Conceptual Poetry and its Discontents – W. Carter Halbrooks
October 8, 2019
Introduction to the English-speaking poet
(Thanks a lot of comments for turnout)
Before I introduce our speaker I just want to draw your
attention, sirs, to events uh…
a ‘moral’ performance with Phil Buller downtown
after a June flash artist collection which is at
thirty seven south Wabash on the third floor specified.
There will also be a reading journey in this room
on Thursday at five o’clock. So I hope not at five thirty!
I hope that if you can’t make it, one will come to the other.
It is uncomfortable also to recognize
the various people and segments of
the university that made it possible.
Upon presence, the program approach requires x.
And special thanks are usually “code word: Overdraft.”
In his Column for Coordinating All the Details,
The English-speaking poet purports
every feature of a poem can mean something
even and perhaps especially those words that appear meaningless.
Take “interjection-boat” for example.
For him, English poetry is an emphatic language journey “that will not work”.
I believe it important, one, to recognize,
in the hands of writers with powerful
creative intelligence, a dialectical holding
to the locus of a “demanding but possible truth”.
Secondly, clamoring for powers in the language of passion
is a form of a knowledge.
At least as much important is
simply the expression of some feeling
about a moment particularly stressed
by the pressures of experience.
For example: “your missiles from Cambridge” or “support installer credit”.
These three rules are intertwined but
I think the second has the subtlety and exactitude of the office versions.
I’m tempted to say sensitivity, because they did say that.
There should also be on display writing about and thinking about poems
since a lot of commentary has the power to hurt a specimen.
Commentary on Shakespeare’s ninety fourth sonnet, notes
“The solitary reaper and all others show what it would mean
to take the significant public polls seriously, as equal”
But to do this while still allowing the poem to speak to
the complex set of historical and political concerns out of which
anarchy, for example, rises.
This balance is rare in contemporary literary discourse
where pent-up historical political concerns obviate literary ones.
And I would include sound poetry in that category
something about which critics often have little to get.
And I think it is safe to say that this is in no small part due to the fact that
as a poet he knows what he’s talking about.
It is my warm privilege to welcome to University
and much more hot water in his face.
Five should be right, I think, probably.
The English-speaking poet:
Alright. Enough microphone fraud assistance.
Continue to work with
martyrdom cashing everything in for
Just a wetlands family expressway
and “I’m that Natalie” you showed your plugin to, or
some piece of apparatus.
So I’m going to attempt this
without a machine.
I too have a few preliminary
comments to make.
The first is that you have a broad sheet canceling them.
Second, since it’s not identified that “scholarly community” is bad practice,
I will simply tell u that the
online facsimile reprint of all the very first editions is a worthless
anthology of lyrical ballads, though the book was not identified.
And they’ve got bullshit artists establishing nations.
It was published in almost a year,
submitted to a Bristol imprint (listens to Peggy’s mounted up photography from that work)
to provide an illustration for the fixed text
about which I have something to say in a few months’ time,
Building to, I’d like to say in some ways, the sex.
And we’ve already gone three times back to a completely staunch insistence of
Funding afforded to all of the thanks already expressed in that direction.
I have been caught up with my hand. I think it’s modern.
I’ve been able to bring cash to supplement
some trips at this time and I’m an extremely pleased
turd on this one and I’ve had terrific interactions.
There were people at the meeting here already and I’m glad to be doing this session now.
I’m glad that the English department has been added to this.
I’m particularly grateful for socialist Joshua’s cocaine and his constant cohort of
other socialist people who have provided the most congenial clan,
stimulating company, a great-grandfather feel, I’ve enjoyed it.
I’ve never written for very brief and specific occasions,
units for ordinary people, so it’s quite a major departure.
And for that reason I’ve included parts of Asia, and
the complete Paris in my argumentation.
Fine, I’m happy to leave sometime for questions and comments at the conclusion.
Anybody who has some strong comments to make
is more than welcome to make them.
In part custom and practice, poetry is
rather generally expected to be a type of public performance.
I wish the well-informed station
communicated to an assembly of erotic investments
some orderly sequence of information,
an argument for discussion,
which is shaped around a distinct topic
useful to the listeners, as click and discourse
will probably have a parity and accuracy.
The president came here and I will not quite fit his model
but have quickly adjusted
because my intention is to explore some thinking
which is not yet fully clear to me
and to bring in information and methods
in which I trained, really expert knowledge.
This will sound like a recipe for confusion
and indeed it is.
- The Hippocampus of Normative Characteristics
The project is difficult because much abstract issue’s involved,
because of a reflexive application
in which explaining oneself to oneself
quickly discovered her staring at her brother.
This crucial obscurity always has to do with presenting some thoughts about poetry.
He has tightened the old way of life, and let me say,
reading and writing poetry,
is growth, is a way of life.
This may not look so unusual in demographic terms
but I’m actually highly eccentric when inspecting from within,
understand, an expert first in the descriptions and analysis of poetic language
mounted in a domain approaching discourse.
