LET’S TALK ABOUT RACE FOR A MINUTE

Vanessa Place: Art School Cool Forever?

Which of the following four individuals are racist, everything else being equal:

1). A white man who reviles black men and sleeps with black women.

2). A black man who reviles white men and sleeps with white women.

3). A white lesbian who writes on Facebook that we need to carefully listen to people of color and not let our white background get in the way of understanding what people of color experience every day.

4). A black lesbian who writes on Facebook that white people need to listen carefully to people of color and not let their white background get in the way of understanding what people of color experience every day.

The answer is obvious.  You know the answer, don’t you?

The issue of race is complicated—but not.

Poetry is complicated—until a good poet comes along.

The bad is complicated.

The good is not complicated.

Academics have been talking a lot about race lately—and making it sound extremely complicated—even as they try to make it sound extremely simple: white privilege.

A couple of conceptualist poets—Kenneth Goldsmith and Vanessa Place—used racist material for “art” and the “art” remained stubbornly invisible in the Conceptualist manner, leaving the Conceptualist Poets themselves looking a bit—oops!—racist.

Since every revolution has its purists, looking “a bit” racist can get you in a heap of trouble, and now Vanessa Place and Kenneth Goldsmith, once museum-curator-poet cool, are verging on not being cool.

Conceptualism messed with Ferguson and Gone With The Wind and learned the lesson of the dyer’s hand: like Lady Macbeth, Vanessa Place wishes her hand clean again.

Avant-garde poets sympathetic to Conceptualism, like Ron Silliman, have suddenly been reduced to apologetic whimpering re: the once proud 20th century poetry avant-garde which he and his friends represent (male and white…shhhh).

We at Scarriet have been Silliman’s gentle scold and conscience for quite some time.

Now it’s official:

Quietism 1 Conceptualism 0.

Remember Rita Dove versus Marjorie Perloff?  That seems like a minor dust-up in comparison to what’s occurring now. Or was it? Perhaps it is only possible for the scandalous and the wrong to exist this minute?

The cool-kids-trying-to-be-cool-again are fighting back, of course.

Vanessa Place, who was thrown off a committee because of her insensitivity to racism, may be a beloved martyr tomorrow: who knows?

Her defenders will say: Her hand is not clean, but no one’s is.  Nothing is clean.

We said the complicated is bad, and the simple is good, so here’s the whole Place controversy as simply as we can put it:

Those attacking Place are anti-Racists.

Place is anti-Pro-Racist.

This is like the early stages of the French Revolution: in the ‘race atmosphere’ which exists now, everyone is potentially a saint or a sinner in the blink of an eye.

The possibilities are endless.

Listening to everyone—especially academic poets—discussing race is amazing: talk about twisting oneself in knots.  “Am I good, or am I being too patronizing?”  “Am I being too honest?” “Shall I speak up? And what shall I say?”

Some just want to talk about art. Art, the concept, is the only umbrella that protects. Conceptualism thinks art is a useless concept, which is why the conceptualists feel unprotected and uncomfortable now.

The wheel is turning.

In Silliman’s latest, “Je Sui Vanessa,” Silliman cracks from the pressure of watching his beloved avant-garde  peeps, Goldsmith and Place, become totally uncool.

Silliman equates those attacking Place with hate crime murderers.

When morals are questioned, discomfort results. When cool is questioned, all hell breaks loose.

This is one of those points in history where you feel yourself moving, even as you are standing still.

 

 

 

 

 

 

SCARRIET’S HOT 100— AS WE RING OUT A WILD 2014!

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Olé, Olena!  No. 4 on the Scarriet Hot 100

