Ah, the computer is free! Lisa's been pretty busy working on the anthology she's editing, so these moments have been somewhat rare lately.
I've always felt that because I don't have the access necessary for anything nearing a clear view of the field of U.S. poetry (SPD, various blogs, a few mags and journals, and friends being my main portals, all of them tending toward the post-avant), Ron Silliman's term "School of Quietude," while I get the gist of it, is to a degree untranslatable for me. It's helpful therefore to see him, in his post
on Breathing Fire 2
, musing about the differences between U.S. and Canadian contexts himself:
In many ways, these poets, to think of them as a group, straddle that ambiguous ground that has one eye on the side of the New Americans & another on that side of the School of Quietude that followed Steve Berg & Phil Levine in their revolt against the old formalism, arriving at something like the APR Free Verse Format. Is this a Third Way -- rather the way ellipticism has functioned south of the border -- or is this how Canada reinvents its own School of Quietude?
Okay, this has got me wondering again about the Vancouver poetry conferences of the 1960s and the impact they've had on Canadian poetry. My impression is that their effect has been asymmetrical in the U.S. and Canada and that this is key for an American trying to understand Canadian poetry, but I could be way off. I've been meaning to ask derek beaulieu about this.
In other news, we watched the film Distant
last night, and now I'm wondering if photography and film necessarily have to be lonely from the point of view of the media themselves or if it's just the way they tend to function.
Lots of catching up to do e-mail-wise, etc.
P.S. Sorry for the chunky syntax.