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earth and water

Some very good revisions today. It helps to get Campanology rejected by contests. Makes me reorganize, resee, rethink.

So. Campanology is now divided into three sections:

section 1: Resident Alien
Section 2: Shem/Sham
Section 3: Sprog

Section 1 now contains the first 25 pages of a previous ms called Resident Alien. The previous ms Resident Alien has now merged with the ms Narcolepetic Lawn.

Narcoleptic Lawn is organized as five parts with five sections and still has a ways to go.

A little mind trick:

when I think I am working on a new ms right after "finishing" the previous, a realize how the new ms is really an extension of the previous.

I am also reseeing my music. Music is the most abstract of the arts. So, I am looking for ways to reorganzie my use of sound. Balancing it with image. Considering various ways of using diction and breaking the line. I am also using philosophy/rhetoric and exploring the spaces between sentences. The sentences have a less forceful music but are still very compressed (i.e. not "prose")

This conception helps with revising Campanology:

music = wave
image= particle
line= ?

all three merge throughout the manuscript. Right now I am revising with an eye toward particles and the line. I think the music will clear itself once I tighten these other elements.

This process of composing Campanology was like going out to sea for two very intense years and everytime I thought I saw land, I later realized it was not land at all.

Now I am finally back. The waves have stopped rocking for a little while. It's nice to have my feet on the earth again!

I think I prefer shorter trips on the sea. At least for a little while. I wonder what it would be like to compose completely on land?


richard lopez said…
been reading yr blog for the past few weeks, found via Gina Myers's links. fascinating, brilliant stuff you have. and like especially this post re: the processes of revisions. I do think that if you take care of line and image the music will settel itself out. however, there are poets who are more music than image and poets who are more cinematic than sound allows. can't think of any examples off hand, except maybe Pound would fit in the former category and Tomas Transtromer would fit in the latter. and yet, there are poets who occupy both like Clark Coolidge, a master. also, dig yr titles for yr texts.
postpran said…
Thanks for the compliments Richard. I agree with Clark Coolidge as occuping more than sound (which seems to be a common misconception). I haven't thought about the cinematic aspect of poetics. Is this related to narrative/character etc.?

Thanks again,

richard lopez said…
no, don' think it has to do with narrative/character developement. cinematic is more perhaps antilinear, more image based than not. I tend to think of it as technique rather than as style. such as editing in film, how film is photographed and so on. think the difference of a film by Tarrantino, or David Lynch, rather than say Speilberg.

a good example I can think of a cinamatic writer are certain poems by August Kleinzahler or Ashbery. or the wonderful Michigan poet Robert VanderMolen whose book _Breath_ was released in 2000 by New Issues.

or some of the tranlated classical haiku poets can be considered cinematic. certainly the word is rather elusive.

I can't think of a catch-all definition for the word, even tho I think the phrase is very productive to the kind of writing I love reading and trying to write. when I think of cinema I think of jump cuts, close-ups, steady cam shots, how to edit the language into an anti-narrative frame.

by the by, you must have the coolest name for a writer on the planet, really, mean that.
Jake Adam York said…
NIce description of the process, which echoes my own experience. I'm going to save this post for my students in the fall.

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