Poemscapes by Kenneth Patchen. Jargon 11 (1958) Charmingly printed by The
Stephens Press in Asheville.
A bottle of Malbec and half a case of Natty Boh. There can be no other explanation for why I
found Poemscapes so absolutely enchanting.
My judgment is obviously impaired.
Part of me wants to like Patchen so. I greatly admire all those who admire Patchen
from Douglas Manson to Jim Maynard, who have so wonderful explained to me the
wonders of Patchen. Yet I cannot help
thinking Patchen was such a douche. In my take on Patchen, the poems are the man, after all. Take
The Statement from the man himself on the back flap of Poemscapes. “What I have to say is said for the purpose
of throwing light on a situation about which many people have expressed
puzzlement.” What's the frequency, Kenneth? Evergreen Review 2 was just fine without you. I would guess that you are throwing shade at
that landmark mag because you do not like sharing the spotlight.
And then there is the subject of Jazz
Poetry: “As far as I know the thing was
started by me in 1950 in Connecticut. . .”
All right Mr. DeMille, you are no doubt ready for your close-up. More spotlight issues. What is your good side. By the way, Harry Redl photo on the cover of
Poemscapes is an absolute beaut. Great
face. But Good God, I prefer my prickly
white men playing pinball at Gino and Carlo’s than preaching from bed or
playing house in Stinson Beach.
But then again you read something like Poemscapes late at
night and you lose track of time and you lose yourself in the work and you get
transported and intoxicated by the poetry and you drink in the voice of a real
poet and you have the sobering thought that, per usual, you with your
preconceptions and prejudices may be the douchebag.
Probably so. It just
makes you want to jump up in the alley with the rats and yell, “Hurrah for
Anything,” which I cannot wait to read tomorrow and what the hell, why not read
Overland to the Islands by Denise Levertov, which I also pissed on unfairly, while I am at
it. Patchen at his best makes you want to
open your arms and hug the world, which I will do tomorrow after I am done
hugging the toilet.
JB


MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
OUT OF PRINT
MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
OUT OF PRINT
MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
OUT OF PRINT
0 comments:
Post a Comment