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Ingeborg Bachmann's Poetry in translation by Mary O'Donnell

Ingeborg Bachmann's Poetry in translation by Mary O'Donnell | avant-garde poetry | Scoop.it

Ingeborg Bachmann was born in Klagenfurt, in the Austrian state of Carinthia, the daughter of a headmaster. She studied philosophy, psychology, German philology, and law at the universities of Innsbruck, Graz, and Vienna. In 1949, she received her Doctor of Philosophy from the University of Vienna with her dissertation titled “The Critical Reception of the Existential Philosophy of Martin Heidegger,” her thesis adviser was Victor Kraft. After graduating, Bachmann worked as a scriptwriter and editor at the Allied radio station Rot-Weiss-Rot, a job that enabled her to obtain an overview of contemporary literature and also supplied her with a decent income, making possible proper literary work. Furthermore, her first radio dramas were published by the station. Her literary career was enhanced by contact with Hans Weigel (littérateur and sponsor of young post-war literature) and the legendary literary circle known as Gruppe 47, whose members also included Ilse Aichinger, Paul Celan, Heinrich Böll, Marcel Reich-Ranicki and Günter Grass.



"VERILY    For Anna Achmatova   He who has never been rendered speechless, I’m telling you, whoever merely feathers his own nest and with words -   is beyond help. Not by the shortcut nor by way of ...

Via Gerard Beirne
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avant-garde poetry
POETRY: celebrating poetry, the innovative, avant-garde, alternative, outsider, experimental poetry.....
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Timeline Photos - Paulette C Turcotte | Facebook

Timeline Photos - Paulette C Turcotte | Facebook | avant-garde poetry | Scoop.it

If you are in or around Ottawa Friday September 26, head over to the launch of THE SUN NEVER SETS by Erik Martinez Richards, organized by El Dorado. It's at el Gusto Mazzola, 939 Somerset West.    El Dorado will be remembering Patrick White who passed away in March of this year with a reading from Homage to Victor Jara.....

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Samuel Beckett's articulation of unceasing inner speech - The Guardian (blog)

Samuel Beckett's articulation of unceasing inner speech - The Guardian (blog) | avant-garde poetry | Scoop.it
The Guardian (blog)

Samuel Beckett's articulation of unceasing inner speech


From psychologist Louis Sass and philospher Gilles Deleuze, who first spoke of a "schizoid voice" in Beckett's work, to investigators on the recent Beckett and Brain Science project, critics have highlighted correspondences between the distorted perceptions of Beckett's characters and a wide gamut of psychiatric disorders. Nonetheless, this pathological framework of interpretation can be, if not reversed, at least complemented by non-pathological approaches which draw on contemporary cognitive research.


In fact, recent research in cognitive science and other fields has shown that hearing voices is more common than we think, including among people with no psychiatric diagnosis. The restless sound of our inner speech is a key experience of this commonality.

Via Mary Daniels Brown
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Chilean Literature in Ottawa: A Brief Overview - Dialogos

Chilean Literature in Ottawa: A Brief Overview - Dialogos | avant-garde poetry | Scoop.it

excerpt ~ The group of writers who came to Ottawa in the aftermath of the 1973 coup d’état in Chile soon began to look for ways of publishing our works. I had been published in Chile, as had the poets Naín Nómez, Gonzalo Millán, and the prose writer Leandro Urbina. These writers and I, together with Ramón Sepúlveda and academic literary critic Fernando de Toro, founded Ediciones Cordillera, the first publishing house devoted chiefly to publishing the work of Chilean writers in Canada. After Cordillera closed its doors in 1996, the subsequent void was filled by Split Quotation / La cita trunca and Verbum Veritas, also based in Ottawa.

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Poethead | avant-garde poetry | Scoop.it
(by Christine Murray)

If you grew up in Ireland and studied literature, you'd be forgiven for believing that Irish poets had to be colossi with beards and testicles.

I read few Irish women poet between secondary school and my studies at UCD, Belfield. These types of maps, along with posters of the great Irish writers kind of underscore the thing itself.

There's a wealth of Irish women poets available but mostly you have to search online as indices and archives are a bit like hen's teeth,




 I wrote a note about publishing women poets here. The premise of Poethead is simple, I use technology to increase the visibility of women writers and editors’ work through devoting a small part of this blog to platforming poetry written by women writers. The Poethead site is about all types of poetry, there are many links to sites about poetry dedicated to the working writer. In my experience of being a working writer, I have found a lack in the cultural narrative. I have located this lack in how the woman poet’s voice is minimized, is not reviewed, nor is it adequately presented. I do not think that Poethead will remedy this lack. It goes a small way toward sharing the writing talents of historical and contemporary women poets.


s(ome great connections to Irish Women Poets here and access to the poetry of Christine Murray.)

