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How is it that what appears first forbidding becomes so oddly comforting, almost intimate? Some core samples, for-in part-the variety of dictions, th’occasions of technique. On the evidence of chronology there is an assurance that Spenser could not have read Nietzsche.Implicit, too, that-damn the chronological aspect-even if Pound were to return for a day he could not (immediately) read Fisher: see “the traps of any participant’s consciousness radicalise the aesthetic tools in the process of their use.” Just two more unbeatable sentences out of that “Introduction”: Critique of any ‘you’ concept, implicit in critique of the individuated self, any entity fixed to a garden fence left to rot there with the slugged geraniums, can lead to a heap of worn tyres, better for a worm compost or the edges of a boat lap than for use on the road. Roaring modernism shuts down inevitably in a “fit” of overdetermination unfinish’d. All adding up to a fine example of how “indistinguishability” + “obviousness” = “spatio-temporal imperfect fits.” Precisely. Noted, too, is th’omission of “associated pieces from Ideas on the culture dreamed of (Spanner, 1982) for reasons of space.” Available, though, here. What’s here in Entanglement-in nearly 300 pages-(scouting around in the front matter), is, then, “the second extended collection” of poems in the above-mention’d long sequence, the first (simultaneous) collection of which were publish’d (also in 2004) by Salt under the title Gravity. Other books lack this obviousness.(Rather not unlike a card out of Charles Bernstein’s goofy deck, though more subtly (enactingly) play’d.) Some of the starts, books in Entanglement, such as Fish Jet, are complete in themselves and were published as complete entities. If Entanglement achieves indistinguishability, it is because several methods have been used to guarantee overlap in spatio-temporal imperfect fits. Experimental praxis can address this problem through a poetics of crowd-out and this what is it has partly been achieved in the poetry of Gravity as a consequence of shape, using a necessary critique of modernist coherence, and its precedents in roaring and the enlightenment. Thus: One of the more engagement problems encountered in any urban catchment can be an unavoidable decoherence due to the coupling between the quantum system and what if the environment.
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Hitting Fisher’s “Introduction” steady’d my thumb-hand immensely, sound’d my corporal mind. I received the book as part of renewal promotion offer’d by the Chicago Review, rather skeptically ticking the Fisher box, knowing little of the work, though convinced, on the basis of a few copies of The Gig, that Dorward is-as Pound’d say-“a serious character.” My skepticism last’d only for the period I took thumbing-that havoc of th’optics trying to see through the “eye-fringes,” words back-glancing and skittering off. Nate Dorward, who put Entanglement together-edited and typeset-must be a one-man dynamo. ($22 US, 109 Hounslow Ave., Willowdale, Ontario, M2N 2B1 Canada) Entanglement, by Allen Fisher ( The Gig, 2004)Ĭover by Allen Fisher, four panels (5-8) of allotment days.