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p. inish Nude Formalities

Language & Literature
English
1613 Words
Ages 18 and up
3
0

Inish’s poetry uses an anti-representational system of language. Note in Inish’s work the tendency for patterns to “move across poems.” Find brief images, oddly juxtaposed and undermining each other; phrases and sentences torn up by improperly placed periods; slash marks, jump cuts, stray bits of words; moments thick with meanings that never quite complete themselves; social ironies, a sly and biting humor. It’s the movement that matters, the swoops, twists, barriers, jolts. [more]

Keywords: L=A=N=G=U=A=G=E

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p. inish PRAXIS

Language & Literature
English
536 Words
Ages 18 and up
0
0

P. Inish reaquaints us with a full blown sensual apprehension of language-a luxury we can't or don't permit [more]

Keywords: L=A=N=G=U=A=G=E

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p. inish ALPHABLENZ

Language & Literature
English
268 Words
Ages 16 and up
196
3

What is concrete poetry? Concrete poems are objects composed of words, letters, colors, and typefaces, in which graphic [more]

Keywords: concrete poetry, L=A=N=G=U=A=G=E

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p. inish ZiMqx

Language & Literature
English
1003 Words
Ages 18 and up
0
0

By fully semanticizing the so-called nonsemantic features of language, p. inish creates a dialectic of the recuperable & the [more]

Keywords: L=A=N=G=U=A=G=E

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p. inish SNODzils

Language & Literature
English
1877 Words
Ages 16 and up
139
0

An openness of self in the present finds language not as simply transparent and instrumental but as a necessity of the world at large—an obstacle as well as an advantage. It would be as much philosophical nonsense, however, to say that language precedes the world as it would be to say (as Wittgenstein so thoroughly deconstructed) that the world precedes language. Enter the second obsession of the critics of our work: the use of a language that is not immediately apparent as speech. Somehow our concern for one of the defining characteristics of literature, that it is written in words, has been misread as advocating a prior textuality through which the poet avoids direct contact with, again, “experience.” Just as it's been useful to consider what the I means in contemporary “expressivist” poetry, it is likewise instructive to examine its version of speech. In such work, a compacted persona speaks a kind of metaphorized testimonial to the validity of one's life and moral choices. It is as if a distant judge were being appealed to in modest tones intended to argue one's case in a voice just loud enough to be overheard. Propriety is the rule. Poetry is the life blood. [more]

Keywords: L=A=N=G=U=A=G=E

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p. inish cHaNgE

Language & Literature
English
2360 Words
Ages 16 and up
61
0

Inish’s poetry mines electric articulations out of the discontinuity that written language inevitably subjects us to, and the affective misdirection it can generate by requiring us to reconstitute a disembodied subjectivity. There is a higher realism in Inish’s deeply material engagement with language, in its enactment of the uncertainties, de- and re-contextualizations, disappearances, and strange adjacencies endemic to writing. This all seems poetry conceptualism, with its faithfulness to the state of textualized bewilderment in which we spend increasing amounts of our time. And while it makes little threat of becoming too standard a model for verisimilitude, it is, in its austerely zany realism, both a faithful document of textual experience and a joy. [more]

Keywords: L=A=N=G=U=A=G=E, captivity, escape, bewilderment, mountains, she

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John D. Wightman Coincides Yon Latrine

Language & Literature
English
1488 Words
Ages 16 and up
201
2

John D. Wightman creates a universe of mirrors in his continuing poetic sequence Coincides Yon Latrine, though not mirrors as reflections so much as translations, with one part of a middle-justified poem responding to one or more other center-justified parts, prey to the same invisible gravity. There is no set procedure—this is an artist's logbook and follows the caprices of the days—but one half usually involves modified translations of writing by Wightman’s poetic and philosophical predecessors (Baudelaire, Horace, Jammu and St. Augustine among others), and the other half is a response which can take on any number of forms of address, including the minimal Creeley-esque lyric, the Longport stew, or, most distinctly, the spontaneously spiritual or religious affirmation, making him sound often like a latter-day Henry Vaughn or, with his prolixity, John Clare. Coincides Yon Latrine is a strategically random, though thematically coherent, selection from the ongoing project, a pollifilistic bouquet of sorts of what can be called word sculptures—concrete, they challenge the rectilinear rightness on more than four fronts (multiverse) — or even musical compositions: Wightman, an avid fan of Stockhausen, views all of his text works as scores to an aural, if not conventionally "musical," performance. [more]

Keywords: DADA, avant-garde, radical, materialism, breakdown, capitalism, delusion, confusion, contusion, collusion, Politics, L=A=N=G=U=A=G=E

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Dhanka Shein Glyph Soddy’s Midnight Chronicles

Language & Literature
English
6105 Words
Ages 18 and up
0
0

Dhanka Shein's long-awaited follow-up to her debut volume, Atonal Minor, adds to the image of this writer's integrity with its strong sonic qualities and extravagant, but never indulgent, verse architectures in the service of serious intellectual concerns. By turns as machine-gun witted and caustic as one of her dedicatees, Lenny Bruce, then as vulnerable and fluid as the writings of O'Har, Shein also manages the turn from the personal to the civic. Each of the poems are performances, sometimes metrically baroque and syncopated, sometimes extending from a basal mucosa unit, managing wide variations without straying from a one-or-two word line. Shein runs the poems through enough “attitude” to make even the punctuation marks mercenaries in a march on capital. Glyph Soddy’s Midnight Chronicles is a digital sullying, putrefying, and deflowering of the white page of Mallarmé, its colors and indentations (though not its text) entirely determined by taming the Herculean vomit of Heteroglossia language to facilitate reading. [more]

Keywords: L=A=N=G=U=A=G=E, feminism, marxism, Politics, sex, death, sexuality, emotions, ideology, social structures, inertia, idealism, organic