The Cleave Anthology




Cleave poetry lit crit

As far as I can see—
There has been—little or no
Constructive cleave lit crit—published online
Which is understandable—since C poetry
Is so new—compared with L poetry

As Ron Silliman—noted in 1986
In his In The America Tree Anthology—
This lack of any dialog & literary self-awareness
For L poetry—was for LangPo poets to be
At the mercy of—hostile ignorant critics
And stupid book reviewers…

Playing devil’s advocate—may be too early
Since C poetry apparently—has been around
Only since Phuoc-Tan Diep—posted online
The Cleave webzine—fairly recently

Since I personally—see cleave poetry
As a maturing—perhaps even internal
Splintering(?)—of LangPo poetry
into subgroups(?)—such as The Cleave
and The Cleave itself—into new Forms
such as 3 or more—multi-columned
and perhaps even—baroque morphings?

(See Charles Borkhuis, “Writing from Inside Language: Late Surrealism and Textual Poetry in France and the United States,” Telling It Slant: Avant-Garde Poetic of the 1990s, ed. Mark Wallace & Steven Marks, Tuscaloosa: University of Alabama, 2002, 237-254.)

(See Juliana Spahr, “spiderwasp or literary criticism,” Telling It Slant: Avant-Garde Poetic of the 1990s, ed. Mark Wallace & Steven Marks, Tuscaloosa: University of Alabama, 2002, 404-428: “Lisa Jarnot’s work is often defined as later generation language poetry, yet she in socially probably more within the East Coast Beat or New York schools. Can possible reading of her book Sea Lyrics is as a bridging of this split between the aesthetic and the social. The book is a single poem composed of composed of long sentences tenth an concerned with liminal states of being and present a narrational “I” whose identification wanders. Sea Lyrics is filled with bridges. Literally, there is a bridge on the cover.”



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