Friday, June 19, 2009

Slow and Slower

Special issue of Big Bridge dedicated to "Slow Poetry" (it's like poetry, only slow).

And then there's Even Slower Poetry.


Reynard said...

is this sort of like the slow food movement for poetry?

are there going to be community poetry gardens popping up all over the place?

where am i going to get a $1 menu poem?

am i going to have to start learning italian terms like terra and madre?

am i going to have to introduce non-native insects like spiders in order to combat the insects that will come to infest my organic poems?

i'm very afraid of this slow poetry movement and the subsequent articles that may appear in places like better homes and gardens or horticulture.

can it be taken seriously? i have so many questions.

Ross Brighton said...

I'm definately going to have to look into this. I haven't had time to read teh manifesto yet, but will.
How does tan lin - with BLIPSOAK01's extended play slowness fit in here?

Property Press said...

The intro on Slow Poetry, for all its virtues and provocations, might just deserve a few of the shots against it, not least because it threatens to mistake the withdrawal from social machinery into localism as other than one more propulsive mechanism of late capitalism. Regardless, it turns out that most of the shots are far from robust anyway, especially in instances such as the following:

“Instead of forming arguments of resistance and beautiful scathing satires…”

“As the Conceptual movement is growing and being reestablished within poetry…”

“…who have practically the same opinions as us but maybe diverge on some minor point…”

“While Conceptual Writing and Flarf provide contemporary approaches to poetry…”

“We're actually kind of dull, angry hippies with gigantic chips on our shoulders…”

“But happiness is never going to come if we actually set out to do something that is interesting or subversive or life-affirming…”

One is led to ask Even Slower Poetry: And how much longer does the contemporary subversiveness of Conceptual Writing and Flarf need to grow and be reestablished within poetry before…

Oh, wait.

The New York Crew, in contrast, has without question more bite, especially when it (also) Gets Personal. (Are we too fat too? We worry.) But both it and Even Slower Poetry just show what happens when local networks and beautiful scathing satires end up not being opposed at all, that is to say, when the symptoms of institutional relations end up being redescribed—recognized—as the effects of particular individuals.

Just kidding, yuk.