Paulette Turcotte's insight:

another link provided by Christine Murray   http://ellipticalmovements.wordpress.com/.../irish-women.../

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Diane Wakoski : The Poetry Foundation

Diane Wakoski : The Poetry Foundation | avant-garde poetry | Scoop.it
Diane Wakoski, described as an
Paulette Turcotte's insight:

Harris wrote: "Wakoski's preference for single words and rhythms that mirror the patterns of speech can mislead the reader into reading her poems too literally. This mistake in turn leads the reader to consider her themes trivial, for by reading on only the literal level, one misses the substance and complexity provided by the emblematic level. . . . The strength of the poetry . . . is that both sides of a paradox can be presented together, equally and simultaneously, a situation that life cannot duplicate. At its best, Wakoski believes, poetry employs the objects, events and experiences of life in a way that allows the reader to experience their emotional substance. Her emblematic use of language is one of her methods for obtaining this result."

Wakoski's personal mythology embraces many archetypal figures as well, including George Washington, the king of Spain, the motorcycle mechanic, the "man in Receiving at Sears," Beethoven, the "man with the gold tooth," and the "man who shook hands." These characters, most of whom appear more than once in Wakoski's canon, serve as symbols, emblematic of emotional states, past experiences, fantasies, and, sometimes, of real people in the poet's life.

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The Apple Tree

The Apple Tree | avant-garde poetry | Scoop.it
Joy 6. No rage can bind you to that house, that filthy slum, Odious with a slew of empty bottles they Try never to throw out. You knew nothing different, no Interaction with other families taught you...

Via Gillian Prew
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an exceptional site..............

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Rare footage of Frank O'Hara, Allen Ginsberg, and Amiri Baraka reading in 1959*

Rare footage of Frank O'Hara, Allen Ginsberg, and Amiri Baraka reading in 1959* | avant-garde poetry | Scoop.it
Via the Allen Ginsberg Project, I just learned of the existence of some rare, but apparently now-available, footage by the experimental filmmaker Jonas Mekas that features Frank O'Hara, Allen Ginsb...
Paulette Turcotte's insight:

"I’m especially taken with the sight of O’Hara and Baraka leaning in close to one another, laughing and at ease, exhibiting precisely the kind of intimacy and camaraderie I wrote about at length when discussing their friendship in my book Beautiful Enemies."

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my so many nights with fernando pessoa, poet. on words. the zen of fernando pessoa.

my so many nights with fernando pessoa, poet. on words. the zen of fernando pessoa. | avant-garde poetry | Scoop.it

Via Gillian Prew
Paulette Turcotte's insight:

my so many nights with pessoa

pessoa tells me that all life is vast existential futility. we think, we feel, we know, we pretend to know, we feign, we pretend to feign that this is better than that. or at least somewhat preferable. but then, when we look closely, this is not this. in fact, there is no this! and that insight was only an illusion. this does not exist, not this and not that, and that is so, because there isn't anything except for this! this is it! nothing at all exists except for this whole-of-being. and how do we know this? we know this because the pain of this is real. and we pray to god (the gods?) because we know it (they) does not exist. that is why we pray. but then we feign offense when we hear god insist ad-nauseum that it is us who do not exist. he is no nihilist, fernando pessoa, the portuguese also-marrano-jew-futilist poet is mad. mad as a shepherd in love. especially during the nights.
hune margulies

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ESCUELA DE SANTIAGO. NEOVANGUARDISTA URBANA. 1968. EN EDIFICIO DE AGUSTINAS , — with Jorge Etcheverry Arcaya and Erik Martinez Richards in Santiago, Region Metropolitana, Chile.

ESCUELA DE SANTIAGO. NEOVANGUARDISTA URBANA. 1968. EN EDIFICIO DE AGUSTINAS , — with Jorge Etcheverry Arcaya and Erik Martinez Richards in Santiago, Region Metropolitana, Chile. | avant-garde poetry | Scoop.it

photo.. from the right, Erik Martinez Richards, Jorge Etcheverry (seated) Nain Nomez and Julio Piñones


Interview of Jorge Etcheverry by Gonzalo Millán
click link to see full interview   http://theflyingdawn.blogspot.ca/  ~~~~~

