Wednesday, March 23, 2005

The preceding suggests I myself am hardly untempted by the tactics of juxtaposition that characterize the latter-day American surreal. But for me sound is always primary, closely followed by the look of letterforms, with signification (better: the play of signification) and the palpable history of a given phrase or word a close third. Noticing that these prose poems obey certain formal laws which I am somewhat loath to quantify—but I am struck by my tendency to end them with something of a prose couplet (that is, two sentences whose respective endwords rhyme). So I haven't journeyed as far from verse as I might eventually like to do. But the only way I've found to make leaps from the structuring principle of sound is to rely on structuring principles of space as in page-as-field poems. After that the only clear way forward I see is by thinking of structure in a more macro way: would it be possible to orient composition around the paragraph rather than the sentence, line, or phrase? Possible for me, that is; I know it's quite possible for other people.

Is anyone else's sitemeter acting wacky?

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