Lots of people I know are currently in Tucson at the Conceptual Poetry Conference. Kenneth Goldsmith is blogging for Harriet (at the Poetry Foundation) and gives us fresh accounts of papers and other doings in Tucson. Today he writes about Marjorie Perloff's keynote speech in which 21st-century century avant-garde poetics is shaped by and of course itself evinces the new transnational and global culture of the internet. Along the way she describes Language Poetry as the "period style of the 1980s" - not meaning anything particularly negative about the phrase, I assume from what Goldsmith writes.
Friday, May 30, 2008
language, period style of the 80s
Lots of people I know are currently in Tucson at the Conceptual Poetry Conference. Kenneth Goldsmith is blogging for Harriet (at the Poetry Foundation) and gives us fresh accounts of papers and other doings in Tucson. Today he writes about Marjorie Perloff's keynote speech in which 21st-century century avant-garde poetics is shaped by and of course itself evinces the new transnational and global culture of the internet. Along the way she describes Language Poetry as the "period style of the 1980s" - not meaning anything particularly negative about the phrase, I assume from what Goldsmith writes.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