The specific choice there may be
between English poetry and the English language,
the spirit of the system and a history,
this choice arbitrates the native language aspect
and may be important.
In the President’s own case he takes anyone’s policies,
he’s the trusted lieutenant of
to any known practice of explanation,
going on several.
To be satisfactory, I should be intense, that is, the
hippocampus of centrally normative characteristics,
of how things work, like all the pungent games
in which you hope to engage,
the crimes and sets of crimes
that conclude in writing of how things are
activates a system called “Discontinuities and Breaks”
that interrupts and contests the intrinsic cohesion
and boundary profiles of things so that there is
constantly a gauge across the connection
with the larger world order that’s an outline in
broadest extraction, the birthstone, since a tooltip description
in operatic language is as difficult as the
least decisions of your product, the
alternate infrared knowledge which sets the pace,
why, I don’t know. Much more is generally distorted
by virtue of interior perspective, called the “Parent’s Movie” operant,
which features aberrant language work from the inside
and around the real-time sequence of compilation.
At the very beginning one is without a writing career.
Be conscious of your previous shifting ugly
mannerism at this second. Even true
“Andy” reproductions (eight in many cases) show a particular
responsiveness to the historical record.1
Correlative with these examples, or any of these
thereafter, the way into parents is by retrospect,
indeed from the outside, the finished outside
through the show of the boundary map
and of course many of various types of writing activity
and productive outcomes which express the practice
of project-work cover a broad-spectrum of difference
and historical succession within twenty-five distinct language communities
across the big world parade.
Poet is not a specific job description
but even within this ferret out the desperate times
of access, depart from what may just be
reality, enough for celebrity
of such magnitude which initially resembles a generalizing overview
but has now been focused into that idiosyncratic singular perspective
of English-speaking poet.
English-speaking poet himself carries just one
of the world’s dialects as the interior wiring of a
circuit diagram for the ‘cradle of speech’ which is
crosswise of the cultural history ratified by
national identity, all this morning.
English-speaking poet is also of course the site of vigilant foreign
resistance. Foreign resistance is accomplished using
a set of documents not being used by men
(I’ll accept the risk of self-reference, as you know).
claiming “status type case” in order to offer a particular scheme
(for the purpose of reference) to build
a poetic resistance framework overextended by regular
practice across many years to accumulate appraisal
more and more singular.
Starting like this may not be sufficient
to accomplish recognition in full detail while at the same
time the isolation of a stealth interior retrospect each time becomes
more dangerous because an encroaching narcissism
will promote unrecognized claims of endorsement.
From chance occurrence the habits of the procedure may well produce a danger,
well maybe not exactly a danger depending if u…
In my own case the language of an unrealized
possible perjury was drawn initially and constantly from the
gratitude of the rich embankments of the English language.
I pretty quickly hesitate to number up
the whole range of poems across the world environment
that I’ve written in languages properly exotic and outside of translation
and most but not all of my own creation
has been in the medium of “make you think”.
A recent minor writing work of mine
sets down tropes of origination
to recover strong speech from former generations’
ads and locations to practice
provisional continuity back in town.
Priming the double directives of
politics and language process
outwards and backwards is food enough
to justify stereophonic mocking.
You know that parallel space and time mentality
is widely believed to be deeply held in hostage tension.
- Space and Time in Hostage Tension
“How do you have a Portuguese tree”2 would come to be the meaning
of a cultural process in the age of ethical agency and imaginative conjecture.
And was in hostage tension
the settlement that produced: “how do you have a Portuguese tree?”
that would come to be the meaning of a cultural process
that ages in the play of ethical exigency
and imaginative abjection.
(a comparative pedigree).
A thoughtful present-tense
but won’t emerge
to be the output of precursor units
in a complex because you’re already activity:
“one for the record”, i.e.,
a masque for the product to be that also be’s in court
dismantling any permit-bounded emplacements
as re-fluidized force.
The Ballad of Macbook Marty
Argu’bly, Martin “Macbook” Marty
Often works with “mentioning”
His slightly different view, I mean
Of tone for “I’m not”, or M n I I n G.
Macbook Marty grew incomp’tently
From Gaia soil to spree
Thr’h music and back, his gnarly
Incompetent ghost still haunting
You and me with a mental: “yes!”
Marty’s heart is “wasted with woe”
There is no rest for him below
That desk of a forehead, his pest—
From specialized audition’s test
He tore from out his caverned ear
(From only whence e’er dripped tears)
The real-time sounds of speech!
That is, the different scratch
Disin’grating to dusty creak,
Sub-acoustic, chthonic, dull-mewling, and meek.
End of the Ballad of Macbook Marty
We may be accustomed to hear
In this wordful mensch’s heaving
the striking tractor’s uphill work, here “in cart of car thou never reestit;
The steyest brae thou wad hae
Fac’t”3 a material world, its hidden
costs also, but with some weather sounds,
and the complaints with the
first production, a digging up of a
theoretical voice become
into a textile constellation with no
Begins to remake, or “starts again,”
the anecdotal variety, “a little cough somewhere, an odour,”4 or electricity.
