Some thoughts on the line in poetry
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
But here are three thoughts to possibly begin with:
Nomad life
Marcus Slease’s new book Play Yr Kardz Right (Dostoyevsky Wannabe, 2017) collects poems written in the last several years, almost all of them featuring an unusual technique: pronunciation spelling. The particular variety he employs is called “eye dialect,” because it is meant to appeal to the eye rather than the ear. You can’t detect it from simply listening to the poems, for example at Slease’s book launch reading in Madrid last September.