TENETS of FAITH: Being Right on the AWP, BAP, P&W, AoAP and even the PFoA.

It’s like all attacks on orthodoxy — if a criticism contradicts a tenet of faith it’s not only inapplicable but invalid!

Ask Barack Obama about that one right now, ask any Israeli or Palestinian, ask a Urighur or even the Dalai Lama. But hey, why not ask yourselves about your Poetry Faith too, the cards you carry as a Poet, the cabals and clubs and cartels you belong to, the schools, schedules, scores, deals, bonds and promisory notes you honor, even as poets? Ask around your Department, for example, or ask down the corridors of poetry power. Because even when there are such good people involved in such good work, so much good will and so many good reasons to make sense out of such good, good intentions, in Alabama, Chicago or the Upper West Side — oh, watch the Big Sheriff in you take over, the Travis Nichols right under your big cowboy hat and the “peacemaker” strapped to your hip.

Thomas Brady -6

Let’s look at this.

If the tenet of faith is that guns make you free, then guns are a non-negotiable matter. If it’s a tenet of faith that sex is bad then sex-education is a non-negotiable matter. If it’s a tenet of faith that men have a much higher sex drive than women, as it is in a great many cultures in the world today, including where I live, and that true men are truly driven by sex, then you get boys taken by their fathers to brothels at 14 while the mothers wait at home with the daughters until they can be married off as pure virgins–and the crowning irony of that absurd tenet of faith is that in addition to brothels on every street corner you get men who are butterflies and women who run the whole show!

The tenet of faith in American poetry is that the true poet is the product of not just higher but higher and higher and even higher “learning,” and that the more a poet pays (or gets paid) for it the more right he or she has to be called “successful,”  and the final arbitrator in doctrinal disputes!

Anyone who suggests that the poets, critics, editors or publishers who are running this extravagant industry are self-interested, or even, God-forbid, in it for profit or life insurance, is considered not a real poet. Indeed, I myself have been mocked as a jealous “loser” a number of times, and dismissed as “the product of a willful misunderstanding of the process of editing and publishing poetry in America!”

And you know who used those specific words? A famous contemporary “poet” and “critic” who is also involved in the business of getting poets published. [click here]

And you know where she spoke those words? In Poets & Writers magazine, that bastion of our contemporary Faith in exactly what sort of training you need to get published in America today, plus the retreats, conferences, camps, travel groups, summers abroad in castles and wine tastings and weekends you have to attend– and what they cost!

But you say you think the son should at least wash the dishes before he goes out to the brothel at 14 with his father?

Just ask the mother for an answer to even that question. “You must be joking,” she’ll reply. “Any true mother would keep her daughter carefully cleaning as well as clean at home so she can attract a true man for a husband!”

Ask David Lehman about Stacey Harwood. Ask Stacey Harwood about Seth Abramson. Ask Joan Houlihan about me!

So that’s a problem, both for the sex where I live and for poetry in America.

Yes indeed, ‘tenets of faith’ always polarize, always lead to intolerance, always lead to abuse.

There’s nothing wrong with virginity per se, of course there isn’t, any more than there’s anything wrong with sex. But oh the heart-ache when too much stock is placed in either!

There’s nothing wrong with training poets either, even in castles, it’s just when you make a religion out of it, install priests at all the altars, and charge an entrance fee not only to get into church but heaven!

And, of course, excommunicate those who say it ain’t necessarily so or, God forbid, come up with some statistics that don’t quite fit in like Seth Abramson!

Christopher Woodman

SHELLEY’S BIRTHDAY, or “Real Life in Poetry with Don Share & Joan Houlihan:” exclusively on HARRIET

DON SHARE'S PUPPIES Yvor Winters Grab
DON & JOAN FULL

This article builds directly on Thomas Brady’s last comments following the previous Delmore Schwartz post [click here], and indeed tries to pull all the pieces of Scarriet together. What it is not is negative, and certainly not toward Blog:Harriet which has given its authors such pleasure. It’s sole target is the very poor taste and mismanagement of Harriet’s editor, Travis Nichols, who we feel should be fired point blank.