1. Claudia Rankine –Seems everyone wanted her to win the National Book Award

2. Louise Gluck –Won the National Book Award. Coming into focus as morbid lyricist

3. Dan Chiasson –Coveted reviewing perch in the glossy pages of the New Yorker

4. Olena K. Davis –Praised by #3 for “Do you know how many men would paykilldie/for me to suck their cock? fuck

5. Terrance Hayes –2014 Best American Poetry Editor for David Lehman’s annual series (since 1988)

6. Patricia Lockwood –Her book, Motherland Fatherland Homelandsexuals made NY Times most notable 2014 book list

7. Rita Dove What was all that fuss about her anthology, again?

8. Henri Cole —Poetry editor part of mass resignation at New Republic

9. Valerie Macon –appointed laureate of North Carolina, resigned due to firestorm because she lacked credentials

10. Helen Vendler –Contributing editor in TNR’s mass exodus

11. Glyn Maxwell –British poet and editor of The Poetry Of Derek Walcott 1948-2013

12. James Booth –author of Philip Larkin: Life, Art, and Love

13. Afaa Michael Weaver  –this spring won the Kingsley Tufts Award: $100,000 dollars

14. Frederick Seidel –Stirred outrage with a strange poem about Ferguson.

15. Clive James –Got into some controversy about racism and sex reviewing Booth’s book on Philip Larkin in the Times

16. William Logan –The honest reviewer is the best critic.

17. Ron Silliman –Elegy & Video-Cut-and-Paste Blog

18. John Ashbery –Perennial BAP poet

19. Cathy Park Hong –Wrote “Fuck the Avant-garde” before Brown/Garner protests: Hong says poetry avant-garde is racist.

20. Philip Nikolayev –Poet, translator, Fulcrum editor, currently touring India as beloved U.S. poetry guest

21. Marilyn Chin –Poet, translator, new book from Norton, currently touring Asia as beloved U.S. poetry guest

22. Daniel Borzutzky –Guest blogger on Poetry Foundation’s Blog Harriet: “We live in an occupied racist police state”

23. Ben Mazer –Brings out Collected Poems of John Crowe Ransom—as po-biz churns with racial indignation

24. Nathaniel Mackey –Headlined poetry reading at Miami Book Fair International.

25. Marjorie Perloff  —Now we get it: the avant-garde is conservative

26. Amy Berkowitz –Wrote on VIDA Web page how everyone has been raped and how we can be safe.

27. Yelena Gluzman –Ugly Duckling editor publishes vol. 3 of annual document of performance practice, Emergency Index

28. Carol Ann Duffy –British poet laureate gave riveting reading in Mass Poetry festival (Salem, MA) this spring

29. P.J. Harvey –Rocker to publish book of poems in 2015—Good luck.  Rock is easier.

30. Christian Nagler –poet in Adjunct Action: “SF Art Institute: faculty are 80% adjunct and have no say in the functioning of the institution”

31. Major Jackson –Wins $25,000 NEA grant.

32. Divya Victor –Her book, Things To Do With Your Mouth, wins CA Conrad’s Sexiest Poetry Award.

33. Kenny Goldsmith  —wears a two-million-ton crown

34. Donald Hall –new book, Essays After Eighty

35. Mary Oliver –new book, Blue Horses: Poems

36. Charles Wright –2015’s U.S. Poet Laureate

37. Stephen Burt –Harvard critic looking for funny stuff other than Flarf and Conceptualism.

38. Vijay Seshadri –2014 Pulitzer in Poetry

39. Ron Smith –The new poet laureate of the great state of Virginia!  North Carolina still waits…

40. Sherman Alexie –the first poet in BAP 2014. It used to be Ammons.

41. Erin Belieu  –Hilarious poem spoofing Seamus Heaney in her new book, Slant Six

42. Robert Pinsky  –has influence, authority and a lisp

43. Billy Collins –Becoming critically irrelevant?

44. Adam Kirsch –Senior Editor and poetry critic, also saying goodbye to TNR

45. Cornelius Eady  –co-founded Cave Canem.

46. Anne Carson –One of those poets one is supposed to like because they’re a little deeper than you…

47. Lucie Brock-Broido  –Emily Dickinson refuses to be channeled

48. Tony Hoagland  –still smarting from that tennis poem

49. Bob Hicok –He’s the new Phil Levine, maybe?

50. Yusef Komunyakaa –Won the Pulitzer Prize for Poetry in 1993

51. Eileen Myles –Just published a novel about her younger days

52. Sharon Olds  –still glowing from her 2013 Pulitzer win, the book showcasing her exploded marriage

53. D.A. Powell –Studied with Vendler at Harvard

54. Cate Marvin –In BAP 2014 and on fire with p.c indignation.

55. Dean Young  –wants to be the best poet ever—in a late 70s Iowa Workshop sort of way

56. Chris HughesTNR owner: “Despite what has been suggested, the vast majority of our staff remain…excited to build a sustainable and strong New Republic that can endure.”

