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Photo by MorBCN. Is poetry written to be read? Perhaps even stranger, the answer may be changing even as I write. The meaning of the word text in an oral culture is one of those problematic horizons that French theory loves to gaze upon without end.
The much more recent poet of Beowulf was no different in this regard. In another 60, you will find Ezra Pound contemplating The Cantos as a keystone to his imagined five-foot bookshelf containing the Great Works.
For Pound, the first English-language poet to make use of the typewriter not just as a site for writing, but as a compositional element in the spatial construction of his works, the book is thoroughly a given. But what is the book with regards to poetry? By the s, the paperback was the principle mode for poetry, with the notable exception of that reactionary sliver of poetry presented by the New York trade publishers. For awhile, the SoQ was able to characterize its social dominance over an increasingly diverse writing scene by pretending that it was the poetry important enough to come out in hardback.
Tom Phillips created one of the more radical projects of the century, A Humament , by transforming a book. The great theoretical move of the preface to Lyrical Ballads, after all, is its declaration for speech. Language poetry could be read as a logical next step in that chess strategy, but notice already that James Joyce, in Finnegans Wake, has gone everybody one better — he already imagines and manifests the book as unreadable.
Again, Whitman takes this idea quite a bit further. After, that is, the age of mechanical reproduction. Until recently it has been easy enough for the School of Q to simply act as if those alternative poetries just did not exist. And if not, why not? Each of these poetries has a different relation to the book.