Unclassifiable Poetry

Poetry

BEWARE THE NICHE PEOPLE!

roger-de-la-fresnaye-the architect

WE’VE NOTICED that some literary people like to put other writers into a niche. Such as, “Exactly what kind of poet are you? Are you a flarf poet or an Instapoet or a beat poet, or a trad, or a lake poet, or Elizabethan or Edwardian, or maybe Victorian, modernist or hip-hop, or really, what kind of poet after all do you claim to be what box can we put you in how do we classify you, where can we put you to shorthand you, dismiss you, or otherwise find some way to short circuit our brains so we don’t have to THINK?”

(It’s a variation on labeling everyone according to party or politics: Wear the proper name tag and don’t ever switch sides or change beliefs.)

Which is a roundabout way of saying we have more poetry today, “‘That’ll do, Pig’ and Two Other Poems” by James D. Casey IV, who claims to write every kind of poem, and based on the evidence he’s provided, we believe him. Three poems. Hope you like them.

I’ve dreamt of hunting
vampires with Bukowski
and getting in barfights
with Hemingway and dodging
bats with Thompson and being
lost in the desert with Jim

****

ON OTHER FRONTS, we have a book review of a short (four stories) short story collection by talented story writer Elizabeth Simsand:

****

THE 3-D STORY

the bargeman fernand leger

WE CONTINUE to ask questions at our NPL News blog about whether or not the short story form needs to change– we strongly believe it does– as we lay the groundwork for the coming release of our solution: the Three-Dimensional Story. A lot going on.
*******
(Art: “”Simultaneous Windows” by Robert Delaunay; “The Architect” by Roger de la Fresnaye; “The Bargeman” by Fernand Leger.)

 

Advertisements

Form and the Short Story

Pop Lit Fiction

CRAFTING STORIES

In the new year we will begin a project aimed at revamping the short story. A feat which won’t happen overnight and which will consist of much focus on how stories are created and constructed. We’re based in metro Detroit and view the short story the way an automotive engineer looks at a car.

THE QUESTION: How can stories be improved? Changed? Rearranged?

FORM
A large part of the creation of any art is form. The routes taken of theme and plot, be it linear, circular, or other. Where does the tale begin? At which destination does the reader eventually arrive? What conclusion is drawn, revelation made, emotions aroused? When examining the short story, as a reader, writer, or critic, (or editor!) there’s much to think about.

TODAY we present as our feature a brilliant tale set amid the glamorous-but-deadly streets of historic Granada in Spain. A story which is also a model of form. “Ballad of the Virgin Pain” by Justin Fenech.

AN APT way we believe to wrap up our features of 2018– setting the stage (we hope) for an array of glamorous and exciting presentations to come.

When he went back inside the instruments of torture, big and small, seemed to take on a life of their own; the room swirled violently around him, the instruments seemed to be moving, no, he was moving, he caught glimpses of the rack, the torture chair, the executioner’s black hood, the skeleton broken on the wheel. . . .

Joaquín_Sorolla_Alhambra,_hall of the ambassadors(1909)

(Art: “Night Scene from the Inquisition” by Franciso Goya; “Hall of the Ambassadors, Alhambra” by Joaquin Sorolla.)