..:a bit about TlalocPeter Finch recalls:"Cavan McCarthy, the concrete poet, had once told me that what was missing from the present day (i.e.1960s) poetry scene was information. "No one had a clue what's being published. No one is collecting these things. Most people don't know that they come out." I wanted to change this and went about it by offering exchange subscriptions (I send you mine, you send me yours and we both mention each others work) to anyone who wanted to join in. Almost everybody did. The network grew like topsy. The hundreds of small press (and increasingly big press) publications arriving at Maplewood Court began to turn into thousands. Getting them into the flat was the first problem. Opening them, stacking them, tracking them, listing them, thinking of something to say about them. Some of these errant publications were far too important to just list with a price and an address. I kept them in boxes and then laid them out across the floor in alphabetical order by country of origin. Most of the stuff came from the UK and the USA but increasing piles slid in from Europe. South Africa, Australia and Asia. John Tripp had offered to help. I should have known. He scuffled through the stacked mags and torrents of pamphlet paper and hauled away Balzac by V S Pritchett, Behind Hesslington Hall by Cal Clothier, Walter Benjamin on Charles Baudelaire, Dannie Abse's Corgi Modern Poets In Focus, Dave Calder's Cube, Philip Roth's The Great American Novel, David Rhodes' The Last Fair Deal Going Down, Charles Bukowski's Mockingbird Wish Me Luck. "these are longshot poems for broke players who run with the hunted & the cold dogs in the courtyard….yarns & anecdotes….this articulate Buffalo renegade who tries to live up to the hilt."an interview w/ Peter Finch- - - - - -
reminds me of a rayogram
yep, the scissors in particular got that kinda aura, made onna photocopier, a little Canon PC 425, which doesn't even have enlargement/reduction -- recently, Reed Altemus (who i consider a xerographic guru) has hipp'd me to a Toshiba 1710 machine as being a good one to get, so i'm on the prowl to acquire one if it can be found.now, about Cavan McCarthy :he's a great poet of the typewriter, the way he produced an effortless organic movement/motion & especially the way he utilized varying degrees of pressure to the keystrikes, which brings thru a warm touch of the human hand with/within the writing machine.upon looking around webwise, i discovered he's been @ LSU over in Louisiana & recently retired in Oct. '08, he hadda contact email so i sent him a short note -- i was quite surprised to learn he has been living stateside & even moreso because he's been living in the south -- just a pleasant surprise, because i associated him w/ the british scene & would have thot he'd still be in greatbritain.
Dear Troy Lloyd,I was very pleasantly surprised to receive your e-mail and find that I am still remembered for typewriter poetry.It was most kind of you to dedicate a poem to me; a very appropriate poem, in fact!How / where did you come across my work? I am not aware that any was on the Internet.I was influenced by Dom Sylvester Houedard; you are doubtless familiar with his work.Again many thanks,Yours sincerely,Cavan McCarthyyes indeed Cavan, your work will not be forgotten -- as well as all the good energy you've spent for help of human & anda passion which inspires skywise wingway to that warm glide-flight only LOVE where such nests always rest.salut!& to follow:Hello Cavan:wide smiles when i saw you had replied via email!thank you.i was born in 1970, feb. 14 -- my theory is one of seepage,certain crucial elements of cultural zeitgeist may have been nutrient in my wombfluid. i found myself drawn to that time period, in that a vital seismic shift was occuring & many many exciting things were happening.however, i was born in the south, we have rather lousy public education down here & i found myself dropping outta hi-skool when i was in the 10th grade, never got to go to university -- somewhere in my mid 20's i start'd an intensive autodidactic program, tho it is a bit narrowly focus'd on liberal arts as opposed to the hard sciences, i fell in love w/ books & just kept on truckin'. at one point i found myself living in Athens, Georgia & if one haddacounty library card, one could pay $10 to obtain an "outside borrowers card" @ the University of Georgia Library, who as of 2005 was the 49th largest library in the unitedstates w/ 3,955,004 volumes -- that was a great period of growth, having access to such a broad range of materials.anyway, i've seen yr work in Typewriter Poems ed. by Peter Finch, Once Again ed. by Jean-Francois Bory & Anthology of Concrete Poetry ed. by Emmett Williams-- as i said earlier, your work was wholly unique in the aspect of the human hand/warmth coming thru, i really like how you approach'd the poem & gave the poem a liveliness almostanimated. i take my cultural heroes seriously & i thank you for giving the world your work, it has provided impetus & motivation & inspiration for me & for many others i'm sure. you were a crucial player at a vital time in the history of visual poetry.if you started a blog right now (google blogger platform is free & quite user-friendly), doing typewriter poems or posting work from your past, the blog would become quite popularin certain circles & as of right now visual poetry in general is experiencing a kind of resurgence due to the internet as well as serious academic attention...just a thought = )thank you again, Cavan, for taking the time to write back!happy blessings to you& take good care,.troy.live to lifelife to live
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