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Wondering and worrying audience. The creation of audience versus the packaging of poetry for an audience. Writing for other poets versus writing for?????

Sometimes non-readers of poetry (close friends) say they feel unintelligent because they don't get process oriented poetry. I don't want anyone to feel stupid and unworthy, including myself.

I am driven to process (non-neat, anti) but I don't want to feel elitist.

This is the old question of difficulty, I know.

Is re-education, re-conditioning neccesary rather than pandering to audience (or some notion of audience)?

I am ok with not getting everything. I like not getting everything. Is not getting everything ever a hoax?

Can a hoax ever be a good thing?

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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…