Toward the underlying controversy itself, Scarriet is tolerant — we feel the issues involved are so close to us they are difficult to unscramble. Indeed, our position is like the two sides of our poetry’s coin, and denying one or the other would be fraudulent.

Our position is that having banned one side of the coin Harriet is now bankrupt.

Don Share wrote the original article called REAL LIFE [click here] with great sensitivity and insight, and we are sure gave everyone pleasure. Don Share is not being attacked in this post — he is simply a piece in a much larger puzzle that without him would not yield its whole picture. But his side is GREEN, lots and lots of it, and indeed in his person Don Share embodies the ‘ruling’ position — no blame, but there we are. What is undeniable is that that position gets all the votes — and of course, in less than a month from this very moment Thomas Brady will be banned from Blog:Harriet altogether.

Yvor Winters is a matter of taste, and he’s dead. He’s an important figure in the original article which draws him in here, but he doesn’t speak, and nobody is voting for or against him, or at least not directly. On the other hand, he’s a crux in Thomas Brady’s literary historical argument — a true eminence grise casting a shadow over all of us, and making it hard to read Percy Bysshe Shelley.

Some birthday — indeed, the only warm light comes from the poet’s funeral pyre!

Joan Houlihan is drawn in because she is Sheila Chambers in the penultimate comment, and another large piece of the puzzle. Not only does she get +14 GREEN votes for one very small offering, she expresses most starkly the attitude that lies behind the extraordinary ill-will that Thomas Brady gets buried in (look and see for yourself!). She’s the very Avatar of RED in her compulsion to demonize the opposition, and insists that hooligans like Brady are not to be tolerated anywhere within the pale. She’s angry, dismissive, and will stop at no limits.

Joan Houlihan attacks Thomas Brady specifically for his phrase, “the machinations of the grooming process,” and she should certainly know about that because she runs one of the most expensive “grooming” consultancies in the poetry business in America. Called the Colrain Manuscript Conferences, her outfit offers sophisticated weekends in white mansions in the Berkshires during which you get to meet hot editors and publishers like Jeffrey Levine — available to anyone with an unpublished book to be groomed and an extra arm and a leg. So she’s really passionately opposed to this discussion on Harriet, because Thomas Brady is threatening not only her purse but her cachet. She wants him stopped, in fact. Period. And ditto Christopher Woodman — as he was on Pw & Poets.org.

The comments that follow form an uninterrupted sequence from Thomas Brady’s initial thanks to Don Share for the REAL LIFE post to Joan Houlihan’s cat out of the bag. It’s a shambles, a shocker of the first order, a disgrace to The Poetry Foundation and to all poets and poetry. Indeed, it should make us all blush to read it (but you can’t really read it, of course,  because the whole opposition is closed down, like in Singapore!).

We have decided to post typescripts of the first 3 exchanges because they express the gist of the argument, and need to be read carefully (don’t forget that both of Thomas Brady’s comments are closed in the original — some dialogue!). We also provide a typescript of Joan Houlihan’s and Thomas Brady’s last comments at the end — and, of course, Thomas Brady is closed there too with -23 Dislikes!

Enjoy, we’d like to say. But that would be nasty.

CLICK HERE to read the most important part of this article.

ACADEMY & FOUNDATION: LINEN ON THE LINE!

GUARDIAN GRAB ++
Click Here to continue reading this GUARDIAN article.

Why are we doing this? Is this just more watchdog barking, is this just Foetry II? Indeed, what do we hope to achieve on Scarriet?

Because it comes at a price, this work of ours, and if you read the comments following the last article just below you can see how much. Desmond Swords is ready to move on because he feels we’ve achieved a lot, and isn’t willing to limit his own huge creativity to such a parochial little struggle. Tom and I are veterans, on the other hand, we’ve been banned from Poets & Writers, The Academy of American Poets,  and now The Poetry Foundation, so we’re running out of legitimate space to write in as legitimate travellers. I mean, we’re writers, not Black Panthers — and if you don’t understand how depriving creative people of their voices creates that sort of nightmare, you know nothing about the history of protest. Nor how tragic it can be, and particularly for those who have the gifts to be heard — how that hurts, how that rankles and drives them on!

