Now I’ve lost two posts in a row. So I give up.
Thu, October 21 2004 » Meta/Logistics
"A fast-paced, suspenseful dystopian picaresque, part Huck Finn and part bizarro-world Swiss Family Robinson..."
---Kirkus
Long-listed for the Frank O'Connor International Short Story Award and finalist for the Crawford Award. Title short story listed for the 2000 O. Henry award.
Thu, October 21 2004 » Meta/Logistics
I know how that feels-imagine you’d stayed up all night blogging one blog, but you never saved it. Bummer.
I don’t know if you meant for anyone to read your earlier, albeit less-polished post about speculative poetry and Jake Barry (I’ve got a syndicated feed from Livejournal), but I thought I might respond anyway.
I have no ostensible problems with whatever directions poetry may go in, but as I mentioned before with jazz, it can become so obscure as to become alienating. In a sense, Barry’s choice of language mimicks Eliot’s densely allusive “The Wastelands” so any criticisms of that work of Eliot’s applies.
As for Ashbery, a talented poet, I find he works on such an edge of consciousness that he does not want anyone inside. Perhaps the feeling of feeling (of feeling?) is enough, but this stand-offish stance of keeping the reader at arm’s length does not completely warm.
On the other hand, there can be too much lucidity that we see there’s nothing there. I don’t, however, think that’s the main problem with speculative poetry. I think the main problem is having far more knowledge of speculation than of poetry.