57. Alan Cordle –changed poetry forever with his Foetry.com

58. George Bilgere  –patiently enduring the Collins comparisons

59. William Kulik –the ‘let it all hang out’ prose poem

60. Amy King –Northern Lesbo Elitist

61. Leah Finnegan –Wrote in Gawker of TNR: “White Men Wrong White Man Placed in Charge of White-Man Magazine.”

62. Jorie Graham –Get ready!  Her Collected is coming!

63. David Kirby –“The Kirb” teaches in Florida; a less controversial Hoagland?

64. Don Share –edits the little magazine that prints lousy poetry and has a perfunctory, cut-and-paste blog

65. Paul Lewis –BC prof leading Poe Revisionism movement

66. Robert Montes –His I Don’t Know Do You made NPR’s 2014 book list

67. Cameron Conaway –“beautifully realized and scientifically sound lyrics” which “calls attention to a disease that kills over 627,000 people a year” is how NPR describes Malaria, Poems 

68. Charles Bernstein –He won. Official Verse Culture is dead. (Now only those as smart as Bernstein read poetry)

69. Richard Howard –Did you know his prose poems have been set to music?

70. Harold Bloom  –He has much to say.

71. Camille Paglia  –Still trying to fuse politics and art; almost did it with Sexual Personae

72. Vanessa Place –This conceptualist recently participated in a panel.

73. Michael Bazzett  —You Must Remember This: Poems “a promising first book” says the New Criterion

74. Matthea HarveyIf the Tabloids Are True What Are You? recommended by Poets.Org

75. Peter Gizzi –His Selected Poems published in 2014

76. Mark Bibbins –Poets.Org likes his latest book of poems

77. Les Murray –New Selected Poems is out from FSG

78. Michael Robbins –writes for the Chicago Tribune

79. Stephen Dunn –The Billy Collins school—Lines of Defense is his latest book

80. Robin BeckerTiger Heron—latest book from this poet of the Mary Oliver school

81. Cathy Linh CheSplit is her debut collection; trauma in Vietnam and America

82. John Gallaher –Saw a need to publish Michael Benedikt’s Selected Poems

83. Jennifer Moxley  –Panelist at the Miami Book Fair International

84. Bob Dylan –Is he really going to win the Nobel Prize?

85. Ann Lauterbach  –Discusses her favorite photographs in the winter Paris Review

86. Fanny Howe –Read with Rankine at Miami Book Fair

87. Hannah Gamble –In December Poetry

88. Marianne BoruchCadaver, Speak is called a Poets.Org Standout Book

89. Anthony Madrid  –His new book is called I Am Your Slave Now Do What I Say

90. Robyn SchiffRevolver is not only a Beatles album.

91. Ted GreenwaldA Mammal of Style with Kit Robinson

92. Rachel ZuckerThe Pedestrians is out

93. Dorothea LaskyRome is her fourth book

94. Allan PetersonPrecarious is the new book: “the weed field had been/readying its many damp handkerchiefs/all along.”

95. Adrienne Raphel –“lavender first and by far”

96. Gillian ConoleyPeace is chosen as a Poets.Org Standout Book

97. Barbara Hamby  –“The Kirb” needs to know. She’s not on the list because of him.

98. Katia Kopovich –She coedits Fulcrum with husband Nikolayev.

99. Doc Luben –“14 lines from love letters or suicide notes” a slam poem viewed a lot on YouTube

100. Tracy K. Smith  2012 Pulitzer in Poetry for Life On Mars

IT’S TIME AGAIN FOR…POETRY’S HOT 100!!!!!

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1. Valerie Macon—Credentialing 1, Poetry 0

