"struck by insularity"

more good news: i may have found a home for my Magee essay. i wont mention where yet, cause they still have to read it (which means i have to finish!). but it looks promising.

today was uneventful. just worked on the essay and on my chapbook “afterthrall”, which is coming along nicely. it’s stranger than anything i’ve ever written, but i think that’s why i like it so much 😉

so lots of interesting blog discussions going on…FIRST, on celan and newer criticism over HERE.

SECOND, on APOCALYPTO and representation over HERE

FINALLY, a very interesting back and forth between Barret Watten and Juliana Spahr which started with Spahr’s reading of the representation of African Americans in the newly released THE GRAND PIANO. Her initial comment is this:

“Then couldn’t stop reading last week the first volume of The Grand Piano. What to make of first volume of a 10 volume project? Or it feels too early to say much of meaning. Struck by insularity. Almost no one from outside gets in. And how black people show up around sexuality only.”


and then Spahr’s responses are HERE and HERE.


a song for to accompany your adventures in blogland:

3 thoughts on “"struck by insularity"

  1. congrats on finding a home for magee:-)

    question for magee:

    if poetry can be seen as reflective of a social ground, as reproducing social relations, ideally reflecting the struggles for agency through the word, reflective of resistance, grounded in social relations, than how does the poem (and flarf, in general) provide a mode of resistance that is reflective of this social ground? If we posit that there is no ground for revolution/social change, than why is there is a need for struggle? If writing can be seen as a revolutionary act, alongside other class based and identity based struggles, where is the social ground in which this revolution will take place? How does a poet’s mobile social position (his ability to move from one subject position to another) in some sense reflect the mobility of the white, male, middle class (and hence unmarked) body? Doesn’t this mobility thus reproduce/reconstitute a white, male, bourgeoisie subject? Isn’t the hyper-mobility a way in which a white, male, bourgeoisie come to know himself? Is it not reflective of globalization? What and whom is the poem empowering; if it doesn’t speak to the collectivity that it addresses, doesn’t it just end up speaking to itself?

    Thanks for allowing me to ask these questions. Re-phrase them if you wish:)

  2. Panama or the Adventures of my Seven Uncles–Blaise Cendrars

    Jeez…I need to pick up the pace again! And congrats to you again on all your recent acceptances. That’s pretty damn cool!

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