Comments on: Modern, Postmodern, & Post-Postmodern: Why Poetry Is No Longer In Disintegration Mode

By: the poet

the poet — Thu, 26 Mar 2009 01:06:55 +0000

Joseph, thanks for stopping by. I don’t want these to be seen as rules. They are not rules in the strict sense. They are really talking points, but I see them as principles worthy of contemplation.

Thanks again for your input.

By: Joseph Why

Joseph Why — Wed, 25 Mar 2009 21:59:20 +0000

I hope to see more about postpostmodernism from this blog in the future because it seems like an interesting topic. But I have a feeling that everyone is misguided in this search for fixed rules to something which is in a state of flux. And it’s really humorous to see “technology” linked as part of this list of rules.

My thoughts on postpostmodernism are mixed with my thoughts on technology. It seems that the rapid changes on the internet have shown us already that an increased state of flux will eventually – if all communication is driven towards this virtual realm – splinter postpostmodernists into many different schools of thought, all of which will be reinvigorations of past artistic periods. And if I am anywhere close to the truth, then it seems to have already begun

On my blog, I hope to illuminate some of the concepts of these ever increasing groups who make claims to belong to postpostmodernism, and I hope anyone interested will take a look.

By: the poet

the poet — Sun, 01 Mar 2009 03:05:39 +0000

That depends on what you mean by contemporary poetry. I suspect that what you say is true of slam poetry, Spoken Word, and similar styles that rely on the open reading or performance of poetry. But not all styles rely on physical or oral delivery.

I do not subscribe to the belief that poetry should always be read aloud. I think the oral reading can add an element that simply reading a poem on a page cannot, but I have been to poetry readings where the experience of the poet’s poem was much better when it was just me and the book and where actually the physical and oral elements of the reading detracted from my experience and ruined the poet’s work for me. So, I’d have to respectfully disagree with that generality.

By: nyein way

nyein way — Sat, 28 Feb 2009 10:53:19 +0000

Yeah but the musicality of language in the contemporary is made through projective sound units and improvisation of voices and inner strategy of physicality alchemy of voices and biology.

By: the poet

the poet — Thu, 26 Feb 2009 20:46:25 +0000

Ah, yes. Musicality. That old form of rhythm. There isn’t enough of it contemporary poetry. This is where I think the Beats stood out. They understood that the music of the poem was important. But then they fell off into New York.

By: Paul

Paul — Thu, 26 Feb 2009 11:13:07 +0000

I concur. Although you may be a little harsh on Mr Pound. Should we blame him for opening the doors or blame all the (insert word) who rushed through them? The word I seize on in times of desperation is ‘musicality’. If we can return some sense of musicality to poetry all is not lost. The best thing about your post and pillars is that I could understand it.

By: nyein way(myanmar)

nyein way(myanmar) — Thu, 09 Oct 2008 15:45:08 +0000

Ten dimensions of post-postmodern poetics or millenial poetics
1.materiality instead of material such as language or things to make poetry(materiality in the sense that essence of materials are emerged as a functional meaning in the social and cultural context)
2.no stylistic contents but multistylistic happenings
3.visionary decision-making for chance operation
4.using site-specific realization in individual zone
5.quotidian experiences are communication channel for making poetry
6.no social self but spiritual ever-changing one
7.language not as a system but as a automatic machine
8.self-revelation through life exprience with high concentrated mental potential
9.solitude of wiadom
10.abstraction with surreal awareness in contemporeity
10.

By: the poet

the poet — Wed, 25 Jun 2008 02:58:37 +0000

Wordsworth was English. Whitman is iconic. I would not call him Romantic in the institutional sense. But I was really talking about, though I didn’t state it, the early 19th century, pre-death of Poe.

By: Gary B. Fitzgerald

Gary B. Fitzgerald — Tue, 24 Jun 2008 22:45:16 +0000

“…the last great school of poetics was the Romantic School, the lone adherents of which in U.S. poetics were Edgar Allan Poe and Henry Wadsworth Longfellow.”

1. How would you classify Wordsworth and Whitman?

2. Maybe it would be helpful if you listed ten prominent poets who exemplify each of the referenced schools.

By: Gary B. Fitzgerald

Gary B. Fitzgerald — Tue, 24 Jun 2008 20:35:34 +0000

Amen!