Ross Brighton
Poem
exit
extant
ecstasy
______(four)__________________(brother my sextant)
transt
static
__________pre____________________lyre mirror_______
ant_______________again it
____________ less fifth
&_________________________O
___________trance of
_____
Ross Brighton is the author of the chapbook A Pelt a Shrub a Soil Sample. His work has appeared in or is forthcoming from Catalyst, Otoliths Side Stream, Brief and Action Yes. He reviews books for various venues including The Press, and blogs on poetics and contemporary art at www.ignoretheventriloquists.blogspot.com.
_____
RECONFIGURATIONS: A Journal for Poetics & Poetry / Literature & Culture, http://reconfigurations.blogspot.com/, ISSN: 1938-3592, Volume Three (2009): Immanence/ Imminence
_____
VOLUME SIX (2020): ARCHIVES ON FIRE
-
▼
2009
(99)
-
▼
November
(99)
- VOLUME THREE (2009): Immanence / Imminence
- Editors, "Almost Nearly So"
- * * * FEATURING * * *
- "Baobab Tree: local knowledge / global politics"
- Obododimma Oha, "Embracing the Baobab Tree"
- Toyin Adepoju, "Ifa Divination & van Gogh"
- ‘Tunde Awosanmi, "Wole Soyinka’s Africa"
- Jen Bouchard, "The Essays of Suzanne Césaire"
- Peter Ciccariello, "3 Works"
- M. Neelika Jayawardane, "Life in Transit"
- Obiwu, "Ndebele’s Art of Redemption"
- Tom Savage, "3 Poems"
- * * * POEMS * * *
- Salvatore Attardo, "Columbus Poems"
- Emily Brandt, "Deep blue"
- Charles Freeland, "Units of Measurement"
- Geoffrey Gatza, "4 Poems"
- Ray Gonzalez, "4 Poems"
- Jeff Harrison, "Knots of Hilda Doolittle"
- Mary Kasimor, "a vase" & "xxxv"
- Penn Kemp, "Dream Sequins (i & ii)"
- Camille Martin, "double sonnets"
- Jonathan Minton, "4 Poems"
- Robert Mittenthal, "Memory Play" & "Severance"
- Kelly Moffett, "God of Water"
- Sheila Murphy, "5 Poems"
- Pamela Johnson Parker, "Narcissus: Narke"
- Mark Prejsnar, "transmetadata map"
- Michael Ruby, "Infinite Worlds"
- Karen Schubert, "Cutting Ties"
- * * * FICTIONS * * *
- Mark Jacobs, "Singing in a Foreign Land"
- Pierrino Mascarino, "Peril of the Miss Jenny"
- Robert Ready, "Her Infinite Variety"
- * * * FEATURING * * *
- "Myth, Erasure & Consequence: Selected Poems"
- Page Starzinger, "Myth, Erasure & Consequence"
- Regan Good, "The Rocking Horse"
- Carol Peters, "de Kooning, No Title"
- Shin Yu Pai, "requiescat"
- Mary Kaiser, "Gretel"
- Victoria Chang, "Man 4"
- Robert High Guard, "Giving Up Lent"
- M. Jan Bender, "Syrinx"
- Matt Miller, "Thrift"
- Jennifer Luebbers, "after the Lakota"
- * * * REVIEWS * * *
- Ailbhe Darcy, review: Zawacki's "Petals of Zero"
- Tod Edgerton, review: Harmon's "Quinnehtukqut"
- Roy Exley, review: Daive’s “Under the Dome”
- Crag Hill, review: Gizzi’s "New Depths"
- Susan Scarlata, review: Nakayasu's "Hurry Home"
- Jess Wigent, review: Greenfield's "Tracer"
- * * * ESSAYS * * *
- Hope Bernard, "Spaces of the Corseted Body"
- Erika M. Nelson, "Traumatic Traces"
- * * * FEATURING * * *
- "New Zealand Poetry & Poetics"
- Bryan Walpert, "Foreword"
- Shona-Ellen Barnett, "One for the Pukeko"
- Ross Brighton, "Poem"
- Jennifer Compton, "The Topography of Wellington"
- Jan FitzGerald, "Spider"
- Helen Lehndorf, "A skull" & "1001 Questions"
- Elizabeth Smither, "Lipstick stain on a poem"
- André Surridge, "Lunch in Prague"
- Tim Upperton, "Like smoke"
- Mercedes Webb-Pullman, "prime dream"
- * * * DIALOGUES * * *
- James Belflower, Anne Heide, Michael Martinez
- Jon Cotner & Andy Fitch, "Box Trick"
- * * * IMAGE-TEXTS * * *
- carlyle baker, "about to happen"
- John M. Bennett, "Poemages"
- Vernon Frazer, "Random Axis"
- Philip Meersman, “Multzumess”
- Philip Meersman, "Concreet gedicht"
- James Sanders, "Self-Portraits"
- * * * FEATURING * * *
- "Review Review"
- Jared Schickling, "Preface"
- Nate Pritts, "Review Review"
- John Bloomberg-Rissman, "Lighter Darker Bouquets”
- Mark Spitzer, "No Bullshit Reviews"
- Anon., "Response to Kentson #1"
- Christian Prozak, review: "Wine-Stained Notebook"
- Anon., "Response to Kentson #2"
- Christian Prozak, review: "Rimbaud, Double Life"
- Murat Nemet-Nejat, "A Frameless Review"
- Anon., "Response to Kentson #3"
- Christian Prozak, review: "Delta Blues"
- Anon., "Response to Kentson #4"
- Christian Prozak, review: "Pendulums of Euphoria"
- Anon., "Response to Kentson #5"
- Gina Myers, "How I Came to Review Books"
- Anon., "Response to Kentson #6"
- Murat Nemet-Nejat, "A Historical Postscript"
- Chuck Richardson, "Ketchup Stain on Page 87"
- Anon., "Response to Kentson #7"
-
▼
November
(99)
Wednesday, November 25, 2009
Subscribe to:
Post Comments (Atom)
3 comments:
A few thoughts:
1) This 'poem' clearly isn't supposed to communicate anything in what it says or how it is constructed. If it is supposed to destroy language [i.e. a negative construction] and show us its vacuousness, then that is a tired, ridden old cliche.
2) If it is attempting to communicate something, then it founders miserably. The easiest way to write a poem is to put arbitrary words/found poetry together and pretend earnestly that it says something important.
'Execrable
Extraneous
Effluent.
Apple
Mac (ing)--
Choose an identity -
Name?
URL?
Anonymous.'
It still bewilders me that some readers will object so strongly to any sort of poetry that does not deal directly with a representational perspective of reality and language.
I like this poem for all of the reasons that the first reader/responder identifies as faults.
And since you signed your comments anonymously, I’ll reply in kind.
What, then, is the function/utility/achievement of this example of non-representational poetry?
By eschewing realism, leaving the idea of letting readers into the text, what gains does the poem make?
Does the (deliberate) bewilderment of the reader add or subtract?
That seems to be the resolution, for me at least, between anonymous 1 and anonymous 2...
Post a Comment