[Wgcp-whc] Welish Poems now available

Richard Deming richard.deming at yale.edu
Thu Sep 10 09:22:10 EDT 2009


Comrades--


Our first meeting is Friday the 18th and all, as ever, are welcome.   
The session is from 3-5 in Rm 116 of the Whitney Humanities Center.  
But let me also take a moment to say we have a blog: http://wgcp.wordpress.com/
Coming soon: the WGCP twitter feed!


Photocopies of Marjorie are now available on the bookshelves (across  
from the door) in Rm. 116 of the Whitney Humanities Center.  These are  
free to anyone who believes that they can make one if not both  
upcoming sessions devoted to her work.

But since we're also interested in poetics, I'll offer some links to  
Welish's essays and articles to help contextualize her thinking.

Here is a piece about her interest in poetry and painting and how she  
moves between the two practices.
http://www.asu.edu/pipercwcenter/how2journal/archive/online_archive/v2_1_2003/current/in_conference/resisting-type/welish.htm

Also, here is a link to a piece Welish has written on Barbara Guest.   
Given that Guest was also writing in the vein of the "abstract lyric"  
and was also deeply invested in painting, Welish's piece offers  
insight into her own work as well.
http://jacketmagazine.com/36/guest-welish.shtml

And here is a link to pages from a recent artist book collaboration  
that Welish has done with the artist James Siena entitled Oaths?  
Questions?. Given the group's ongoing interest in ways that boundaries  
between genres and disciplines can be blurred, this seems like an  
important piece to look at for our upcoming discussion.
http://www.granarybooks.com/pages.php?which_page=page_details&which_detail=465


About the project, Welish writes:
"With Oaths? Questions? the object is not so much a book as the  
functions of seeing and reading distributed back and forth across  
pages. From the outset the conception was that transparent pages  
interleaved text to be read as legible if unintelligible against the  
opaque pages of art—unintelligible, that is to say, until the reader  
turns the page in the course of  handling the book. To find that what  
was once graphic print is now poetry now to re-focus from seeing to  
reading; to read the poetry is to refocus from the obstructed  
construct of art seen through a verbal screen to language excavated or  
broadcast from the surrounds. The art that is my own, deriving from a  
painting done decades ago, now operates to deform its own grid; the  
poetry considers writing as repetition. But with James Siena as my  
cohort in visual/verbal mischief, the interplay in words and images,  
both by both, is decidedly enriched in the exchange with someone whose  
similarly tactical head-space differs from mine in its moves."

Here is Welish's article on Raymond Queneau:
http://www.bostonreview.net/BR31.4/welish.php

Also here is an interesting brief essay on Welish's work by WGCP  
Fellow Zack Finch:
http://bostonreview.net/BR29.6/finch.php


See everyone on the 18th.

Richard Deming, Co-coordinator

-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://mailman.yale.edu/pipermail/wgcp-whc/attachments/20090910/03f567cb/attachment.html 


More information about the Wgcp-whc mailing list