Joe Weil

Literary Movements: Insider as Outsider and Token Renegade

December 29, 2010
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When gaining a foothold among the establishment, it is important the so called “outsiders” or mavericks have a figure fully anchored within the establishment who can be “acceptable.”

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Gatekeepers of Literary Greatness: On Piety

December 21, 2010
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In the full complexity of human constructs piety is the rhetoric of conflicting and supposedly coherent values.

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Gatekeepers of Literary Greatness: Some Definitions and a Parable about Chickens

December 15, 2010
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The chickens are purifying their system, purging it of corruption. Meanwhile, the chickens who willfully refuse to answer the bell are seen as impious, as negative, as renegades.

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Gatekeepers of Literary Greatness

December 8, 2010
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The more things same, the more they same the change.
Things change by staying the same.
Things stay the same by changing.

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“Fractured at a Touch:” More on Abstract and Concrete

November 29, 2010
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We are always towards an abstraction, one way or the other, but the use of detail, how we emphasize or mute, or play with an image is at the heart of contemporary poetics.

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A Thing with Feathers: Concrete and Abstract

November 23, 2010
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We have seven hues, a silver gyre, seven swords of vision, and a prophet’s flaming tyre. Beats me as to what Campbell means, but almost all lyrical poems contain such moments of high gibberish.

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It’s Getting On Towards Winter: Reflections on Joe Salerno and Some Friends

November 19, 2010
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I try to tell my students that professionalism can be murderous. It can not offer what poetry truly has to give. It can succeed at the level of men, but it can not fail at the level of the truly profound and meaningful pact we make with love, beyond, and perhaps, because of our futility.

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Derangement: Breton and Metaphor

November 16, 2010
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All metaphors are, eventually, false, inaccurate, distortians of reality. Reality itself is a distortion. Frost–the conservative–said as much.

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Metaphor as Foundation of Consciousness

November 9, 2010
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Metaphors are committed to falsehood and inexactness for the sake of a possibility more vital than precision.

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How to Teach Writing to Beginners (Towards a Different Kind of Workshop, Part IV)

November 5, 2010
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Russian novelists exhausted every eye color in the 19th century. Pop song writers are the only people who can make a big deal out of eyes anymore.

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Jazz, Workshop, Fake books, & Misremembering

November 2, 2010
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By the shores of gitchee goomy, / Stood the noble Hiawatha / quoting from the other shore: / Only this and nothing more.

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How to Edit Poems in a Workshop (Towards a Different Kind of Workshop, Part III)

October 30, 2010
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Break up into groups, something they love to do now-a-days: Line/space coach, image/word choice coach, rhythm/syntax coach, and meaning/subtext coach.

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Joe Weil’s Must Have Books (Towards a Different Kind of Workshop, Part II)

October 23, 2010
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Some days in a writing workshop should be like rainy days with a coloring book.

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An Asshole in the Service of Heaven

October 21, 2010
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My aesthetic test for music when I was 13 still applied: if I play a song one hundred times in a row, and, on the last playing, it still has an effect, then it is part of my synaptic hit parade, and can never be vanquished.

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How to Ransack a Poem for Parts, Part II

October 19, 2010
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Voice cannot be ransacked because true voice, unlike tone, may be inconsistent within its range of indicators. The ability to play a modulating voice against a consistent tone is a deep mystery of poetics—especially of what we might call the conversational poem.

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How to Ransack a Poem for Parts

October 16, 2010
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Hunch against the wind. / Call to the shadows / of lengthening children.

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