 Published in  Contemporary Poetry IV.4 (1982): 48-72 ~ Gonzalo Millán: Jorge, you say that you belong to the School of Santiago, the least well known of the poetry groups which emerged in Chile in the sixties. In what year was the School of Santiago born?   Jorge Etcheverry: Around 1966. It really began as a group of friends who later started working in poetry and in theoretical studies on poetry. By 1967/68 we decided that we had a series of things in common and therefore baptized ourselves the School of Santiago.   GM: Where did the group have its origin and who were its members?   JE: Well, we met at the Pedagogical Institute of the University of Chile where some of us were studying philosophy and some literature. The members were Naín Nómez, Erik Martínez, Julio Piñones, and myself. Alexis Monsalves participated occasionally.   GM: The book The Escape Artist closes with a poem entitled "Epitaph for the School of Santiago." When did the School of Santiago die? JE: This was meant, in part, to be ironical, and it also was an opportunity to speak about the members of the group who live here in exile, about the situation in which we find ourselves and the changes that have taken place through the years. It also means that this is no longer a time for manifestoes and positions of principle. That had already been done and is still considered valid in a way. On the other hand, it is also a recognition of a time when we were working together and had a common identity. There are certain similarities in our work.   

Paulette Turcotte's comment, October 1, 2013 2:10 PM
link to entire interview by Gonzalo Millán
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Origins and Context: Notes on Poetry in Spanish in Canada - Dialogos

Origins and Context: Notes on Poetry in Spanish in Canada - Dialogos | avant-garde poetry | Scoop.it


This new reality situates Latin Canadian poets in a paradoxical situation. Although they originate from a peripheral, neo-colonial region of the world, the product of European conquest and colonization, Latin American literature cannot be classified as subordinate to a master discourse, i.e., to a discourse, in this case literary, whose parameters are imposed by a colonizing or imperial centre that dictates standards and aesthetics in content and form. The first Latin American poetry in Canada with a more or less defined profile – the Chilean – initially provoked in readers and critics a certain enthusiasm tempered by a discomfort arising from the perception of traces of a “Continental” complexity. In turn, there was and still is a certain mistrust of stylistic resources that are common to poetry of Hispanic origin, for example, poetic surrealism, politically committed poetry and anti-poetry, the presence of inter-generic texts, which are historically alien to Canadian literature, which has never been characterized by the avant-garde or by “experimental” literature.


But there also exists the desire to tell stories, to make oneself heard, a desire that grows more urgent as society becomes more standardized. This includes rescuing the collective past of the group to which the writer belongs or chooses to belong. The reading public demands accessibility, and this tends to reduce literature to testimony and the expression of feelings. New needs in poetic aesthetics are being imposed by the overwhelming presence of the “spectacle” in the mass media and the entry into the market of new consumer groups with purchasing power for works that are outside the traditional cultural canons. The attempt to rescue identity means that certain characteristics that were once considered a sin against good taste are now legitimate, such as the cliché, dramatism, one-dimensional characters, hyperbole, and a lack of ironic and parodic distance of the author from that being examined in his or her work. The so-called educated reader will close the book with distaste, but other readers will accept these poems with excitement. There is also a process of extreme simplification taking place in developed society worldwide. To have access to the greatest possible number of consumers, the commercial culture provider aims for the lowest common denominator, more within general reach, less complicated, that which in its most extreme case gives rise to “Gumpism”, “…the identification of virtue with mental impairment” (Mark Kingwell, Dreams of Millennium, Penguin, 1996, 44).


In the case of Hispano-Canadian poetry, the demands of the system are not felt so strongly, as Latin American literature in Canada, mostly written in Spanish, is aimed at a restricted market and in any case is different from mainstream literature. This market continues to be small, because it is probable that this literature and poetry will retain its distinctive features, as virtual communications and globalization have connected many of these poets once again with the poetry of Latin America. I would be so bold as to assert that the literature in Spanish of Canada, like that of the United States, belongs to Latin American literature. And in Canada there are no communicating vessels whereby a subordinate literature like the Hispano-Canadian may enter the literary institution, except in special cases. But there does exist the need to recall, record, understand, express and affirm the cultural identity of the Spanish-speaking community, as in spite of the institutional deterioration of multiculturalism policies, Canada is increasingly pluri-ethnic and pluricultural. The possible utopia of the past has disappeared for the exiled and immigrant poets and their countries of origin are now different countries, although rootlessness and nostalgia survive as themes, together with other themes and forms of expression that make this poetry an example of the multifaceted poetry of Latin America. Implanted definitively in this society, the Latin American community and its writers are negotiating their place and role in their adopted nation. One of this community’s main elements is its culture, and within this its literature and particularly its poetry, and the possible values that these can offer the host society; for example, the fact that it originates from the only definitively and irrevocably “mestizo” civilization, with all that this entails in an age of growing inter-racial conflicts.

