Conceptual Poetry and its Discontents – W. Carter Halbrooks

               Introduction to the English-speaking poet 

Good evening.

(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.


  1. 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

systematic reference

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. 


  1. Space and Time in Hostage Tension


“How do you have a Portuguese tree”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

created empowerment

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.,

is output,

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”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

transparent, remade

into a textile constellation with no

compositional purpose.

Begins to remake, or “starts again,”

the anecdotal variety, “a little cough somewhere, an odour,”or electricity.




By this we means:

the apocalypse sociology occasioned

replaced “Utah”

to allocate to man which domain5

all humans’

speech performance




Hybridizing the competitors of possible word marriages: thus

an extraordinary, intermediate condition6

by very specific

intelligent work 

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.



In which

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


               A. Polis


To further this book reduction

the president already composed a text


toward me, toward a “residue”7



is in sonic anomalies

signifying frenetic data

across particular 

formats signifying

deliberate constraints.


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


               B. Eros


The inarticulate  matrix itself

and it’s fifteen points of origin:


  1. Yourselves in the city
  1. The Biblical deployment of sense
  1. Carrying into song
  1. Para especial
  1. Did, what did?
  1. Making a grateful living space for attention
  1. Remembrance
  1. Repetition, that appassionato 
  1. (Having) captured two habits of the interior
  1. Language not Parole
  1. Friable profiles these
  1. Into the four lacks 
  1. Can “The Matrix” be installed like that, like a zaum
  1. Into a reader(’s)
  1. Vicarious experience


Like scooping them into theaters?


…and that indeed could be 

His deft return to me 

by “wingletting”

his “pingpingping”

as it must often be,

in the finest sinews of the storm,

in the rainfall of completeness.


               C. δύναμις.


Also a great many Tahitians 



the “strange white birds”,

engines of


/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.


Poetry is

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 versethe 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,

over there—

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

itself performance?

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.