so francois guessed the last title! altho he is behind, he is still a ‘contender’.
so today was a great day because the Oakland A’s won game one! it was great also cause the game was at 10 am, and since i dont work till 3, i got to watch it! game two is tomorrow at 10 also, so i will roll outta bed onto the futon in front of the TV – i tell you what, only one other thing is better than morning playoff baseball 😉
i was referring to coffee and donuts (get your mind out of the gutter FORREST!) so last night i made pumpkin and butternut squash soup when i returned from work at 9. it was yummy. did i mention that the discussion re: WAR REPARATIONS has continued two posts down (feel free to join the discussion).
THIS POST is about the poet JOSE GARCIA VILLA, and is continued from the post before…
so to address some of the issues that barbara and mephis raised, i typed up Villa’s intro to his collection of “comma poems” (NOTE: the prose-to-verse poems are actually a different collection, not the comma ones, and i will post on that method also in exactly 2 days).
here is another excerpt from the comma poems:
HERE IS THE PREFACE for your reading PLEASURE:
The reader of the following poems may be perplexed and puzzled at me use of the comma: it is a new, special and poetic use to which i have put it. The commas appear in teh poems functionally, and thus not for eccentricity; and they are there also poetically, that is to say, not in their prose function.
These poems were conceived with commas, as “comma poems,” in which the commas are an integral and essential part of the medium: regulating the poem’s verbal density and time movement: enabling each word to attain a fuller tonal and sonal value, and the line movement to become more measured.
The method may be compared to Seurat’s architectonic and measured pointiliism — where the points of color are themselves the medium as well as the technique of expression: therefore functional and valid, as medium of art and as medium of personality. Only the uninitiate would complain that Seurat should have painted in strokes.
Regarding the time movement effected by the commas — a pause ensues after each comma, but a pause not as long as that commanded by its proper use: for this reason the usual space after the comma is omitted. The result is a lineal pace of dignity and movement.
I realize of couse that this new poetic employment of the comma is an innovation which may disconcert some readers: for them I can only say that they can still read the poems by ignoring the commas if they find these in the way; personally i find that they even add visual distinction.
With the more poetically and texturally sensitive reader, i believe that he will see with me the essentiality of the comma: the best test, which i have myself employed, is to copy out a poem omitting the commas and then to read this text comparatively with the comma’ed version: the loss is distinctly and immediately cognizable. Therein lies the justification for this — true enough — strange innovation.
SO WHAT DOES EVERYONE THINK ABOUT THIS?
(There is a generative connection to gertrude stein’s conception of the comma which i will post on tomorrow…but till then, peace and quietude)