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Appy Economics
Posted in Blog 10 years ago
by 
Ira Lightman
9 Comments
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Words conveying nothing.
That would be literally impossible. But they may well create the response Pound had for Finnegans Wake.
“nothing short of a divine vision or a new cure for the clap can possibly be worth all the circumambient peripherization”
http://www.todayinliterature.com/stories.asp?Event_Date=3/11/1923
One can try to detect ghosts in it or not try. Up to one.
(I make these by taking an earnest and cogently argued outburst and putting it through a voice-to-text app; so I can assure readers that I began with something cogent… and was quite happy to let the app take it somewhere else. I am under no illusion that Pound would have liked it. I need to keep some distance from the old rogue.)
It is possible where words convey no emotion to a listener. For me poetry is more about emotion than any rational objectivity. Some poetry can carry emotion and carry these feelings across to another particular person and some fail so to do.
I prefer the words of John Clare. He was insane I grant you so that may be why his words convey feelings to me in particular.
My journey has thus far taken me to the 1820s and not the 1920s.
Finally,I am under no illusion that I just have no way of telling if John Clare would have any liking for the words I compose.
That’s fine. I love Clare. Have you read Jay Griffiths’ book Kith? It’s a great non-fiction book about how enclosure is what has kept on happening to kids, and Clare shows us the cost of that.
You will probably have read a few dismissals from the experimental wing of poetry talking about “Faber poetry”, “mainstream poetry” and that it’s all unreadable stodge repeating an idiom and ever more empty from the innards.
I don’t buy either criticism, frankly. If you don’t like it, fine. But others may.
Put that book on my next to buy list, thank you for that. I mainly read economics, and old poetry but this seems worth a venture into pastures new.
I never got “Faber poetry”, “mainstream poetry” I just got “oh, that is mere lyrics not true poetry you should only write free verse now.”
My home is Somerset its wet and marshy like the land about Clare’s childhood but that is not what attracted me initially. However I guess I like him because he was next to the end of fiction in our local library and as a 10 year old I was reading HG Wells. I picked up Chatterton and Clare. I put down Chatterton and took home Clare. Clare just described a lot of what I saw at that time and that was the overgrown wildernesses of the bomb sites of Bristol (late 1940s early 1950s) with their buddleia forests.
As for dismissals they have been legion and perhaps still linger about in my subconscious anger.
Sorry if it erupted at you.
That whole period of the interwar years intellectuals is lost on me. I get Clare and I get Chaos theory but the things in between seem strange and beyond grasp.
Would you consider a different layout? I think it’s hard to read! I don’t mean ‘It’s hard to get the meaning’, or ‘It’s too taxing’ (hard going, in whatever way) – I mean hard to read the words on the screen. Would you consider laying it out in a narrower column? Or slightly wider line-spacing? In the past I’ve been a keen reader of Finnegan’s Wake – don’t mind non-words, non-sentences/senses, internal dialects/memes, no stops and so on. I’m sorry I just gave up, and it wasn’t because I’d decided it had nothing for me – I couldn’t read it accurately, and while skimming it may have some point, I guess you don’t want it reduced to prose. (Joyce said something like ‘It took me 16 years to write and I don’t mind (or the book’s entitled to?) people taking 16 years to read it’ – quoted from memory, not checked. On a screen we can’t put squiggles and comments beside text to steer our own reading, so it’s more tempting to give up. I think it’s worth checking layout for readability. Thanks.
I surely would. Normally I cut these into line-breaks. Feel free to do so, cutting and pasting from here, and credit me: I’d love to read it. I’m definitely not attempting to be Joycean here: that level of through-composition from the Wake. This is much more meant to be rebarbative, and skimmable. It takes lots of content that I otherwise use in my writings about economics. It’s meant to be almost a shrug, coarsened with white noise; a kind of despair defeated by just letting it fly.
Read that book. Not my usual cup of tea. Reminded me of my childhood running free and happy on the blitzed out ruins of an old city. I got those playground and free space courtesy of the Luftwaffe and the havoc and death they had brought ten years before. Jay Griffith is some writer. Thanks for that.