2. Patricia Lockwood—“Rape Joke” first viral-era poem to go viral?

3. Paul Lewis—Poe scholar brings Poe statue to Boston: The Jingle Man Returneth

4. Marjorie Perloff—Every era needs its Uber-Critic

5. Charles Wright—New Poet Laureate

6. Camille Paglia—Zeitgeist, Firebrand, Sexual Ethics, Gadfly.

7. James Franco—Can Hollywood make poetry cool again?

8. David LehmanBest American Poetry best anthology gathering-place.

9. Richard Blanco—interviewed in Vogue

10. Garrison Keillor—King of Quietism

11. Kenny Goldsmith—We understand some people take him seriously

12. Marilyn Chin—New book, Hard Love Province (Norton)

13. Amy King—Lesbians trying to take over the world!

14. Charles Bernstein—Papers going to Yale

15. Tao Lin—Alt-Lit unravels

16. William Logan—Every era needs the Kick ass Review

17. George Bilgere—Imperial is new; only poet who can out-Collins Collins.

18. Stephen Burt—Harvard’s frenzy of sweet political correctness.

19. Josh Baines—rips apart Alt-Lit on Vice.com

20. Don Share—Steering Poetry Foundation Mother Ship

21. Ron Silliman—Guiding Avant-garde ships through Quietism’s shallows

22. Ben Mazer—Neo-Romantic publishes Collected Ransom, the South’s T.S. Eliot

23. Frank Bidart—Punk Rock Robert Lowell

24. Paul Muldoon—Drives the New Yorker

25. Philip Nikolayev—Bringing back Fulcrum

26. Vanessa Place—Museum performer

27. Casey Rocheteau —Wins a home in Detroit for being a poet!

28. Natasha Trethewey—Bids farewell to the Laureateship

29. Billy Collins—Ashbery with meaning

30. Terrence Hayes—Wins MacArthur

31. Harold Bloom—Anxiety of Flatulence?

32. Mary Oliver—Nature poetry sells?

33. David OrrNew York Times Book Review column

34. Adam Kirsch-New Republic critic

35. Susan Wheeler—“narrative glamour” -John Ashbery

36. Andrew Motion—President of the Campaign to Protect Rural England

37. Khaled Matawa—2014 MacArthur Winner

38. Richard Howard—James Merrill lives!

39. John Ashbery—Old Man Obscurity.

40. Eileen Myles—“always hungry”

41. Mark Doty—Brother of Sharon Olds

42. Rae Armantrout—Silliman is a fan

43. Al Filreis—MOOCS!

44. Anne Carson—“inscrutable brilliance” –NY Times

45. Michael Robbins—The Second Sex (Penguin)

46. C.D. Wright—from the Ozarks

47. Lisa RobertsonChicago Review gave her a special issue

48. Claudia Rankine—Chancellor of the Academy of American Poets

49. CAConradPhilip Seymour Hoffman (were you high when you said this?) is his new book

50. Ariana Reines—“To be a memory to men”

51. Kim Adonizzio—“I want that red dress bad”

52. Frederick Seidel—Nominated for Pulitzer in Poetry

53. Kay Ryan—U.S. Poet Laureate 2008 to 2010

54. Edward HirschThe Living Fire, new and selected

55. Christian Wiman–ex-Poetry editor

56. Cornelius Eady—Nominated for a Pulitzer in Drama

57. Bin Ramke—Georgia Foetry Scandal

58. Jorie Graham—Collected Poems coming this winter

59. Erin Belieu—VIDA vision

60. Forrest Gander—anthropological

61. Amjad Nasser—run in w/Homeland Security

62. Ann Lauterbach—her poetry “goes straight to the elastic, infinite core of time” -John Ashbery

63. Rita Dove—editor, The Penguin Anthology of Twentieth Century American Poetry

64. Sharon Olds—Mark Doty’s sister

65.  Carol Ann Duffy—High powered, story-telling, Brit

66. Robert Archambeau—Rhyme is returning

67. Monica Handme and Nina, Alice James Books

68. Margo Berdeshersky—“understands how eros is a form of intelligence” -Sven Birkerts

69. Shelagh Patterson—“succeeds in forcing students to become critical thinkers” from Rate My Professors

70. Jennifer Bartlett—“this will all be over soon”

71. Lynne Thompson—“Vivaldi versus Jay-Z”

72. Allison Hedge Coke—Editor of Sing: Indigenous Poetry of the Americas

73. Dan Chiasson—Poet and critic who teaches at Wellesley

74. Martin Espada—Teaches poetry at Amherst

75. Gina Myers—“Love Poem To Someone I Do Not Love”

76. Jen Bervin—Poet and visual artist

77. Mary RuefleTrances of the Blast, latest book

78. Mary Hickman—“This is for Ida who doesn’t like poetry but likes this poem”

79. Catherine Wagner—professor of English at Miami University in Ohio

80. Victoria Chang—PEN winner

81. Matthew KlaneYes! Poetry & Performance Series

82. Adam Golaski-Film Forum Press

