amiss, an echo
of Esau, a side
ways touch four
singing ing ing in
 Explanatory Note
Artemis, daughter of Zeus and Leto, was the Greek goddess of forest and hills, as well as of the hunt. She was also the twin sister of Apollo.
Mimetic (i.e. representational) art devalues the materiality of the art-object in that it strives toward a being that is inherently other. With regard to writing, instead of according primacy to letters, words, sounds, and material process, representational writing attempts to falsely synthesize the subject (i.e. language in the form of text) with the object (i.e. that which it is attempting to represent, such as nature, etc.) and thus deceives not just its audience, but itself.
Esau, son of Isaac and Rebekah, was a character in the Old Testament. He enjoyed hunting, or as the Bible states: "he had a taste for game." He was also the twin brother of Jakob.
Mimetic art territorializes and legitimates itself (i.e. terrorizes, or enacts terrorism) through "tradition," most evident in Greek myths and Biblical stories.
Zukofsky once wrote: "I'll tell you/ About my poetics--/ .../ An integral/ Lower limit speech/ Upper limit music."
The poets wrote the original manuscript of the HOMAGE TO HOMAGE TO HOMAGE TO CREELEY on a Smith-Corona 470. While the poets' interest in the typewriter deals mainly with altering the material process of their writing, the purchase also proved to be fortuitous because their computer crashed two months after they bought the former. In a somewhat tangential side note, the pre-HOMAGE version of the above poem contained the line: "days spent cloaked in a computer's faint whirl."
The poets once wrote: "furnish a familiar sound. Sing, and in singing, lower those wings into a body of sound." The excerpt is from a piece titled "My Cricket Sings, My Cricket Kills" and is an HOMAGE to Zukofsky's "Crickets/ thickets" and Niedecker's "Cricket-Song—."
- ^ The poets should be mindful not to succumb to a Luddite mentality that posits outmoded technologies as being inherently better than contemporary technologies. Also at issue is whether or not an art-instance that does not directly engage contemporary materiality risks irrelevance. To this extent, the poets (as both writers and readers), should heed Jean-Francois Lyotard's claim in The Postmodern Condition: A Report on Knowledge, which states: "technological transformations can be expected to have a considerable impact on knowledge," and moreover, if "the 'leading' sciences and technologies have had to do with language," coupled by the fact that "the 'producers' and users of knowledge must now, and will have to, possess the means of translating into these languages," then it is of the utmost importance for the poets (as both writers and readers) not to disregard these transformations because, ultimately, "the computerization of the most highly developed societies allows us to spotlight…certain aspects of the transformation of knowledge and its effects on public power and civil institutions." In other words, for the poets (as both writers and readers), the poem, and poetry to be socially engaged in any meaningful manner, it must be cognizant of and adept in the products and methods of technological advancement and how they relate to the work of art. Luckily for the poets, as the EXPLANATORY NOTE for the poem "Sun-Down Again" demonstrates, they do have some sense of "computerization." In a somewhat tangential side note, the poets once wrote the below code in Ruby that re-imagines Raymond Queneau's "One Hundred Thousand Billion Poems":
- #!/usr/bin/ruby –w
q = Array.new
for i in 0..9
q[i] = file.readlines()
for counter_line in 0..13
a = [0, 1, 2, 3 ,4 ,5 ,6 ,7, 8, 9]
rnum = a[rnum(a.size)]
- #!/usr/bin/ruby –w
- American Poets Project page referencing Louis Zukofsky: Selected Poems (2006) edited by Charles Bernstein