Age of Huts (Compleat) (New California Poetry Series, Volume 21)
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Between the Age of Innocence and the Age of Experience comes The Age of Huts. This book brings together for the first time all of the poems in Ron Silliman's Age of Huts cycle, including Ketjak, Sunset Debris, The Chinese Notebook, and 2197, as well as two key satellite texts, Sitting Up, Standing, Taking Steps, and BART. Each poem offers a radically different approach toward using language to explore the world. One of the founding works of Language Poetry, The Age of Huts is about everything, more or less literally, as each sentence, even each phrase, embarks on its own narrative, linking together to form a large polyphonic investigation of contemporary life. From Ketjak, one of the first poems to employ "the new sentence," to 2197, a serial work that scrambles the vocabulary and grammar of its sentences, The Age of Huts questions everything we have known about poetry in order to see the world anew.
next table, over coffee, discuss power relations of their home. Each ear pierced in four places. Question of sexuality. The flag. I told him I was tired, bored by sense of his misuse, my voice the line drawn. Log fort. As map could extend beyond the margin. Revolving door. Splinters or slivers, sofa or couch. Clear lake. The east is red, the west is ready. Over farm fields in a hang glider. Memories of underdevelopment. Finally, there was nothing to turn you aside, the crowd’s bustle as tho at
riding away. Alter the order of prints on the wall, inexpensive reproduction. A treasure of trash. This stone is thinking about Vienna. Interest in exact sequence, dating, calendars, chronology, clocks, time wages, time graphs, time as used in physics, annals, histories, the historical attitude, interest in the past, attitudes of introjection toward past periods. Throb in the wrist or knee joint. Wide range of ideation in practice. Quadruplicity drinks procrastination. History is the confidence
toenail, a radio on a mantel one had forgotten to think of, a flashlight. Videography. Would pour pigment directly on canvas, then manipulate that. Weight of sleep still heavy in flesh of face. Interest is something you impose. It may be a form of semiotic analysis, whose validity does not depend solely on the multipermutations of application but on the interrelated observance of the field of propositional formats. Endless possibility, drifting from campus to campus, hanging out. Never fear,
it a social base as extensive as possible among the people, a struggle against 88 K etja k the dictatorship on all levels, a struggle for proletarian revolution. Would play a piano on the beach. A series having no beginning and no end as its condition of form. Sentences do not designate. Transmutations and sublimations of content are creative processes toward the containment of larger wholes of experience, radically different in their preservation of elements and forces at work in the
oppressor. Rain as form, as loss of form. How do people catch the bus. Tense of time. Remorseful, its all the progressions. Cells sickling the sky of the here. Responsibilities you neglect. Glare is the dark edge. Across a language with a sense data. A specific same, windowpane, reserved for the all. A system as loud and nervous as the head. How long does it, did it, take to read this page, this then that, this. 2197 187