Intonation: “There’s a difference, you know, between the long poem and the life-long poem” G.S.

The Life-Long Poem

We call everything from T.S. Eliot‟s Waste Land (maybe 16 pages) to Louis Zukofsky‟s ‘A’ (some 800 pages) “long” poems; what distinguishes the life-long poem (to use Robert Kroetsch‟s term) is not necessarily—at least not only—its length, but the length of time over which it is composed, and the extended period over which it makes its appearance in print. Life-long poems typically take decades to write, and are typically published serially, as multi-volume projects. Thus they implicate a certain degree of commitment—from their authors, but also from their publishers, and even readers—as well as engaging the work and its participants in a process of deferral: the poem one reads, piece-meal, is understood as provisional, incomplete in its particular manifestation, with more of it to come—even possibly its hypothetical completion—in future manifestations.

Stephen Collis,

The Barricades Project, the Life-Long Poem, and the Politics of Form

Notes towards a Prospectus


thot-j-bap volume 2 tcp
thot-j-bap volume 2 tcp

morning arrangement viewing afternoon

about the number of times the word, “black” appears in the bee poems

about the redactions in cold sleep permanent afternoon :

“dear uncitizen” Ray Hsu

about wayfinding: Pitch, drafts 77-95 : draft 85 hardcopy:40:    /draft 86 scarpbook:     /Rachel Blau DuPlessis

about getting ready for the journey: a day does not go by, Sean Johnston: epigraph, John Newlove

about preparing for travel to a place not yet seen: thumb into Discovery Passages, Gary Thomas Morse

about caught, held, “unmoored” : a peepshow with views of the interior, Aislinn Hunter

today’s readings, Autumnly

first, there is the work: in progress, “Thinking about Anna,” variations on an unrhymed glosa

later, there will be performance: with Rachel Rose, two of her poems, first published in Rattle, about [redacted]

then there are readings, to examine and confer, sound-weight: what Frost called, tone

  • “In the old neighbourhood,” Tim Bowling in Ryga No.5
  • “leave the blinds open,” Jennifer LoveGrove, in Ryga No.5
  • “Shimmer, i. place your body,” Cecily Nicholson
  • “Provenance,” Jim Johnstone (found him on the Inner/Net, via Shane Neilson via Corinna Chong via Ryga)

And arrived! from Coach House: Lip Service, Bruce Andrews. He will be for me as Robin Blaser’s The Holy Forest

(on the piano, Dante. He rests)–Pilgrim, this is purpose: from Rachel (Rose) to Rachel (Blau DuPlessis):

from Draft 81: Gap: skytrain reading with Nicholson and…

a poem to contemplate: John Barton’s on blood and the Krever Commission