On 2006 May 20, at 3:12 AM, Cecil Touchon wrote:
>>>I also like including a few words of my own [in the brackets]
that, for me, gives a little extra touch of direction like adding
shading to a form to force it to go behind or in front of something
else or inclide it to flow in this or that direction. I like
ambiguity but not total confusion or having things so criptic that
others won't want to spend their time to figure it out. A certain
amount of accessability, I think, is a good thing.
I like Cage a lot but his way of working and the resultant works do
not always satisfy me. I believe a work of art should inspire one to
cherish it.<<<
Yes, this is what can make your text pieces *your* text pieces -
using whatever methods
or "rules" that you've chosen to give them your own "shading" - so to
speak.
I stand on nearly the opposite pole to you Cecil when it comes to
John's works.
The joy I find in them is precisely from the point that they don't
follow the marching feet of syntax. Each letter, syllable, word, and/
or phrase gives breathing room that exists outside the ego and allows
my brain to construct sense (or nonsense, if I choose) out of the
flow of text.
I can look at the previous 100% mesostic of Lincoln's G. A. (or any
of John's work) and read it differently each time
by placing pauses in ever changing places - with each pause
contributing to a different meaning or feeling.
For me, it's like looking at a canvas from various angles. I get that
feeling with books like Finnegans Wake
and the mesostics derived from it too. Same with soft cinema.
I think it's great that you can use the mesostic form as a springboard
for creating your own brand of poetry. This seems to be one of the
creative artist's gift -
to be able to use lateral thinking and/or extrapolation to further
their creative work.
keep us up-to-date,
Rod
---
Now playing: Sun Ra Arkestra - World Worlds
