOMEN'S
FICTION. ed. Sylvia Watanabe and
Authority, in the form of the exp
writing and literature [regarding identity]).
"I"? Y? WHY
THE SITE? I
have authored
this site as
a byproduct
of (I'm posting
right now)
a community
of discussion
I have had
regarding the
internet, Carol
Bruchac,
TAKING TO WATER
POEMS, Roberta Spear, AMPLITUDE,
Tess Gallagher, where water forgotten
my form again, rambling endlessly
in this pissing christian vision, Tron
for the babies and bacchanals
leaping before programs,
organizations
like St
Marks,
the most
influential
interface
design and
human gesture,
the pretensions
of proximity in
small presses and magazines,
and so on, success, web
pages, and the actual distances
constructed by them, and some resulting
poetry (most of COMES TOGETHER
WITH OTHER WATER, Raymond Carver, and mystery
and detective
novels by Sue
Grafton, Elmore
Leonard, Marcia
Muller, and
Robert People)
interested
in similar
ideas about/works
of poetry and
poetics in
poetry.
re: SPRING AND ALL
thus
depends
not as much
on intrinsic abilities
and
gifts (since
aesthetic value
is social
not VAN GULIK: THE "JUDGE
DEE" SERIES), short stories. The discussions
were this past summer and
autumn through subsubpoetics
(an e-mail
list started
by Jordan
Davis)
as to
political
or philosophical
ideas... Well,
those vary with
everyone (with Alan
Sondheim and two close
friends, one a writer,
the other a designer). Some
material from these dialogues can
be found at another web site: the
weather screen, using dem types of woids to
muscle support.
Is a natural,
creation, as
on the extent
of the poet's
cultural capital—that
is, his or
her sense of
the State of
the None
have become
our defining
motive(s)
for talking
about poetics, or writing by
Anne Beattie and Ethan Canin? William
Carlos Williams: "If we have
history gracelessly, the pedestrian
surrenders difficult brilliances:
the game as it being
played _now_."
It goes
without
saying,
however,
that both
learned anything
as human beings.
These past poetry?
Nope, no real hook
ups with the instinctual
sham-o-meter, that any
given night gives reason to
pay the rent, that reason, lost
pump fist over the castrates from
behind the gleam, http://gesture.org/text.html.
I am interested
precisely in
the type of
relationships
that web of
armor defecated
by choice republic
—poets and
critics have,
obviously,
a certain self-interest
in disinterestedness—that
is, a
stake: arts/music
scene in Atlanta, although
some of us know people who pages build
between people. I have observed
that this internet aesthetic, in a _belief_
concerning the absolute or
autonomous aesthetic
value of it,
are doing
things
around
town.
(Hell, my
few generations?
It's that differences
make life interesting!)
Cyberpoetry! (These
thoughts fancy across
the water of talk, the
vandal in work per se.) As for
the term "conflict of values" which
Stephen asked about last week,
it would implicate, of only connection with
the music scene
here, is (I
should be as
diverse as
our ecclectic
tastes) these
days we know,
this relater,
is a duplicitous
one (getting
back to the
original definition
of art)
—got some
musician friends who have
toured with/partied, of course, various
investments, it is possible
to make re such issues as the nature
of subjectivity (& its representation
in poetry), the objective
character of
language
and its
relationship
to the
world of
things? The
connection-
career blemishes
the tubeways suspiciously,
courageously, morphs
the museums where the
more, about the esoteric rituals
of a Yao shaman than with bands
like the Black Crowes, but I discourse
fairly—sucks, sucks, sucks discordant channels.
With texts by Jacques Debrot, Patrick Herron, Rebecca Weldon Sithiwong, Dana Lustig and many others. Originally appeared on Readme.
Copyright © 2004 Brian Kim Stefans
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