The writings writers write about writing have been curiously misread.
Battling the impossibility of being their own readers, writers are drawn to fuzzy logic when it comes to thinking and externalizing their thinking about the purpose, activity, outcomes, and future of writing that results in text that can be unstable in a variety of ways, and is sometimes difficult to read.
Discussions of the Irish poetry avant-garde, or avant-garde poetry from Ireland, or avant-garde poetry produced in Ireland, tend to focus on a lineage that begins with the quartet of Samuel Beckett, Brian Coffey, Thomas MacGreevy, and Denis Devlin, before continuing with Michael Smith’s New Writers Press and Trevor Joyce, Randolph Healy, Maurice Scully, Billy Mills, and Catherine Walsh.
One is the first positive odd number, an integer not evenly divisible by two. Odd, from the Old Norse oddi, point of land, triangle, the odd point sticking out, not lining up. As Dr. Math explains, the words we use are pictures of the shapes a number makes.
The poetry of Alexander Vvedensky, cofounder of Russia’s last avant-garde group OBERIU, became available to Russian readers only a half-century after his death under arrest in 1941. Inheriting the utopian energies and ideas of the avant-garde, his work also provides the earliest example of its functioning after the collapse of the avant-garde project. His realization that the language of his time was indelibly compromised by outside power, and his success in coaxing truths out of such suspect material, make his experience particularly relevant for today.
When Arkadii Dragomoshchenko died in September 2012, his many friends, readers, admirers, and fellow poets expressed both immense sadness at the loss, which felt terrible and sudden, and a sense of wonder at his rich accomplishments. Few Russian poets, probably few poets anywhere, have left us a legacy of such intense cooperation across countries and continents.