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how do we persist week to week shifting the order of syllables on the page expecting a different outcome each time and by the next month to discover that red has always been underneath and that the king of Hades imminent with his upturned scepter and echo making both trees and waves to quake how do we come out of this margin into the full display of language?
Ivan Argüelles, Orphic Cantos (2014)
he has devoured the wind and it is bloated with the wolf, fire will the first stage of the paragram above the oven may be humorously applicable but this wonders two simultaneous inferences, fleece not fierce but understanding udder to saturnine bladder, Saturnalia and utterance, time coerced in the mountainous itinerary a supple existence of thought their minds so ultimately otic as to contain the singing taint of one, the ludic dendrite's vital scree, also a paragraph on the opulence of the secret fire, fervid carrion kindred of the bellows, below the montane minerals a filial sap substance, some sapient vegetable heresy should not gargoyle the body as an array of wolves, mind the viaduct of the King, driven by archival theomachy, sieve this scion of the structure.
Jim Leftwich, Doubt (2000)
So it seems to me that what has been there, so-called Language Poetry, got the centre stage because it was safe, it involved a celebration of consciousness without any of the messy, spiritual stuff which usually accompanies that venue. [ . . . ] I mean, it's amazing how an invented style, as Lang[guage] Po[etry] was invented, can be proposed and run through an entire gamut of acquisitions and disarmaments to become ensconced in the academy in less than 20 years, is suspect to say the least; it smacks of manipulation. However, it just, uh, happened... it was all that could get through, this dry, non-musical, definitely non-sappy stuff. It makes you feel like your skin is covered with words, you almost want to wash them off. I write the disjunkt with an uncommon fervour, it's easy and fun, it's a head trip, it sometimes carries the force of intense personal experience, and to an extent, it's the way I started writing when I got loose of the trial and error of imitation and flattery which characterises beginning writing. ... And carrying without music or what's called prosody, technical practices exiled without ceremony, the celebratory and hypnotic trance-dance only language can create effaced to a set of simpler operations which held the creation of trance states to be somewhat illegitimate: nonetheless, the sustaining of the disjunkt into a major style is a little like making schizophrenia legal, and haven't we?
Thomas L. Taylor, Diction: Style is Psychoactive (c. 1995).
But since poetry no longer serves to inhabit the territory it once described, it falls to criticism to imply a content which can surface elsewhere. Poetry abdicated its realm in favour of plainsong and plainspeech, interrupted prose which recalls the monologic muttering of the solitary animal, not exultant songs of praise and triumph from the victor over personal darkness.
Thomas L. Taylor, After Booze (1986).
Life without memory is life without fear, only it is non-moral.
Thomas L. Taylor, After Booze (1986).
It would be enough to have a picture be itself, a picture; how one addresses himself to it is the event of the work, what one remembers about the interruption of looking: the vocabulary we use to indicate that I was doing something else before I started to think about what I am doing now, like preliminary stages of attraction just before the notion of contact and its pleasure of release comes to consciousness, though it is fixated attention that teaches me that, and repetition which makes the act finer. So making love is analogous to something else, and that is what this is all about.
Thomas L. Taylor, A Style is also a Behavior (1972).
The laws of rhetoric themselves descend from some aspiration of being to the precise. They are formulae in whom the tense 'a style is also a behaviour' rules. Without compromising energy, the abstractions of syntax present themselves to a constructive intelligence as ciphers of movement, counters which can be moved, elongated or reduced according to their plasticity though one is always standing back from the act itself, in control of his relation to the material process.
Thomas L. Taylor, A Style is also a Behavior (1972).
Style, then, is an attraction of self toward the composition, and engagement of being which is composition. A style is the measure of the person, behind which nothing is invisible, just as the person is visible to the passerby on the street in a single glance. In his totality, he is seen.
Thomas L. Taylor, A Style is also a Behavior (1972).