The previous article just below, The State of the Onion, was posted to help anyone who cared to re-examine what happened last year on Poets.org, and we may or may not choose to comment on that ourselves. We’ll see. But whether we do or not, it’s up to all of you to decide about each one of us individually, and add your voices to ours if you feel what we’re saying deserves to be heard.

As to myself, do you feel I’m a libellous cad whom any self-respecting on-line venue ought to shun, indeed worse than Jack Conway [Lola] — as Kaltica [Pirvaya] suggested? [click herepassim] Or am I simply uncontrollable in any other way than banning. Is that why the lights went out for me so quickly on Blog:Harriet? I mean, I was placed in the hands of the Foundation Censor way back on July 14th, just days after the Like/Dislike function was introduced, and Thomas Brady, who writes twice as much as I do, and is far more influential, survived until September 1st!

And just look at those accusations levelled at me — yes, yet again that I wrote “abusive letters to the staff” and “hi-jacked threads,” exactly the same accusations as Chrissiekl, the Site Administator at Poets.org, had levelled at me the year before — even though Kaltica admitted it was really because I spoke about people who “weren’t there.[click herepassim]

So who were those people, and why couldn’t the Academy Administrator just ban me for libel? I mean, that’s clear, isn’t it, if I attack others in a groundless slur, the Academy just steps in to protect them? So why was I dismissed for writing abusive letters to the staff instead of for libel? Why the smoke screen?

Was it that my remarks were already well-established in the public domain, that I was referring to material that had already been published in Poets & Writers, for example, that everybody knew what I was talking about but that the individuals involved still had enough clout on the inside to hush me up? [click here]

Copycat or what, “abusive letters” and “hi-jacking?” I mean, everybody knew there were no abusive letters at all on either venue, and none has ever surfaced, or ever will. And there are no hi-jacked threads either. Or is there something else, perhaps “clique and manipulation” as John Sutherland calls it in The Guardian article. And if so, what are those towering pillars of the poetry establishment going to do about it? Because Scarriet has no bones to pick with The Poetry Foundation or with The Academy — except that both seem to turn a blind eye when special interests are so obviously able to manipulate  some of their employees’ editorial decisions, and that’s where it matters!

So where does that buck stop?

Christopher Woodman

WHY THE BANNED BIRDS SING

HARRIET BANNER GRAB

.Thomas Brady, Desmond Swords,
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Alan Cordle, Christopher Woodman
POETRY IS DEAD GRAB

Writers keep blogging about the end of writing [and brilliantly, Abigail Deutsch. It’s a most wonderful article, and would we were there to honor it. Indeed, this one could  be well over 100 comments in a few days, and really be worth saving as a resource too. So we apologize for the satire, but what can we do?].

The English department is declining. Book reviews? Print journalism?  The on-line poetry-establishment non-profits like Pw.org, Poets.org, and Blog:Harriet?

There’s just one problem: no one gets into details. We want to know exactly when and why poetry croaked.  Did it happen in bed or on the beat? Did poetry die in peace, or in the ambitious twilight schemes of on-line editors in the back rooms at the American Academy of Poetry or the Poetry Foundation? Did Travis Nichols get short-listed for a prize like Robin Beth Schaer, or did they all get together for a ‘Compleat Retro Refit’ in Stockbridge or Lake Forest?

And so, in the style of the solemn journalism covering this crisis, we offer a few speculative reports for a nonexistent newspaper (call it The Daily Travesty).

They Know Why the Caged Bird Sings: Chicago Gang Takes Over, Ghetto Population Soars.

BOSTON– [on schedule]
DUBLIN– [tomorrow]
PORTLAND– [evening edition]
CHIANG MAI– [Sunday magazine section]

[STAY TUNED. The samizdat articles are coming in hot off the underground press — and if you don’t receive your copy it means you’re part of the problem! ]