[30]

[30]
by john lowther
that his
silence,
seems to be
lifelong
characterized
was just falling
up in
opportunity to
that might
once led
the
Above all the
fight with
it would appear
the same
evening
recalled,
could
argue with.
‘Cela ne pas d’impor-
rarely
[31]
BEAUTY WITHOUT TOO
steps with the cool
refusal of still-
replaces TORTURE
erasure and gum-
sculpture-morte.
Philologi-
-at the foot of the let-
“Lits et rature”
[32]
point again to
food notes
Duchamp uses
la langue verte and saucy
insistence on the
sculpture-
seen through capital let-
scripted in lower-
faux pas against the back-
Dead Christ
seen from an un-
notion of
His refer-
the imprint as em-
to that of others.
trace against the
sands of language
to create
his
returns
in a second
the now insuffer-
relies on the ab-
of pun, pain,
difference in lan-

0 thoughts on “[30]

  1. I wish I had time to give this a thorough reading, because it seems to deserve it. I want to examine the significance of the abrupt endings, look for patterns, find out what the poet’s getting at, or developing. I suspect there’s more here than a cursory reading reveals. The fractured syntax is effective, but I don’t have time to figure out why. Hopefully quasimofo, or someone else, will take a shot at it. Qu’est-ce que on lis et rature? ou est-ce que “les lits”?

  2. well, I have patience but lack time. I took another long look anyway. I’m beginning to think its more of a semi-random assemblages of phrases cut off at the feet and made to appear meaningful. Or not. It’s still interesting but I’m probably done puzzling over it.

  3. The poem is a commentary, I believe, on Marcel Duchamp and his life/artwork. The title, “30” and then subheadings within poem ’31’ and ’32’ (with poetic commentary) could refer to works 30-32 at perhaps the Philadelphia Museum which has 40 of Duchamp’s pieces; or 30-32 could refer to his age and what was going on with him in his world at these ages.
    Yeah, poem strikes me as being a bit academic (possibly very esoteric?) [yet something you would probably find in ‘The Best Poetry of 2007’ edited by Billy Collins or some such]… ..Not to be critical, hell, I get real academic at times. Still, it was fascinating to read…i figured out most of the unfinished words. it was deep and thoughtful. I think you owe Misener a frapucino and massage though…
    Marcel Duchamp 1887-1968
    SELECTED WORKS
    Marcel Duchamp, French Dada artist, whose small but controversial output exerted a strong influence on the development of 20th-century avant-garde art. Born on July 28, 1887, in Blainville, brother of the artist Raymond Duchamp-Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. After producing several canvases in the current mode of Fauvism, he turned toward experimentation and the avant-garde, producing his most famous work, Nude Descending a Staircase, No. 2 (Philadelphia Museum of Art) in 1912; portraying continuous movement through a chain of overlapping cubistic figures, the painting caused a furor at New York City’s famous Armory Show in 1913.
    He painted very little after 1915, although he continued until 1923 to work on his masterpiece, The Bride Stripped Bare by Her Bachelors, Even (1923, Philadelphia Museum of Art), an abstract work, also known as The Large Glass, composed in oil and wire on glass, that was enthusiastically received by the surrealists.
    In sculpture, Duchamp pioneered two of the main innovations of the 20th century kinetic art and ready-made art. His “ready-mades” consisted simply of everyday objects, such as a urinal and a bottle rack. His Bicycle Wheel (1913, original lost; 3rd version, 1951, Museum of Modern Art, New York City), an early example of kinetic art, was mounted on a kitchen stool.
    After his short creative period, Duchamp was content to let others develop the themes he had originated; his pervasive influence was crucial to the development of surrealism, Dada, and pop art.
    Duchamp became an American citizen in 1955. He died in Paris on October 1, 1968.

  4. I knew I could count on you mofo. I thought about the Duchamp angle and finally assumed the poem was an inspired assemblage of found phrases – mirroring Duchamp’s own creative arc. Unlike you, though, I didn’t feel like doing the research.

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