Paulette Turcotte's insight:

the author of this article is Jorge Etcheverry.
The poet Jorge Etcheverry was born in Santiago de Chile in 1945, where he formed part of the Santiago School and Grupo América, poetry movements that came to prominence in the late-sixties. He arrived in Canada in 1975, where he completed a doctorate in literature at the University of Montreal, and currently works as a translator. His poetry has been published in numerous magazines, such as Lar, Orfeo, Casa de las Américas, Trilce, Araucaria, New Canadian Review, Existere, Revista Canadiense de Estudios Hispánicos, Contemporary Poetry and Ellipse.


Translated by Martin Boyd


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The Flying Dawn

The Flying Dawn | avant-garde poetry | Scoop.it

excerpt from The Flying Dawn... On Poetry and Exile...

On poetry and exile

 Jorge Etcheverry
(Fisrt published in La cita trunca)
Trying to determine the connection between poetry and exile, I asked myself what it is that makes poetry the artistic form most cultivated in a situation of exile and, at the same time, the most productive literary means for expressing the social and political problems of the day. Perhaps it is poetry’s connection with the “human heart,” which is also what connects poetry with what people care about most, not only in personal individuals terms, but in general, since human beings cannot be separated from their environments, whether social, political, or otherwise. “I am myself, plus my circumstances,” Ortega y Gasset said. Circumstances, the self and poetry, then, side by side. Poetry is, among other things, the most immediate form of artistic expression through language, second only to the lyrics of songs, which in turn can be another form of poetry. Poetry is also a form of representation, however, and as such, is a form of knowledge, apart from its links to the spoken word, its alliterations, syntax and rhythm. Being an expression of feelings, poetry is also tied to physical, bodily expression... posted onFriday, June 22, 2012 

Paulette Turcotte's insight:

beautiful work here by Jorge Etcheverry from his blog The Flying Dawn.


And the flower of the race allowed the new generation to fall like light petals on the dark earth and the elders grew hopeful as they lived out their remaining days, silently watching and enjoying the youngsters as they practised the art of living

"The chains that oppress us will in time be broken by our sons or grandsons who are stronger than we. The winds blowing from the East and from the West will fecundate their actions and thoughts like other winds that swell the sails of boats"

But blood covered the cobblestones like moss, like the parasite that afflicts the elm tree, as the most audacious and beautiful of this new flock got ready to take off vertically, like quail

And hope, like a paper flower, burned in the breast and withered beneath the closed lips of those who were beginning to look at things through new eyes

Some of our best offspring had the good luck to die young
This has made us more cautious about the rest
The marshes that surround the city are a breeding ground for disease

Translated by Jorge Etcheverry, edited by Sharon Khan




and this poem from Tuesday, May 8, 2012



The poet in the dream

That’s how the poet appears
in the collective dream
like a giant walking over the earth
whose colour is all colours
whose voice is all voices
walking over deserts, mountains and seas
well-travelled roads
jagged skylines of cities dark against the sun
wrapped in a dry and humid blanket
that is the sum of all climates
followed in his footsteps by hordes
whose rumours reach the heights of his head
made up of cold-blooded beings that slither
or ambulate on many paws
minuscule, moving their seudopodia
or four motley-haired paws
speaking in diverse growls or maybe in songs
That’s how the giant poet appeared in this dream
watching over the sleeping roof top
over the earth
sowing birds

Translated by Jorge Etcheverry and edited by Nika Alia Khan and Sharon Khan

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40 years after the Military Coup in Chile: Two Poems ~ (Erik Martinez Richards was part of an avant-garde poetry group called the Santiago School (together with Jorge Etcheverry, Julio Piñones and...

40 years after the Military Coup in Chile: Two Poems ~ (Erik Martinez Richards was part of an avant-garde poetry group  called the Santiago School (together with Jorge Etcheverry, Julio Piñones and... | avant-garde poetry | Scoop.it

40 years after the Military Coup in Chile: Two Poems

Erik Martinez Richards 


The Military Coup

That overcast day in September,  
I found myself on a street near Plaza Italia
and other people were crossing in all directions
running from buses,
struggling to move faster,
people crossed the street hurriedly
and dark vehicles were coming in a perfect order
at a uniform velocity
slowly drawing a slight curve,
when I perceived how Euclidian space is but a fiction
and in my head piled up
in huge monstrous piles
Cantor’s infinite series forming successive mountain ranges
the peaks of which were unattainable.
The climbers attempted to reach the highest peak but endless series
of new hills and new peaks appeared while the ultimate peak
remained unconquered in the distance.

