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Fascination Streaks

Anyone else feel like they make decisions as all or nothing. I get rid of a lot of books in order to trade for books I want (trying to build my own canon) but I sometimes regret getting rid of some books. I am in that mode right now. Tempted to get rid of Levine and Lowell in exchange for Women of the Beat Generation. Is that an adolescent choice?

I didn't read any of the "beats" until about one year ago. Now that I'm turning thirty in a few weeks, I feel drawn to them. Is it a passing fascination? Quite a few fellow friends and writers told me they loved the beats when they were 18-19 yrs old but they grew out of them.

Then again, not all beats are the same. Philip Whalen hits me a lot stronger than Allen Ginsberg. Corso hits me more than Ted Berrigan. O' Hara hits me more than Kerowrack.

I steared clear of the beats because of their followers. You know the baret sporting poets who read in annoying coffee shop voices. Hemp happy and narrow minded.

But it's the oral quality that draws me in. Wanda Coleman rocks my socks. I haven't really read Lisa Jarnot yet, but I will. The momentum pulls me in.

On a different note, I am enjoying Invisible Bride.
>Michael Schiavo's praises are not exaggerated.

I really trust the voices in Invisible Bride to take me out my self.

"Twelve Self Portraits" is amazing. The speakers of this book have their "tongue placed firmly in the subconscious."

It's refreshing to read poems that chill, surprise, hit the back of the head, and have a sure hand, a firm hand.

A firm tongue in the subconscious.

I really enjoyed "Winter Outtakes" as well. Especially the little ditty on beards.

And "Unawares" poses a great question: "Does an entire alphabet seperate m and n?"

Invisible Bride really makes me think about strategies in terms of audience. These poems beg for multiple upon multiple re-readings. Yet, they fully entertain, grab you, speak in a easy going manner. The images and phrasing are very interesting but do not strain the eyes.

I am not sure the old strategies of tortured syntax are the right direction politically.

New directions often mimic old directions.

Narrative is not gone. It will never disappear. We're hard wired for narrative. But that doesn't mean narrative can't be associative/non-linear.

Tony's use of narrative and dramatic situtaion astound me.

Audience is a big X factor, but what's the matter with thinking about your readers in terms of entertaining them? Too low culture?

Show me the wizard behind the curtain but along the way please please entertain me.

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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…