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I tend to believe that we don’t realize that technology is (always already?) an assumption about the world (as one philosopher called it “an account of the good”), not only a tool. Ironically, this writer is lamenting the disappearance of languages via the internet, which has become battering ram of English domination. The more I read and learn, the more I think that questions of technology and how man relates to nature are primary questions (not economics, race, sexuality, etc.—in many ways, the controversies over these can be directly traced to questions of technology).

Now for a spin on the story of English from the internet age...LOLcats. In particular, the LOLcat Bible Translation Project. Many linguists depend upon the work of Bible translators deployed around the world in remote (to us, at least) regions of the world. I happen to know a man who worked as a Bible translator and created the only existing dictionary in the world for his regional dialect. Concerns about dictionaries (and their purpose) aside, the LOLcats Translation begs a question: is LOLcats a true pidgin English? It has a history, it has its own grammar and rules, and now it has its own Bible.

Mary Karr and Christopher Robinson briefly discuss Terrence Hayes's poem "Talk."

This was a true community magazine, and it fed on the energy of the readings and was inspired into existence the other poets we knew and were excited to read. It was a great experience, and I think that everyone should start a small community rag like this. It doesn't have to be big or ambitious...just something that you share between you, your friends, and their friends. I don't spend lots of time reading the latest issue of Ploughshares, but I was always interested in reading local indie rags like the one we were putting out.

I am not the expert teacher here, but the experienced learner, the one who has a love for poetry and gets excited by weird things like grammatical ambiguity, or how the poet used the weather to suggest a mood.

Mary Karr and Christopher Robinson briefly discuss Williiam Matthews's poem "Cheap Seats"

Never, never say: three more poems, or six more poems, or any number. Someone in the audience is thinking, " Oh my God, six more? This is torture." Just read and when you have come to your last poem, say thank you.

Poetry Fix Episode 9: Seamus Heaney

I met him once. Laura runs a reading series out of a Barnes and Noble in New Jersey. I could not believe love could get a true second generation New York poet who had been widely anthologized and published by Wesleyen to come out to a Barnes and Noble in Jersey, but love has some strange powers. There he was, like a rare European bird blown off his migration route by a fierce ocean storm and perching on the neighbor's satellite dish.

Poetry Fix Episode 8: Nicanor Parra

Episode 7 of Poetry Fix: Robert Frosts's "Once by the Pacific."

Minimalism is not about powerful messages about the nihilism or poverty of the human condition (though it's certainly easy to think so!). Instead, minimalist art creates a framework through which you view the world. It gives you the bones of the skeleton and then you fill out the flesh. But watch out! The minimalist artist still controls the bones (and hence the body that you have put on them). Minimalism is as silent as the movie frame.

Literary theorists use literature as an excuse for ontological truths (or gender, or sexual, or identity issues). This is a legitimate way to ransack texts, but it will not teach you how to write. Ontology begins with detail selection—in terms of word choice, verbal relationships, rhythm. A theorist wouldn't know what to do with this poem, unless the theorist started to write a book on kinetics in terms of verbal constructs and the cultural bias of admiring athletes as per one's gender, or class. Minor may only mean a theorist can't find much to theorize about.

Episode 6 of Poetry Fix. Miroslav Holub's "Ode to Joy."

Here was a guy with the same ability, in American vernacular prose, to make a drab world come alive--the same ability to make magic from the ordinary that Japanese poets showed in haiku. Harvey gave the urban rust belt, and its daily triumphs and frustrations, a reality, a comic, deadpan glamor. No fiction writers or poets of that time approached. Long before Seinfeld, Harvey Pekar was doing his own small version of Flaubert's book about nothing.

When McLuhan described linearity (I think he actually used the term lineality...not sure if there's a difference? Spell check doesn't recognize the latter, if that means anything!), I couldn't help but think about the poetic line and the way it is changing. As print culture (and hence the divorce made by the phonetic alphabet) ends, we move from the line, back to the field, back to non-linear, acoustic space.