We saw then, knifing the sky over the city, 
a metallic eagle with a heavy and powerful flight
which rumbled over Santiago at that precise hour
we saw the metallic eagle with its polished surface
shining with blinding sparkles,
its round belly full with its heavy content
(It was happening exactly as we had been predicting for so many days,
for so many weeks maybe,
just as we had announced,
just as we had repeated tirelessly time and again).
The ground itself seemed to tremble,
in the distance we heard the thunder of some explosions.
It seemed as if the air repeated many times
in all directions of space
the wave that carried the echo of a sharp muffled howl
and I distinctly remember a ring of fire on the sky,
around the whole city,
while smoke columns rose,
over where the government palace was.

Meanwhile, in Washington, thousands of kilometres north,
a dozen men in shirtsleeves
gathered around the round figure of Henry Kissinger
who read out loud with an unmistakable accent
the coded message that had just arrived:
“The eagle flew with its prey firmly in its claws”.

The Presidential Palace in Flames  

Allende saw the flames rising.
Tear gas formed a thick fog in the hallways
and water ran down the stairs;
the blaze raged through the Carrera Room.
The glass display case 
with the founding documents of the Republic
fell suddenly to the floor, shattered.
Sitting in an armchair,
the President crouched down to address the country by radio.
Neither his voice nor his hand trembled
as he improvised his last words to the country.
A short while later someone saw him enter the Independence Room.
For an instant everything seemed silent,
only the burning wood crackled quietly.

Did he feel the floor falling under his feet?
Did he feel a wave sweeping him to the depths of the Earth?
An abyss had opened before him
(but this no one had predicted),
a great spiral that would devour him.
The night sounded deep notes close to his ear
and he felt the vertigo of falling – 
spinning – spinning, 
pulled by the enormous forces
that weighed on his arms and on his chest.
Then, in the midst of the chaos,
like a howl from another dimension, a single distinct shot was heard.
Moving through a dense cloud of smoke, Doctor Guijón turned back his steps.
The whole structure of the building creaked like a ship lashed by a hurricane.
Very far away, agitated voices echoed in the corridors.
Doctor Guijón opened the door to the room 
and saw Allende lying on the red sofa,
with no eyes, and broken skull,
his body a grotesque figure as if painted by Francis Bacon.

The cold, objective eye of the military photographs show
the brain scattered on the ceiling,
the blood and brain matter all over the walls and ceiling.


Erik Martinez Richards immigrated to Canada, shortly after General Augusto Pinochet's military coup against the socialist government of Salvador Allende.

Paulette Turcotte's insight:

Erik Martinez Richards was born in Santiago, Chile, and studied Spanish Literature at the University of Chile. As an undergraduate there, he was part of an avant-garde poetry group called the Santiago School (together with Jorge Etcheverry, Julio Piñones and Nain Nomez), whose works appeared in several publications, the best known of which is 33 Nombres Claves De La Poesía Chilena (Santiago: Editorial Zig-Zag, 1968). In 1974, he immigrated to Canada, shortly after General Augusto Pinochet's military coup against the socialist government of Salvador Allende. Master of Arts (Spanish Literature) from Queen's University, Kingston, Canada, with a thesis on Vicente Huidobro's Altazor. Has taught literature and translation at Queen's University, University of Western Ontario and University of Ottawa. In a collective effort with other Chilean writers in exile, founded Ediciones Cordillera in Ottawa, Canada, a publishing house that produced several books by Chilean writers between 1978-1997. Eduardo Anguita, a well known and influential Chilean author and literary critic, included him in his Nueva Antolog de poes castellana (Santiago: Editorial Universitaria, 1981); was also included in Antología de poesía chilena contemporánea (Santiago: Editorial Zig-Zag, 1984. Arteche, Scarpa, Massone Eds.). In 1985, published Tequila Sunrise (Ottawa: Ediciones Cordillera, 1985) a book of poetry. Also, his poems have appeared in other anthologies and journals from Chile, Canada, Germany and other countries. He has lectured on Latin American literature, poetry and translation (Kaddish by Allen Ginsberg) at several symposia and professional meetings in Canada and the United States. His latest book, The Sun Never Sets is published by Antares in Toronto

Paulette Turcotte's comment, September 12, 2013 3:44 AM
these poems were previously published in London Open Mic Poetry Night blog.
Paulette Turcotte's comment, September 19, 2013 1:35 AM
you are more than welcome, Heather.
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Gneiss Press - John C. Goodman

