Date: Fri, 11 May 2001
Thanks for replies on meter and print-on-demand EPC Anthology.
Middle finger on left hand is still funky after injury (splint),---
More forthcoming on both topics.
A web 'zine-type site may be set up as preliminary omnium gatherum
And about meter, just to say:
Some comments reflect a wrong impression of what classical meter was
it could offer to innovators), a wrong impression I think fostered by
Formalists--- who generally employ structures as if static. In brief,
metrics of Greek chorus, odes, etc., consisted of lots and lots of alternative
rhythms available for what we would "lines" ("cola"!
in the Gk.); poets of
their own choosing mixed and matched these "cola"
into larger metrical
inventions of their own (strophes) appropriate to the subject matter
poetry's purpose. ---The only difference between such classical meter
"free verse," broadly speaking, was that after running through
what we might
see as a "free verse" stanza or strophe, the poet-dramatist
repeat that meter once (the anti-strophe),--- then go on to a
deployment of "cola" and in turn that next stanza's
meter repeated once. Etc.
It was, and I think might promise to be, if wrested from the misappropriation
and misrepresentation of New Formalism, as various as the ingenuity
Mainly of those recognized "cola" are audible in Pound's
Cantos or sometimes
H.D. They were the furthest that could be imagined from the
pentameters etc. that meter has again beeb re-damned into.
The goal of early Modernism's break into "free verse" was
to turn away from or
revivify the static decadence meter had fallen into. ---The tables have
turned, though, and the New Formalists, regardless of their
turn-back-the-clocks politics, are in fact a minority at this
Ubiquitous is a "free verse" (lineated prose) which is as
slackly loose as
pre-Modernist bad meter was rigidly loose.
"Post-Modernism" (including "Language") was on-the-mark
in perpetuating the
(notorious term) "logopoeic" strain of the Modernist revolution,
that is, an
envigorated vocabulary, and it has also continued the current of the
"phanopoeic," imagery. It's the "melopoeic," the
"musicality" (or meter),
that I'm bringing up here--- wondering where it went. Of course, I'm
as any apologist that Language was recurrently criticized for being
"un-musical," that it "does not sing,"--- and I
hope I won't be punchily
batched into the frequent flare-up derision that greets insensitive
Language-attackers. (The sublation of meter/"melopoeia" was
in fact a
necessary consequence of the principally textual or grammatological
Language, I think.)
Given the new fluidity (Deleuzian flux) and commented-upon variousness
has re-enegized the playing field of this undemarcated "post-Language"
period,--- I just don't understand why this omission (of meter) goes
Parenthetically, "post-Language" as a term of course referred
"post-L=A=N=G=U=A=G=E," that is, after that movement
named after a
journal,--- like "post-GQ." Curiously, though, the
EPC sees it progressing
every day as literal with more and more "hypermedia"/e-poetry:
graphic design, web software, collage-pictorializations,--- and a diminished
presence of "language" (small case "l"), be it textual
or speech. It's
entering a new sort of post-literacy.