Alcheringa, Autumn 1972, vol.1 no. 4   

Edition Year Editors Pages Download
Volume One, Issue Four Autumn, 1972 Dennis Tedlock & Jerome Rothenberg 124 PDF, 3.8 MB
    Assistant Editors: Ed Friedman & Barbara Tedlock
  Contributing Editors: David Antin, Kofi Awoonor, Ulli Beier,
  Stanley Diamond, Harris Lenowitz, Dell Hymes, David P. McAllester,
  Simon Ortiz, Gary Snyder, Nathaniel Tarn
   

ISSUE INDEX
IMAGE 100 OF 100






RECORD INSERT

 

Side 1, MP3, 4.5 MB  
Reverend W.T. Goodwin, from Easter Sunrise Sermon, 1971, John's Island, S.C., recorded by Peter Gold and Henrietta Yurchenco

Side 2, MP3, 9 MB  
Jackson Mac Low, from Stanzas for Iris Lezak, simultaneous performance by David Antin, Spencer Holst, Iris Lezak, Jackson Mac Low, Mordecai Mark Mac Low, Jerome Rothenberg, and Emmett Williams, recorded May 20, 1966 for WRVR, N.Y.
 




From POETRY, CHANCE, SILENCE, &c.

(A Statement by Jackson Mac Low in the "New York issue" of Nomad magazine, 1962)


Poems in which meaning & connections are left entirely (or for the most part) unspecified, in which appearances & concatenations of words happen because of an objective chance-operational method, not thru the immediate choice of the poet (intuitional or rational), — such poems are not vehicles merely of the vision of the individual poet but constructions or event-series which allow each reader or hearer to be visionary himself rather than the passive receiver of the poet's vision. Confronted by this kind of poem, the sympathetic reader or hearer (& the poet himself as he watches the product of his chance-operational actions appear) addresses his attention primarily to each word or series of words as it happens, without attempting consciously to find meanings beyond those obviously belonging to the words themselves, or to connect the words more than they are already connected. Nevertheless, some layer of his mind will be, to some extent, providing meanings & connections of which he may be dimly aware. (Or he may be quite aware of them.) In this way, poem & audience interpenetrate with a minimum of interference by the poet, whose own action consists of inventing the chance-operational system used, making what choices are necessary to initiate its actions, & carrying thru the actions required by it to produce the poem. In this situation one may say that the poet, & the word-sources, the audience & the world (as chance in action & as environment) are transparently & unobstructedly interpenetrating.