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"As Morton points out, in the age of ecology there is no clean transaction you can walk away from. The fact that everything is connected isn’t something you can turn off when it’s inconvenient. There’s always something still owed, a remaining debt. Morton describes this as the viscous quality of the hyperobject, the more you know about it the more it sticks to you. And as Graeber shows, capital fails to capture the full extent of a transaction because it doesn’t fully represent the object. In the social context of the transaction, there’s always a remainder, the market never fully clears. At the level of capital and pricing, the numbers always add up, but the object of the transaction is broadcasting on multiple frequencies. And if you hold the concept of capital in abeyance for just a moment, you’ll find there were many more parties to the transaction than you had assumed, and if you listen closely, you can hear that the non-human has continued its relationship with you. "

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"In The Gospel of Beauty in the Progressive Era, Lisa Szefel illuminates a time when American poets became committed to the notion that poetry should matter, that it should speak to the greatest concerns of the day. In this original and elegantly written account, Szefel traces the rise of a progressive-minded poetry movement that, between 1910 and 1920, developed alongside the social reform efforts of the era. These poets sought to break away from the genteel elitism of Victorian poetry and produce works that reflected the experiences of ordinary Americans and addressed the woes and sorrows that unmanaged capitalism had wrought. They believed that socially relevant poetry could strike readers’ moral imaginations and spur social action. With the help of sympathetic editors and readers, they created a flourishing literary community, which built the “cultural infrastructure” (p. 2) that later allowed the famous mid-century poets that Gioia celebrates to thrive. "

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"Here is the list of 20 20th-century poetry books that poet and editor CJ Evans put together for me."

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Our immersive digital environment demands new responses from writers. What does it mean to be a poet in the Internet age? These two movements, Flarf and Conceptual Writing, each formed over the past five years, are direct investigations to that end.

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why so? because in my book, infinity & the irrational are connected with the much-maligned "I" - that mysterious Subject - Shakespeare behind the arras - God - Keats' negrido - the Soul... & the great inimitable poets of all times are searching (elegantly, sublimely) beyond elegance...

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Austere and uncompromising, the philosopher Ludwig Wittgenstein had no use for the avant-garde art works of his own time. He refused to formulate an aesthetic, declaring that one can no more define the "beautiful" than determine "what sort of coffee tastes good." And yet many of the writers of our time have understood, as academic theorists generally have not, that Wittgenstein is "their" philosopher. How do we resolve this paradox? Marjorie Perloff, our foremost critic of twentieth-century poetry, argues that Wittgenstein has provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language.

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in list: Philosophy Notes

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But it occurred to me today that this notion of a "broken middle" - a mediation which is inevitably conflicted, compromised, endangered, guilty, and above all implicated, engaged - might offer another way to think about our "plumbline". The middle, here, is not simply a form of "instrumental" discursive management or technical flair, transposed to the sphere of aesthetics. The middle in this sense doesn't offer a "solution" to anything : it is not necessarily a resolution, or even always "peaceful" : in Rose's terms, it is more like an agonistic arena.

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by Wimsatt and Beardsley

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in list: Philosophy Notes

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if we are willing to write off everything else in the poem as ‘decoration,’ then we can properly censure [modern poets such as] Eliot or Auden or Tate for not making poems so easily tagged. But in that case we are not interested in poetry; we are interested in tags.

This implies that what "modern" poets do is write poetry without such "tags," such simple messages that one can glean from a poem.

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Such writers thought that the lesson of deconstruction was that one should not try to construct anything complete...The fact that attempts at wholeness or completeness will fail in ways that are inevitably invisible to the author but can be spotted by alert analysis is not grounds for fragmentary, incomplete work, be it anthropology, linguistics, fiction, or poetry.

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"in this age, every art deserves its atrophied audience. it’s very hard to find good contemporary poetry, and too easy to find old genius. it’s disheartening. if we are sisyphuses, then we can only hope to hear some orphic echoes over the hills once in a while, and if we find more than that it’s an embarrassment of riches."

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