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Group identification seems to get a bad name (NY School, Language Poetry etc.) Why is that?


Of course classification enhances and limits the work of the artist.

Over and over again I hear muscians getting mad with labels (not alt country just good music).

Don't we have to classify and label in order to have conversation. We need comparision (i.e. metaphor) in order to say anything.

Yes, labels can limit. No doubt. But the resistance of some artists to labels/group identification might need questioning (the old scale, pendulum and so on and so on forever and eternity).

Automatic shunning of labels/group indentity should be questioned/interrogated.

A strong reaction requires strong interrogation.

I am included in this assessment. I don't want to be part of a group. I am a genius, a true original.

(but secretly I do).

Cough up the stigmata burger. Astigmatism is like a deflated football.

(The previous sentence mimics the new method of closure disguised as non closure).


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This review really hit it for me. I recently read Maurice Scully's _Livelihood_ and Geofrey Squires _Untitled and Other Poems_ is on deck (I love that baseball term. It is baseball, right?)

I think this is from The Nortre Dame review, but I found it via goofle (I mean google).

Another Ireland: Part Two
Maurice Scully, The Basic Colours. Durham, UK: Pig Press, 1994.
Geoffrey Squires, Landscapes and Silences. Dublin: New Writers' Press, 1996.
Catherine Walsh, Idir Eatortha and Making Tents. London: Invisible Books, 1996.

By Robert Archambeau

I began the first half of this article (Notre Dame Review #4) by mentioning some of the limits to the legendary hospitality Ireland has shown to its poets. If you arrive in Ireland from any point of departure outside of Eastern Europe, you will indeed find a public far more willing than the one you left behind to grant poets the recognition all but the most ascetic secretly crave. However, this hospitality has never extended to Irish poets w…