Will this dubious po-biz hustle one day be a thing of the past?
Get used to this name: Anis Shivani.
Anis Shivani stirs the poetry pot like no one else these days, and bad news for foets: he’s coming after you. In a comment beneath his recent Huffington Post article on how poetry contests ought to be done away with, Shivani writes:
After publishing this article, I was happy to be contacted by Al Cordle, who ran the Foetry.com website in the mid-2000s (see info. about Foetry’s exposure of rigged contests here: http://en.wikipedia.org/wiki/Foetry.com). Al suggests pursuing legal action against demonstrably corrupt contests where a relationship between a judge and a contest winner can be shown. I think this is an excellent idea, and maybe the only way to bring down the contest model, delegitimize it, and replace it with a better alternative. Aggrieved poets who know of clear conflicts of interest or improper means of selection should consider pursuing for damages through legal means. I’m all for it.
Meanwhile, still waiting for a direct response from Brian Turner and Lory Bedikian as to whether there was a prior relationship/friendship/connection of some sort which helped Lory become the winner of the contest, despite the fact that both judge and winner attended the same MFA program at Oregon, when entries must have been received from all over the country.
—Anis Shivani, Huffington Post
Why is Foetry.com still making itself felt in po-biz after Alan Cordle’s site closed four years ago? The front page story in the Chronicle of Higher Education, the Stephen Burt hit piece in the Boston Globe, the Joan Houlihan attack in Poets & Writers have apparently made Foetry famous forever.
Foetry is an attractive theory because in a poetry world of crackpot theory—a legacy of Modernism’s clique-y, reactionary, manifesto-ist, post-war takeover of the university (think: Ezra Pound, a core of associates, and their associates)—Foetry effectively reifies a number of tropes at once, bringing persons back into the poetry mix in an accessible post-Romantic manner. “Naming names” was Cordle’s cry on the old Foetry.com, and this is what makes Foetry so volatile (and exciting): it may have begun as Cordle asking poetry contest moderators to play fair, and, in many ways, Foetry.com was simply a consumer protection site causing cheaters to howl; but a serendipitous expansion has occured in which Foetry is coming to stand for an explanation of all aspects of poetry, if not for life itself.
What is foetry? Foetry is not just a noun, but a verb: it refers to a whole range of things which persons, on behalf of poetry, do. Foets are poets who are foes of poetry in various ways, insidious foes of poetry because they appear to be friends of poetry, chiefly acting in the paradoxical manner of either making poetry more expensive, and because of this, cheapening it, or cheapening it, and thus making it rare.
There are two basic kinds of Foets: the social kind, who secretly pick their friends in public poetry contests, and the theoretical kind: the windbag theorist who makes poetry more “difficult” and ends up making poetry an elaborate game for simpletons.
Foetry is more concerned with persons than poets or poetry, but then every theory on poetry is a sly attempt by the theorist to stack the deck in his or her favor: please read poetry the way I write it. But since Foetry is concerned with sly behavior in a reified manner to begin with, it ends up self-reflexively hitting the jackpot of a method that historically, socially, and psychologically is able to see through the rubbish of post-modernist, theoretical over-kill, to arrive at inclusive, grounded, practical answers to what poets as human beings are doing.
Read Scarriet, the sudden, inspired brain-child of Alan Cordle. Watch and learn. Monday Love of Foetry.com is now Thomas Brady.
Censorship, bullying and banning by Blog Harriet produced Scarriet.
Former Scarriet editor Christopher Woodman’s pocket was being picked by Tupelo Press when he read about the scam in Foetry.com.
Woodman ditched Scarriet a year ago because he could not stomach attacks by his Scarriet co-editor on Red Wheel Barrow modernism. Woodman has a weak stomach. He ate too much fallen High Modernist fruit. He got high on High Modernism and lost his way. But the point isn’t whether you like the Red Wheel Barrow or not—it’s whether you can handle criticism.
Poetry is not a lame feel-good exercise. You may find things you like in poetry, but poetry itself is not a feel-good exercise. The coterie-mind thinks: “you are a poet, so you must be my friend.!” The coterie-mind sucks Criticism out of poetry. The most boring (and most tyrannical) people are those who won’t accept Criticism. Development requires Criticism. The world needs Criticism—not censorship.
If Foetry can be summed up as a philosophy it might be this way: Art is not an object, poetry is not a text; art and poetry are what people do to each other in the widest sense.
Brian Turner and Lory Bedikian, what do you think?