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25+ Værker 57 Medlemmer 2 Anmeldelser

Værker af Ray Dipalma

Raik (1989) 5 eksemplarer
The Jukebox of Memnon (1988) 4 eksemplarer
Soli (1974) 4 eksemplarer
Metropolitan Corridor (40 Poems) (1992) 3 eksemplarer
Obedient Laughter (2014) 3 eksemplarer
Motion of the Cypher (1995) 3 eksemplarer
Mock Fandango (20 Pages) (1991) 2 eksemplarer
Observatory Gardens (1979) 2 eksemplarer
Marquee 1 eksemplar, 1 anmeldelse
Titanic Sinks... 1 eksemplar
Max A Sequel (1974) 1 eksemplar
Between the shapes; poems (1970) 1 eksemplar
Matak 1 eksemplar
Two Poems (1982) 1 eksemplar
Two Poems (1982) 1 eksemplar
Accidental Interludes (1975) 1 eksemplar
All Bowed Down 1 eksemplar
Caper Vol. 1 1 eksemplar
Raddle Moon 7 (1989) — Bidragyder — 1 eksemplar

Associated Works

L=A=N=G=U=A=G=E, Number 7, (Vol. 2, No. 1) — Bidragyder — 1 eksemplar
Hills #4 — Bidragyder — 1 eksemplar
Telephone 11 — Bidragyder — 1 eksemplar
Diana's Bimonthly, Vol. I, No. 1, The First Rag — Bidragyder — 1 eksemplar

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Another bk in my collection signed by the author. You'd think I was swimming in a world of poet friends at some point or another - but I only remember meeting DiPalma once - at a mail art show, The Red Show, at Doug Retzler's apartment in BalTimOre. This has few words (color names) - it's mostly vowels & slashes & horizontal lines. As such, it's very restrained. Ie: until McCaffery's afterword. In this latter is written:

"What the piece offers is its own dis-closure through a reader's own production of the text. Ray has called it a "score" rather than a "text" and I would tend to call it a "pre-text" (a textuality before textualization) as the activated score is the reading itself which is produced, not gleaned or consumed."

Such theorizing was very common at the time amongst 'language poets', I made pieces in the mid '70s along those lines too, but, now, it just doesn't seem like enuf to me. McCaffery's afterword is typically brilliant & hyperintellectual but I don't really think DiPalma's "score" is that stimulating for the reader to respond to. I like it anyway but it's a bit too lazily produced to really jar me into action.
… (mere)
tENTATIVELY | Apr 3, 2022 |
I “read” 132 of 213 pages, the verb “read” between quotation marks because I didn’t so much read as scan DiPalma’s journal entries. I found that I was browsing his journal as I might my own (one difference here being that DiPalma apparently always intended his for publication), looking for language to glean and use. Since I was mostly distracted while reading these pages, I decided to not finish the book, assuming that I could pick it up in the future to use as a word source if that should appeal to me. In any case,I am neither a scholar of De Palma's work, nor even really familiar with his poetry (I've read and enjoyed a few of his poems in journals)and so am not perhaps the best audience for his the ancient use of stone. I can imagine that these journals might illuminate DiPalma’s poetry, but as a piece of stand-alone literature, they don't quite succeed for me as a reader. I do appreciate the graphics that both ornament and supplement many of the pages. Some look like clip art and may well be such, since the author tells us that he has included both original and found art in his journals. The best description of this book is perhaps one found within it on page 27 in an excerpt from “Forest and Cave:
"The book is an album/ not a final set of solutions// The real discoveries/ Are to be found elsewhere// What the book exhibits/ Are the ways to them"
… (mere)
Paulagraph | May 25, 2014 |

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