Gneiss Press - John C. Goodman | avant-garde poetry | Scoop.it
Gneiss Press - John C. Goodman - Gneiss Press publishes both ebooks and print books.

excerpts from John C. Goodman's Naked Beauty



excerpts from 'naked beauty'


Two airplanes crashing in mid-flight

Someone is searching for Claire
            looking under postage stamps
            and examining the dust in corners

when the nausea comes
            like fields of bluebells in the spring

is the way it iswaswillbe
forever and forever all men

“,,,if I had to be stabbed with a dull knife, I would want you to do it, for you have studied 
            the technique so diligently,,,”

horizons unfold
            like paper birds
their wings wet with rain

The beauty of a dead cat
            silhouetted against the effluence of spring
wet fur matted
            lips pulled back from pointed teeth
            eyes eaten away by ants
                        dark holes ringed with dried blood
the body twisted in sensuous repose
the belly distended like a pregnant girl
the forepaws spread in amorous greeting
            a welcome to eternity

            (horizons are emptinesses)

Someone is searching for Claire
            behind sofas
            under carpets
            in the backs of cupboards and the forgotten spaces between bookcases
            through cracks in lives where the love leaks out
spilling down glittering gutters
the seduction of decay

Life is swimming in the middle of the ocean
            far from any shore
            ringed by sharks, fighting the undertow
            riding the swells up and down
            head above water
            until exhaustion overcomes
            and faintly flailing
“I tasted tears at the back of my throat,” Rebecca said.

and the lumbering behemoth
            opens its jaws at last 

Someone is looking for Claire
            beneath the wheels of wrecked automobiles
            interleaved with the clauses of lapsed insurance policies
            in codas of sad songs

horizons bear the weight
            of freedom

                        and failure

disappearing over this shoulder
            or that
futures unseen dripping
            from the bells of blue flowers

dissolution claiming everything in the end
the solution to the green emergence unfolding leaves in pale spring

“If love could solve anything, it would have done so by now.”

Someone is searching for Claire
            in places she never was

the precept of all that is known
circles and revolves
with the swiftness of silence




…Out! Out! Brief candle!

the sea is an abstraction
            a muddy sketch of colour and form

what are you doing here?
            “becoming a stranger to myself. –


a mind of cinders and ash

“travelled a long road [I] [have]
from dungeon to grave

making landfall

that’s where danger dwells:
in the transition from one element to another
in the pounding of waves on insensate rocks
the rolling of breakers on dreams and shores and beaches and histories of myths and desires and legends and tales of identities and vertebrae and longing and isolation and frustration and failure and hearts broken and darkness and death and 


“sought my deliverance [I?] [have?]
in the space between here and there

            (there is no space
            only spaciousness)

“meaning coated my shoulders like beads of mist **
( colour/text//colour///text////colour/////texture )
)          of    of          of       of            of             (

there’s no controlling the waves
they come as they please and go

sometimes tickly bubbly froth
sometimes heavy as moods
tossing boats like angry words

there’s no control
            it’s out of control!
            [i*t’s !o}}u^t o&f c999((()))ontr++==ol!
falling falling falling
the freedom of g;sallpo sprw;lthos
the many who went before
            epp fof yjr ffrrf yjr esrtr yp;f
            just the frop lurp


there’s no stopping it
no stopping time
it keeps coming on like a bad mood
pushing us ever further into the abstraction
            of future becoming present
            of what never was becoming our reality
            of w%oo00 @ast)))((( $Wpol…

to colour (vt): the state of being perceived
[I am colour][we are colour][they are colour]

that’s where danger lies
            in the transition of moments
            bringing the unexpected
            into the border between past and future
            the no man’s land of our existence

“Out of nothing I came, to nothing I will return.”


to nothing (vt): the state of remaining a victim of circumstance.

I am nothing [he is nothing] she is nothing [we are nothing]
      they are nothing [there is nothing] nothing is nothing

“Oh set my sail for distant shores [I] [have]
            the sea is a wide rough moment
            between coastlines of the past
            and wreckage of the future


where one can be a stranger to oneself
and no one the wiser



Paulette Turcotte's insight:

available from Blue & Yellow Dog Press


In John C. Goodman's oscillating, never still anti-tableau of shifting visions "horizons unfold/like paper birds." Constantly observant among glints of experience and language inserted into and evolving out of the italicized "I" of these poems, it seems the transient focus of "naked beauty" exists in flux (what the poet himself calls "stream of experience") even as life proceeds on a ravishing scale "looking under postage stamps." Anywhere word glitters against word, image against image, each apt metaphor more penultimate than the last. We experience the moment and move on, dazzled, exhilerated, perpetually standing at the threshold of a glad new existence. Goodman is surpassed by none when it comes to epiphanic indulgences. He succors the pathos of the "I" of the self accusatory, the joke of the self deprecating, as though life (much like these poems) was painted in swift impasto and never forgotten.

