Third Factory/Notes to Poetry

art is autonomous

Attention Span 2011 | Laura Carter

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In alphabetical order:

Robert Fitterman | Now We Are Friends | Truck | 2010

“The resulting portrait has almost a Cubist diffraction, with some features exaggerated while others go under-emphasized or completely disappear. But such portraits are also over-complete, exceeding the boundaries of momentary self-presentation in a way that can be uncomfortable: high school photos are posted and tagged, those drawings you’d forgotten on DeviantART resurface.”—from editor’s note.

A striking mirror.

Noah Eli Gordon | The Source: an investigation in constrained bibliomancy and ambient research | Futurepoem | 2011

“And now I will show you how it happened to be in the heart of an art movement of which the outside world at that time knew nothing. They were like well managed horses, and could tell when to stop or turn. They said things we felt were true, things like: ‘When I came to you out of all that dust and heat and toil, I positively smelt violets.’ They kept up a constant fire of introducing each other. They thought every instrument would perform its work best if it were made to serve not many purposes but one. It was out of this that they first seized the right to create values and to coin names for those values.”

A striking mirror, with an honest undertone that tells us what the problems are, how they are antithetical to what may go by truth.

Kirsten Kaschock | A Beautiful Name for a Girl | Ahsahta | 2011

“Airplanes are moveable Babels, and I
know not to reach that way for God, up—
that a god
is a small thing and comes by being quiet.”

The truth of what Kirsten says, the unreliability of birdsong, the irony that falls in and becomes something other than a way of seeing the opposite—beautiful, poignant, mature.

Jacques Lacan, trans. Bruce Fink | On Feminine Sexuality: The Limits of Love and Knowledge (Book XX: Encore 1972-1973) | Norton | 1998

“‘Usufruct’ means that you can enjoy (jouir de) your means, but must not waste them. When you have the usufruct of an inheritance, you can enjoy the inheritance (en jouir) as long as you don’t use up too much of it. That is clearly the essence of law—to divide, distribute, or reattribute everything that counts as jouissance.”

A necessary text, one I took a course on in graduate school. Also noted is Juliet Mitchell and Jacqueline Rose’s commentary on the seminar, among other readings, Bruce Fink’s included.

Sabrina Orah Mark | The Babies | Saturnalia | 2004

“Can you describe for me Walter B. after the desertion?
Too much architecture, not enough rain.
How do you recognize Walter B. in their abandoned homes?
He is the only one, among drifts of white hair, who knows several things at once.
Why, at the end of the Goat Song, does Walter B. stop feeding the babies?
At the end of the Goat Song, it becomes impossible to grow this old.”

A beautiful book, and one can’t help but wonder about Walter B.[enjamin?’s] appearance. Clearly, we are no longer truly modern.

Ange Mlinko | Starred Wire | Coffee House | 2005

“The syrup’s frozen on the north side.
The bear is not just as scared of us.
Insert the cherries in the earth,
read the manual for escapes,
sunscreen under the pillow,
rain scratching glasses.
Between Sir William Harvey and John Dewey the circulation of books.”

This book is one I have continually returned to since its release several years ago.

Vanessa Place and Robert Fitterman | Notes on Conceptualisms | Ugly Duckling | 2009

“Radical mimesis is original sin.”

A primer.

Vanessa Place | Only Yahweh | Ood Press | 2011

“if I’m any judge of the Almighty, the Lord God has seen fit in His Infinite to keep a steady supply of bricks and bracks on Hand, so design, goddishly, of bullfights and god-temples, I forgot gods pare only their nails and forced my creations to contort around what should instead of what would, isn’t it that degree of unfathomability which keeps us smacking of the divine, the dew of divine authority, a future conditional, Lord knows”

Poet be like Vanessa Place.

Mathew Timmons | The New Poetics | Les Figues Press | 2010

“Where are we with the New Birds?”

Poets on Twitter—watch out. Where are we, again?

§

Laura Carter lives and works in Atlanta, Georgia, where she is recommencing studies toward a PhD in English and literary studies. She earned her M.F.A. in 2007, also in Atlanta. Carter’s Attention Span for 2007, 2006, 2005. Back to 2011 directory.

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