Monday, November 08, 2004

Sarita's Lost in Translation Poem :

Sarita's response to the assignment that was due today, to write a poem from one of the prompts listed at the EPC resource page for experimenting with poetry, of which Sarita chose number 1-3a., "Lost in Translation" :

-- Russian Avantgardist, Lev Bruni, "A Girl with Kittens, 1920"

Lost in Translation with Kittens...

the kittens play with a fly, buzzing across the room
the game of the cementation with Moscow, that one is bourdonnant of
the zone
the kittens do not understand that underneath their play is an instinctive hunter the cementation does not understand it that he is under his game a
hunter of instinktiver
batting the fly, catapulting across the room, it dives
touching in Moscow, catapulting of the zone, the Klopfer is plunged
the fly falls onto cement and the kittens turn their heads
the examples of Moscow in the glue and the return of the relative of
the cementation the witness
the fly lies still and kittens swat the still fly still
Moscow is always and for the Moscow cement always fixed immovable
In Moscow three kittens play with a dead fly Moscow three of the cementation with a damaged game of Moscow

~~~~~~~~~~~~poem copyright of Sarita~~~~~~~~~~ o~o/

James P. Ola Responds in Kind to Lang Po

I don't even know where to begin. I began my struggle with language poetry by reading Kasey Mohammeds post. I felt after reading it that i was participating in language poetry. However, i still do not know exactly what it is, nor do i think that anyone knows what it is. Language poetry cannot be known. Language poetry is a state of language, indiscernible to those who know not of its existence. One might ask how anyone, even the greatest fathers of language poetry know particular work to be language poetry. They categorize to not be categorized, they invent to not be out-done or thought-out by a categorizer. The words, everyday language is atop of and entwined in a mesh, with elaborate restatements of the obvious that do not imply the obvious. They imply that the inevitablility of language poetry is that it is not inevitable. I don't understand.
Language poetry does not have a universal implication. This is obvious, but not.
Langauge poetry is young writers and readers. It is practiced by most but not necessarily studied by, or under all or most. Language poetry is crticism of categorization. Criticism of grouping and palletization of phrases and prose, or the snaking segmentation of cliches. Language poetry doesn't have to fit in the box, nor can it be contained in any specific container. Language poetry does not obey standardized rules of language nor of poetry. If language poetry seems to be creating a system by not conforming with a system Language poetry is not. Language poetry is an evolutionary step of something that is in a fundamental constant state of evolution.
Language poetry can not play tag. Because it is not an it. It is uber-philosophical entity.
Language poetry is sardonic of itself.
Language poetry is harshly praised.
Language poetry mocks the very existence of itself by contradicting its own principles of existence.
Yet all the while language poetry commands subtlety and grace of a formless specter.
Language poetry goes by Langpo because to some it commands less of the same.
I think that Language poetry is autobiographical, but complimentary to most.
It has infinite meanings. Because it does not matter what the writer meant when the poem was written. It is the subjective critique, even the subconcious critique, of the varying existence of a mind that allows for multiple interpretations of a singular implied meaning, original.
I do not think that language poetry is for everyone. Although weakness at heart is not the weakness of heart.
This was my attempt at a segmented understanding of language poetry. More to come as i interpret different things innumerable different times.
--James P. Ola, 1 Nov 04