83. Mathea Harvey—Contributing editor at jubilat and BOMB

84. Amanda Ackerman—UNFO

85. James Tate—Yale Series of Younger Poets winner, 1967

86. Jenny BoullyThe Book of Beginnings and Endings

87. Joyelle McSweeney—professor at Notre Dame

88. William Kulik—the lively prose poem

89. Tamiko Beyer—Raised in Tokyo, lives in Cambridge, MA

90. Julia Bloch-–teaches creative writing at Penn

91. Brent Cunningham—co-founded Hooke Press

92. Richard Wilbur—Won Pulitzer Prize for Poetry in 1957 & 1989

93. Patrick James DunaganRumpus reviewer

94. Matthew Zapruder—Wave Editor

95. David Kirby—“The Kirb” teaches in Florida, uses humor in poetry

96. Alan Cordle—Foetry.com founder

97. Lyn HejinianThe Book of a Thousand Eyes

98. Cole Swensen—Translates from the French

99. Aaron Kunin—Teaches Milton at Pomona

100. Dana WardThis Can’t Be Life

POETRY WILL BE DEAD IN 15 MINUTES: OR, ARE MODERNISTS, PO-MOS, AND FLARFISTS JUST A BUNCH OF ASSHOLES?

Vanessa Place: the Mona Lisa of Flarf?

We never met a Flarfist, but we’re beginning to wonder if Flarf simply belongs to the 20th century avant-garde art & poetry tradition of Asshole-ism.

Paul Fussell (1924-2012), author of The Great War and Modern Memory;  Purple Heart in WW II; PhD, Harvard ’52; essayist who taught at U. Penn, Germany, and London, wrote

Would it be going too far to consider what Modernism derived from the European political atmosphere of its time (I am thinking both of Russia in 1917 and Germany in 1933) as a way of suggesting that Modernism in its way is an artistic refraction of totalitarianism?

In our humble opinion, no, it would not be going too far.  We’re talking T.S. Eliot and Ezra Pound, here, and it goes deeper than just Germany and Russia; British poets (Hulme, Thomas, Brooke) were swept up in male war-mongering before the Great War—Pound associate Ford Madox Ford (who would later rub shoulders with the right-wing Southern Agrarian/New Critics in the US) worked for the War Propaganda Bureau during WW I.

Scarriet has already exposed Modernism as a reactionary Men’s Club that bought low and sold high in the art market.  There was nothing freeing or broadening or insightful or revolutionary happening with the 20th century avant-garde.  It was never about freeing the world of capitalism and Edgar Guest.  It was just mean-spirited snaffling. The shabby treatment of Edna Millay by Hugh Kenner and the Pound circle is just one example.  So let’s look at this interesting quote from Amy King’s recent piece in The Rumpus where she talks about one of the critic Edgar Poe’s favorite topics: cliques.  King calls them ” intentional groups:”

First, let me back up to my graduate school days at SUNY Buffalo. I was naïve. I used to wonder why Susan Howe would declare that she “is not a Language Poet.” I didn’t understand why, in each class I took with Charles Bernstein, a certain core of “po-mo” boys were permitted to dominate discussions every semester while new female students would populate the room’s fringes, dropping away after the first week or so. I didn’t understand how intentional groups premised on exploring poetics intent on engaging politically as the “avant-garde,” presumably to destabilize power, might also be complicit in reifying the overall capitalist structure in the process of their empire building, er, institutionalization.

Not until the Flarf Collective came on the scene did I begin to think a bit more consciously about intentional groups. That is, my gut registered aversion to their private, invite-only email listserv, where some poets I knew abandoned ship with sideways notes of exclusivity and pretension, and others I know and like very much remained. Thanks to the advent of the Internet and numerous poets exploring its use value through various means of engagement, I thought about the similarities of Gary Sullivan heading up a group that was collecting poetic techniques and André Breton gathering his all-male cast of Dada members to compose his manifestos. I realized that, akin to Breton’s aims, the Flarf Collective was formulating a list of techniques and engagements that would ‘liberate’ us from the lyric, as they defined it. They were going to show us the error of our lyrical ways.

