By News & Resources Editor Martin Elwell. Send me your found poetry news.
On Friday, Kenneth Goldsmith read a piece he titled “The Body of Michael Brown,” crafted from the content of the Michael Brown autopsy document. The reading brought about strong reactions and questions about the appropriation of the suffering of people of color for publication and personal gain. The discussion is ongoing on Twitter. Also, Kenneth Goldsmith wrote about the reading on his Facebook page, and many responded in line.
In his recent article for The New Yorker, Kenneth Goldsmith discussed how the Internet has moved from a disrupting factor in poetry to a more organic part of the genre. He describes an A-temporal poetry, where “historical styles are the literary equivalent of Instagram filters” for poets working with found language in the digital age.
Last year, the British poet Harry Burke assembled an anthology of post-Internet poetry called “I Love Roses When They’re Past Their Best.” In his introduction, Burke writes that his collection “attempts to look beyond fetishising the digital age and its ‘revolution,’ instead seeing what’s occurring now as a careful and important negotiation with what has gone before; a reworking rather than a rupture.” That rupture, now nearly two decades old, is no longer interesting to younger poets, it seems, most of whom never knew life without the Web. Instead, it’s the mining, massaging, and reworking of found online texts into something personal that appears to be fuelling some of the more adventurous poetry being written today.
There are so few words in comic books that it would seem challenging to create art by applying the erasure technique to a comic book’s content. But what if instead of erasing the words, you erased the characters? City Strips, a London-based zine, did just that when it featured a piece titled “All Action Architecture From Some of The Most Read Cities of Fiction Earth.”
The zines are 32 pages-each collections of spreads from famous comics series such as “The Amazing Spiderman”, “The Superman”, “The Incredible Hulk” and “The Batman”, featuring notable architectures from the original comics and with all characters deleted . The result, defined as: “all action architecture from some of the most read cities of fiction earth“, is a sort of postcard tour across imaginary and desolate territories, or rather, an Archigram of sort publication, without colours and utopian overtones.