the last moment of the work has to come by accident. if you’re constantly concerned about having your reader like you and keep contact with you, that moment will never come and your work will be transactional utility grade typing.

chance may rule, but chance has to rule on something. writers who say that ‘it’s all chance, what’s to say what art is’, are only as right as their work. people get up at slams and say, ‘give me a phrase and i’ll make a poem on it’ are working the audience, a con, a thug move from a thug soul.

www.youtube.com/watch?v=XD6RuoPSbjM&list=UUxXGsP0roU0V9-vbaVoKItA&index=438

a poet, you write yourself out of your own stupid self-referencing emo bubble and begin to write as two people — one looking at what you love, and the other watching you write. there’s no way to turn the poem into just another opinionated creig’s list ad for the nobel prize.

writing yourself out of your self-love certainty, that’s to enter empson’s 7th kind of ambiguity, where you float in your language rather than using it to scrub your guilty conscience and sense of embarrassment away, by writing what you couldn’t say to someone to their face cause you’re just chicken… ‘unkown’. and why most things posted in pop poetry sites are stories with wheel-chair ramps so the semi-literate can get a story buzz without too much reading.

prose is like a freight train, word after word delivered to your industrial brain. most of what’s emitted as poetry is a short story with funny line breaks. short stories aren’t even that good, so a compacted and trimmed short story dumm’d down for modern readers is less than good.

https://sites.google.com/a/poetryandpoet.com/www/home2