When I engaged them on my blog regarding some cursory problematics of exclusive membership, specifically in the case of Jennifer Knox who was not a Flarf Collective member but was before-their-manifestation employing techniques now claimed by Flarf, as were others, I was distractedly schooled on my own susceptibility to falling victim to emotional conditioning via a poem penned for me by Sullivan about my grandma’s labia. I am easily distracted. But I still wondered, since many poets were and continue to respond to the Internet and its impact, why did one group, a Flarf Collective, try to own that?

The similarities, and limitations, of Breton’s Dada-cum-Surrealism are worth a side note here for they speak to the risks of supporting and advancing intentional groups of this ilk. In a move towards recruiting additional worthwhile artists for his coterie, Breton laid claim to painters like Frida Kahlo (“’I didn’t know I was a Surrealist until André Breton came to Mexico and told me I was.” “They are so damn ‘intellectual’ and rotten that I can’t stand them anymore . . . I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those ‘artistic’ bitches of Paris.”), Leonora Carrington, Remedios Varo, and Leonor Fini (“Breton seemed to expect devotion, like a pope, and wanted me to become ‘a sheep in his gang’… I refused the label Surrealist.”). None became official members, and only by association are their paintings now read through the framework of Surrealism, often rendering limited, simplistic interpretations & even preventing the deeper engagement they deserve.

Beautiful.  Amy King is going to get in trouble, because she gets it.  We wish we could give her a hug.

The Flarf Collective think they’re special because they use overhead projectors and do stuff in museums and they can claim to care and not care about poetry as they turn it into conceptual art.

King is right to see Flarf as nothing more than a market ploy to advance a few careers, and this cynical view of hers unfortunately plays right into the hands of the cynical Flarfists.

The madder Amy King gets, the more fun the Flarfists have.

Forget it, Amy King.  They’re assholes.  Let them be.  Shit, they can’t be worse than Ezra Pound.  Let them have their fun.

And Amy will essentially agree with us.  As she puts it towards the end of her 2 part essay, “Beauty and the Beastly Po-Biz:”

I’m not out to deny anyone institutional participation or access to resources; rather, I want to call attention to the claim these groups purport to block capitalism while intentionally employing capitalist techniques (i.e. media-style sensationalism to garner notice, sound-bite saturation, prolific self-referencing, reducing all other modes of subjective expression to exchangeable equivalences, etc.) to achieve and secure status within the capitalist structure.

We personally think it self-defeating to set oneself up as so anti-capitalist that it backs you into a dour corner seething with both resentments and contradictions; but putting that aside, it’s clear that Amy King, in her critique of Kenneth Goldsmith, Vanessa Place, Marjorie Perloff and their Flarfist/Conceptualist mentality? behavior? stupidity? has got these clowns pegged.

We like the remark by Amy King’s friend.  When he heard that Goldsmith read poetry at the White House (with Billy Collins and others) and bragged that his (Goldsmith’s) exaggerated paisley suit was “subversive” because the suit maker was the same worn by the president, who opined he wouldn’t dare wear such a suit, Amy’s friend said, “Whether you’re an American president or an avant-garde poet, Brooks Brothers has a suit for you.”

John Quinn, the modern art collector who made the 1913 Armory Show a reality (Quinn gave the opening address at the show) was Eliot and Pound’s attorney, and negotiated the book deal for Eliot’s The Waste Land.  Walter Arensberg, another modern art collector, funded not only Duchamp but Williams and Stevens.   20th century avant-garde painting and poetry were boiled in the same stew.  The poets are late to the game, as far as conceptualism goes, but that’s only if poetry turns into its cousin, art.  Which really has poetry heading backwards, not forwards.

Perloff, et al, is just a continuation of the Romanticism-hating of Pound and Eliot.

Found Poetry has been around a long, long time, hasn’t it?   And was it really that interesting the first time around?

Originality has always been something to be aimed for in poetry, and it is never entirely achieved.   By definition, the less original a poem is, the less poetic it is.   How original is it?  The question can be maddening, obviously.  And to be entirely mad, one simply gives in to the madness and becomes Kenneth Goldsmith.  He is the monkey in the cage of the problem.

Goldsmith is stupid enough to think that “plagiarism and theft” will “erase the ego.”  But last time I checked, the ego of the criminal is the biggest ego of all.

Flarf is nothing more than Duchamp all over again, except now instead of calling Duchamp-ism “art,” the Flarfists call Duchamp-ism “poetry.”

And that, my conceptualist friends, is the only difference.

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