                                                                                   - Raymond Farr, author of ECSTATIC/.of facts - Raymon Farr (Otoliths)

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John C. Goodman is a Canadian writer and Pushcart Prize nominee.

John C. Goodman is a Canadian writer and Pushcart Prize nominee. | avant-garde poetry | Scoop.it
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Canadian Poet, John C Goodman

Canadian Poet, John C Goodman | avant-garde poetry | Scoop.it
Canadian poetry, alternative, avant garde, abstract, surreal, non-linear, experimental, innovative.


John C. Goodman has published two collections of poetry, Naked Beauty (Blue & Yellow Dog Press) and The Shepherd’s Elegy (Knives, Forks and Spoons Press) as well as a novel, Talking to Wendigo (Turnstone Press), which was short-listed for an Arthur Ellis Award. He also authored the non-fiction book,Poetry: Tools & Techniques (Gneiss Press). His short fiction, poems and essays have appeared in The Fiddlehead; Otoliths; experiment-o; BlazeVOX; Istanbul Literary Review, Indefinite Space and numerous other magazines and print anthologies. John lives in the Gulf Islands, BC, Canada.

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UNEASY RIDER by Diane Wakoski

poem by Diane Wakaski


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Uneasy Rider

By Diane Wakoski b. 1937 Diane Wakoski

Falling in love with a mustacheis like sayingyou can fall in love withthe way a man polishes his shoes                which,                of course,                is one of the things that turns on                   my tuned-up engine
                those trim buckled boots
                (I feel like an advertisement                   for men’s fashions                when I think of your ankles)
Yeats was hung up with a girl’s beautiful face   
and I find myself
a bad moralist,
a failing aesthetician,
a sad poet,
wanting to touch your arms and feel the muscles   that make a man’s body have so much substance,   that makes a womanlean and yearn in that directionthat makes her melt/ she is a rainy day   in your presencethe pool of wax under a burning candle   the foam from a waterfall
You are more beautiful than any Harley-Davidson   She is the rain,waits in it for you,finds blood spotting her legsfrom the long ride. Share this text ...? Twitter Pinterest

Diane Wakoski, “Uneasy Rider” from The Motorcycle Betrayal Poems (New York: Simon & Schuster, 1971). Copyright © 1971 by Diane Wakoski.

the Poetry Foundation

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Anne Waldman -- "Allegorical Baraka"

Anne Waldman reads "Allegorical Baraka" at the 2014 Split This Rock Poetry Festival: Poems of Provocation & Witness, March 28, 2014 at the National Geographi...
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Amiri Baraka: Poet on fire (1934-2014) - San Francisco Bay View

Amiri Baraka: Poet on fire (1934-2014) - San Francisco Bay View | avant-garde poetry | Scoop.it
Amiri Baraka: Poet on fire (1934-2014)
San Francisco Bay View
But Baraka posed an intriguing figure, for he radiated both love and rage, funneled through his poems, which pulsated with revolutionary fire.
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The Inscrutable Brilliance of Anne Carson

The Inscrutable Brilliance of Anne Carson | avant-garde poetry | Scoop.it
Is she a poet? No one quite knows for sure.

Via Gillian Prew
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Brought to a Boil: An Essay on Experimental Poetry — Contrary Blog

Brought to a Boil: An Essay on Experimental Poetry — Contrary Blog | avant-garde poetry | Scoop.it
“All poetry is experimental poetry.” ~ Wallace Stevens Turning words into art is unnatural. It begins with a contrary attitude. It says, I am unhappy with the way things are and desire to make things different. Rather than represent the […]
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thanks to David Alm and John Olson


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Erik Martínez Richards: Tequila Sunrise.