By this we means:
the apocalypse sociology occasioned
to allocate to man which domain5
Hybridizing the competitors of possible word marriages: thus
an extraordinary, intermediate condition6
by very specific
this domain is constructed
from the (un)realized human sounds of words an
invaluable sequence, like golden Oscars®
carried through to expression
by the apportionment of phrase and sentence and the paragraph
with perfect boundaries was their expresssion
of their profession, that mental span
of serial completion to a written discourse,
into a bird persecuted
recouping textual composure amidst the altered acoustics of bent speech, real or conjectural.
But the discourse of poetry installs a
variable set a yet
further mental dimension
is not that correct?
I make here a second prediction, however.
The president’s rather explicit description, for the record, imposed definite selection constraints, selection constraints as definite as hot, hot peppers.
Ma and Pa vote for a “distinct” and “distinctive” polite sexuality
To further this book reduction
the president already composed a text
toward me, toward a “residue”7
is in sonic anomalies
signifying frenetic data
The best constraints will be taken
as they comprise every schedule of speech sounds and proforma speeches
for the candidate.
Within the constraint itself is
a permanent reconstruction
of historical errors
so that at the end the reader
can kill me
for the completion of a perfect schedule.
Fuck it I won’t relocate to a cabin
hoary with snow
protesting my own narcissism
as I am always-already infected/ inflicted /inflected
by my knowledge of successive historical conditions
such as : “Nancy, don’t you eat sushi with American
sex Republicans just for the zeal of experience?”8
The inarticulate matrix itself
and it’s fifteen points of origin:
- Yourselves in the city
- The Biblical deployment of sense
- Carrying into song
- Para especial
- Did, what did?
- Making a grateful living space for attention
- Repetition, that appassionato
- (Having) captured two habits of the interior
- Language not Parole
- Friable profiles these
- Into the four lacks
- Can “The Matrix” be installed like that, like a zaum
- Into a reader(’s)
- Vicarious experience
Like scooping them into theaters?
…and that indeed could be
His deft return to me
as it must often be,
in the finest sinews of the storm,
in the rainfall of completeness.
Also a great many Tahitians
the “strange white birds”,
/tional stress mopped
into yellow and blue.
Invest in a disposition
that works for all significant endings:
Q: “Where do we come from?”
A: “The city”
Q: “Where are we going?”
A: “A frantic tussssle”
Q: “Where are we?”
A: “Now at last we understand everything”
But I digress. Verbal constructions such as
“pajama bottoms and conclusions of significance” measure units of
The steam I want to be prepared here
does not dial doughnuts.
My published attitudes diagnose ethnic contours.
the fortieth industry, and the stuff
of text composure.
Alternative vehicles of reckoning the methods
of historical phonology
in speech practice comprises mental sections, each method
of generic phonology must be washed clean of all other states out
there, in it.
To perform a small exegesis of my meaning here, to illustrate with a story filled with the zest of experience, let me tell you a story in order to heuristically, with tact and suppleness, explain the examples of textual composure I previously aforementioned.
An Illustrative Story
Perhaps the first time that someone with whom I correctly went to school worked on a phonological template
for projective verse9 the language became like pectoral fins, for want of an analogy (look it up in the newspaper), the muscle of verse knifing through the vast sea of generic language, the limpid ocean of transparent meanings, codified and striated by speech practice that is structural to the coherence of language and you begin to see the notion, sometimes, of a pup abstract mental representation that’s to be somewhat distinguished from frenetic mechanics and mere acoustics. Now we avoid sound productions (here I’m quite phatic) in conversation, like “Well, well!” or “Tut, tut!”, “Here we are!” or “Aren’t we?” to be replaced with phrases like “death be not proud”, or “death, thou shalt die” or “thou art slave to Fate”.10
So my friend who went to school with me between phonology and athletics said, “They’re awesome, prostate looks good too!” His voice is crucial to the present purpose. He wasn’t there to treat acoustic similarities as semi-abstract representations, but wait,
Jews! and over him—?11 It’s from
his distinction within text
(but Miami lacks an interest)
in the proposition that
if there was an importance
occasionally deliberately, that
such realism is no more than an accident, realism
by Americans, or more
noble, an accidental Elizabethan realism
syndicating an acid attitude, sinning against
the language of the text
that has been produced in this “grain of the voice”—
that erotic tinture—
and not the mythical equipment
of “the speaker”.
Are speakers of text
This may seem to be a special case.
1 Ref. Foster or Horowitz
2 False reference
3 Burns, Robert. Auld Farmer’s Salutation to His Mare
4 Berryman, John. Dream Song 29
5 Add biblical reference
6 Add Miltonian or Danteian reference
7 “But the individual is merely the residue of the experience of the dissolution of community” (Nancy Inoperative Community 3)
8 Excerpted from unpublished manuscript by Marguerite Duras (without permission of estate) entitled: Unmannered
9 Cf. Charles Olson’s Projective Verse
10 Donne, John. Death Be Not Proud
11 Or between; across town.