Skip to main content

Experimenting

One of the things that annoys me most as a reader is when an author decides to get experimental. Now, don't get me wrong, finding new ways of writing and expressing yourself is a good thing. However, it's probably not the best idea to use symbols that vaguely resemble the letters you're trying to use to spell out words. Yes, it looks snazzy and very hip, but it distracts from what's really going on in the poem. A poem's form and its subject should compliment each other. It's rare that such extreme formal experimentation actually improves a poem's effect. I think that bill bisset is a great example of taking formal experimentation too far. Drawing cartoonish pictures, titling them, and calling them “visual poems” seems ridiculous. I just don't see how visual poetry becomes different from visual art. Poetry and art aren't simply categories that we fit things into. They're mediums that we use to express our thoughts and feelings. This means that they can (and should) change over time, but this change should never become the focus of the art. Courageously stretching the boundaries of what a poem can be just isn't a meaningful pursuit anymore. Between the modernists and the post-modernists, it's nearly impossible to think of a (meaningful) boundary in poetry that remains.

Instead, what I'd like to see being experimented with are the changes that technology can bring to the table. With my limited knowledge, that's what I've started to try doing with The Oral Tradition. Letting the author of a poem speak directly to the reader gives the poem a whole other dimension and allows the author even more power to communicate exactly what is intended. Instead of needing to be within hearing range of a person, the internet allows us to share these readings around the globe whenever a reader/listener wants. Other lit magazines are well ahead of me here too: Blackbird and 2RiverView come to mind as excellent examples. I think it's time that we started taking full advantage of the tools at our disposal and using them to find new, exciting ways to communicate our thoughts and feelings.

Comments

Popular posts from this blog

Three Guidelines

In an attempt to begin articulating what effective writing looks like at the present moment, Teilo and I have formulated three basic guidelines. They're meant to start a conversation more than anything, and are not meant to be overly prescriptive. However, we feel that following them as closely as possible will eliminate many of the weaknesses we have observed in the writing submitted to our respective literary magazines. In no particular order, they are: - Subjectivity, as far as it illuminates common experience, can be more effective than objectivity. - Intertextuality can be an addition, but never the crux. - The form of a work of art should never become its content. Please feel free to comment. Both affirmation and disagreement are necessary cogs in the engine of any progression.

Beyond Immediacy

The closing sentence of your last post, Teilo, suggests that art doesn’t have to be as careful nowadays as it has been in times past. Is sloppy art the answer to sloppy communication? Is a plurality of art forms the answer to a plurality of communication modes? This type of art exists – in the form of fictional msn conversations, blog novels, etc. – and I think there is value to it, but I don’t understand why the thoughts of the modernists (or whoever) are “worse than meaningless.” I don’t think we’re really “reacting to” the modernists anymore either—although it’s impossible to quantify what “reacting to” even means—but we’re definitely influenced by them. What I had in mind by pointing back to Imagism was to glean some of that movement’s aesthetic principles, in addition to adding principles of our own. In this way perhaps the strongest aspects of that movement can be adapted to fit our needs of expression in the 21 st Century. And the general thrust of my argument is not fixated o

Manuscript Issue

It's been awhile since my last post, but now that it's summer I've been reinvigorated to come back to the magazine and the blog. To shake the dust off, I want to give a brief glimpse into the direction The Writers Block is headed: The next issue is going to be a tribute to and exploration of the relationship between handwriting and poetic composition. Until July 1st, the Block is accepting submissions for a poetry-only manuscript issue of handwritten and/or hand-illustrated poems in digitized, scanned, or photographed formats. I'm interested to see what sort of submissions will come in. I've tried to phrase the call specifically enough to communicate clearly what I'm looking for, while leaving it ambiguous enough to ensure a plurality of submissions. The inspiration for the call came out of my research on e-books, and how emerging literary technologies are changing the way we read and experience older printed and hand-written texts. Both print and digitizati