Erik Martínez Richards: Tequila Sunrise. | avant-garde poetry | Scoop.it


Hace treinta y siete años, en 1968, irrumpió en Chile un nuevo y pequeño grupo de poetas (cuatro para ser exactos), expresamente en una antología de la revista Orfeo, bajo el título 33 nombres claves de la actual poesía chilena. Este grupo impetuosamente pretendía, ni más ni menos, reemplazar y desmitificar la poesía vigente en ese entonces, a la que ellos veían como un ejercicio despojado de audacia y entregado a un letargo literario que era necesario reemplazar por una poesía nueva. Me refiero a la Escuela de Santiago. Formada por Naín Nómez, Julio Piñones, Jorge Etcheverry y Erik Martínez, este grupo de vanguardia buscaba una re-fundación de América a través de la imaginación y la revolución. Querían, con una poesía insumisa y subversiva que crecía a la "sombra de las ciudades" hacer del hombre, un ente con una capacidad mental de observar el destino que se abría al futuro, de la mano de sus propias convicciones.

Estos cuatro poetas, que hicieron de seleccionadores para esa antología de Orfeo, aparecieron en la revista mencionada con personajes ilustres de la poesía vanguardista de Chile como Rosamel del Valle, Humberto Díaz Casanueva, Teófilo Cid, Braulio Arenas y otros grandes de las letras nacionales como Enrique Lihn, Gonzalo Rojas, Jorge Teillier y otros. También aparece en aquella antología un poeta con el cual ellos no tenían afinidad alguna en aquel momento y a quien posteriormente respetarían grandemente, Nicanor Parra. La antología no incluyó a Neruda ni Huidobro, ni Mistral ni de Rockha lo que les trajo una serie de problemas con la crítica de entonces.


Estos jóvenes poetas se centraron en preceptos de la vanguardia intentando que una sociedad cerrada se abriera a perspectivas amplias dentro de la literatura y que fueran capaces de ver las distintas realidades, forzando al status quo a cuestionar su moral y sus creencias, tratando así cambiar, como dijimos, el panorama literario imperante.

Toda esta fuerza creativa en ciernes de estos jóvenes poetas, fue expugnada en septiembre de 1973 y la Escuela de Santiago tuvo que continuar en otra latitud (Canadá) sus quehaceres creativos. Así, Chile fue privado de conocer y sacar ventajas, por así decir, de este movimiento literario. Tengo completa certeza de que si estos poetas hubieran podido quedarse en Chile después del golpe de estado, dada sus proposiciones y actitudes de ruptura, se hubieran convertido en los referentes de las generaciones de poetas jóvenes que aparecieron hacia fines de los 70 y durante los 80 a lo largo del país. Por lo menos creo que el panorama de la poesía chilena actual sería bastante distinto. En todo caso, tuvimos suerte quienes de cerca pudimos conocer estos poetas y quizá de algún modo reconocer cierta influencia de ellos en nuestros trabajos. Quizá ese sea el mejor homenaje que se les pueda hacer, eso está por verse.

Uno de los poetas de ese grupo, como ya mencionamos, es Erik Martínez, quien publicó en 1985, Tequila Sunrise que presentamos aquí y que es uno de los libros claves de la poesía chilena producida en Canadá (bueno sería también que lo fuera en Chile) junto al libro de Jorge Etcheverry, El evasionista y otro libro producido por otro poeta chileno en Ottawa. 

for full text and Erik's poetry, click link above
(in Spanish)



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The Modern in Chilean Poetry: An Interview with William Allegrezza

The Modern in Chilean Poetry: An Interview with William Allegrezza | avant-garde poetry | Scoop.it
William Allegrezza edits the e-zine Moria. He has previously published many poetry books, including In the Weaver’s Valley, Ladders in July, Fragile Replacements, Collective Instant, Aquinas and th...
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New Hall Art Collection - Women Artists In and Out of Russia in the 21st Century

New Hall Art Collection - Women Artists In and Out of Russia in the 21st Century | avant-garde poetry | Scoop.it

Classic Walpurgis Night 1 - Olga Tobreluts 


Since the very beginning of the Modern Movement, in the early years of the 20th century, Russia has been famous for the creativity of its female  artists.  The names of Natalia Goncharova, Alexandra Exter, Liubov  Popova and Zinaida Serebriakova continue to resonate and the most famous  sculpture produced by the Soviet regime, Worker and Kolkhoz Girl, is also the work of a woman - Vera Mukhina.


Our upcoming exhibition will feature work by artists living in Russia  itself, in Britain, and in Western Europe.  This is in step with the  fact that Russian Modernists of all generations have tended to be  nomadic, while never losing touch with their own cultural traditions.   It throws new light on the way in which Russian art has been developing  in the post-Soviet epoch.  The exhibition is curated by Sergei Reviakin  and Edward Lucie-Smith.


Always in the Vanguard - Women Artists In and Out of Russia in the 21st Century

02 November 2013 – 30 November 2013

The New Hall Art Collection, Cambridge, UK

Via Caroline Claeys
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