CONTRIBUTORS

A J Carruthers

A J Carruthers

About A J Carruthers

aj carruthers is an Australian-born experimental poet/critic. He lectures in poetry and literature at the School of Languages & Literature, SUIBE, Shanghai. Works include AXIS Book 1: Areal (Sydney: Vagabond, 2014), an ongoing long poem, and a book of criticism on American poetry: Stave Sightings: Notational Experiments in North American Long Poems, 1961-2011 (New York: Palgrave Macmillan, 2017). He's Poetry Reviews Editor of Southerly, Essays Editor at Rabbit Poetry Journal and Co-Editor (with Amelia Dale) of SOd Press: http://staleobjectsdepress.tumblr.com/. Also see "online" works: URL---------- http://www.gauss-pdf.com/post/149421012676/gpdf221-aj-carruthers-opus-16-on-tehching -----------URL: http://www.hystericallyreal.com/post/150137803670/ode-to-on-kawara-by-aj-carruthers-pdf -------------- Currently writing a book on avant-garde Australian poetry since the 1970s, its transnational influences and poetics. Tweets "the weather" @: https://twitter.com/axispoet

Website:
https://www.palgrave.com/de/book/9783319462417

The Pavanne for Hanne Darboven

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The Blazar Axes

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The Organising Mind: Discipline and Austerity in Jackson Mac Low and Art After 1960

It was the question of the quality of the ‘organising mind’ (in the above epigraph of Retallack) that began this little inquiry, an inquiry that, as Retallack puts it, is certainly based around ‘procedurally eventuated nonintentionality,’ but will go beyond that. I wanted to know about organisation as a quality of mind. Having myself been immersed for some time in procedural practice, I now want to ask a different kind of question: What is the organising mind in poetry and poetics? Extending Joseph Conte’s critical notion of ‘procedural form,’ what is a procedural sensibility?

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Axis 37: Bend

Memento Vivere Channa Horwitz . . . glitterpink new giftbox office greenery . ends jamming . alpine . . . greenery . glassy lunisolar glacier non- webbing jerk . orbit . . . glassy lunisolar glisten tubular . water knot …

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Review Short: Laurie Duggan’s East & Under the Weather

It’s possible to say now, I think, that Laurie Duggan’s massive, monumental and documentarian long poem entitled The Ash Range (collected in 1987) has done for Australian expansive poetics what William Carlos Williams did with Paterson, and Charles Reznikoff with Testimony. Duggan is a practitioner of the serial and modular long poem par excellence. The long poem, in its weighty transfer from the epic, inaugurates a new kind of impure capaciousness, an ability to include modes, styles, citation and quotation, to document change, compromise, the whole mess of culture, all the rich materials that define the modern and contemporary long poem. A recent example of a modular long poem of the kind Duggan has engaged since the 1970s is Kate Middleton’s disjunctive, difficult and sprawling Ephemeral Waters (2013).

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A J Carruthers Reviews Holly Childs

What Walter Benjamin identified as ‘aura’ finds curious analogies to the ‘post-medium’ present. Tan Lin writes of how for Andy Warhol ‘Language is a means of exchanging who we are (our product) for someone we aren’t (our aura).’ Similar to a psychotheoretical split between our Symbolic and Real personae, the contemporary ‘aura’ is something like the sheer secondary quality of everyday life; the curious, removed, if symbolic fascination of what might be happening when nothing is happening: the generic publicity and ‘intermundane’ privacy of relaxation (if we can here call ‘intermundane’ the vacuous yet binding, commodified space between earthly bodies).

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Review Short: Nicholas Walton-Healey’s Land before Lines

What Nicholas Walton-Healey’s photograph collection Land before Lines emphasises is not difference (the notion that every poet is completely individual, different, unique, special), but sameness (the complex social bind of community). The notion of the poet as ‘genius’ or ‘original’ is broken. In place of the genius is the obscurity of the face, what I would like to call the inidentity of the poet, the poet (re)framed, without identity, and most importantly, without centre.

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Royal baby has first play date

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Cantone 5a. ‘Core’

music book for the study of voice, piano & choral word chor a Dickinson Family Library copy. EDR 469. copy mss Houghton Library. Harvard University (Cambridge, MS). — Pianoforte; Renaissance revival square piano; floral and scroll carved legs and apron. …

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Silénzio / Scienza: Registering 5 in Joan Retallack’s Errata 5uite

Joan Retallack describes her second major book, Errata 5uite, published with Edge Books (Washington, D.C.) in 1993, as a ‘silent suite.’

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Descort for Riotous Orchestra

(after Langston Hughes’s Chant for May Day) to be read by a Worker with, for background, the pulsating waves of a Mass Orchestra, multiplying its sounds like the roar of a mighty Cascade. WORKER:           10 …

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Review Short: Fiona Hile’s Novelties

NoveltiesIn Lacanian theory, ‘matheme’ and ‘patheme’ share an interesting correlation. While the matheme is, obviously, on the side of science, the patheme is part of the ‘logics’ of affect, whereby the body is an effect of language. Matheme and patheme don’t immediately have anything to do with sexual difference or ‘mechanistic’ versus ‘organicist’ understandings of the universe. There is nothing mysterious about the patheme. Rather, the patheme could be thought of as what the poem does to the poet’s body analogously to what a matheme does to a mathematician’s body: force it to work and, in some cases, give it pain.

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