Comments on: literary gatherings: a schmoozer’s guide http://www.poetryfoundation.org/harriet/2009/11/literary-gatherings-a-schmoozers-guide/ A blog from the Poetry Foundation where contemporary poets debate classic and contemporary poetry from America and around the world. Sun, 21 Mar 2010 22:38:48 -0500 http://wordpress.org/?v=2.8.4 hourly 1 By: Don Share http://www.poetryfoundation.org/harriet/2009/11/literary-gatherings-a-schmoozers-guide/#comment-26197 Don Share Wed, 04 Nov 2009 16:49:07 +0000 http://www.poetryfoundation.org/harriet/?p=6156#comment-26197 You forgot to add: "Inscribe the letter 'O' on a blank sheet of paper and call an end to a full day of writing." You forgot to add: “Inscribe the letter ‘O’ on a blank sheet of paper and call an end to a full day of writing.”

]]> By: Gary B. Fitzgerald http://www.poetryfoundation.org/harriet/2009/11/literary-gatherings-a-schmoozers-guide/#comment-26195 Gary B. Fitzgerald Wed, 04 Nov 2009 16:13:44 +0000 http://www.poetryfoundation.org/harriet/?p=6156#comment-26195 Proposed #12: The 'Dylan Thomas' option: Pass out. Sleep on floor until awakened at end. Go to bar. Proposed #12: The ‘Dylan Thomas’ option:

Pass out. Sleep on floor until awakened at end. Go to bar.

]]> By: Wyn Cooper http://www.poetryfoundation.org/harriet/2009/11/literary-gatherings-a-schmoozers-guide/#comment-26193 Wyn Cooper Wed, 04 Nov 2009 14:02:34 +0000 http://www.poetryfoundation.org/harriet/?p=6156#comment-26193 Alternate to proposed #11: I learned this one by watching Joyce Carol Oates. Stand in the center of the room, very slowly turning in circles. Listen to every conversation in the room, and when you have something brilliantly witty to add, simply walk into that conversation, make your comment, and walk immediately back to the center of the room. Continue spinning. Alternate to proposed #11: I learned this one by watching Joyce Carol Oates. Stand in the center of the room, very slowly turning in circles. Listen to every conversation in the room, and when you have something brilliantly witty to add, simply walk into that conversation, make your comment, and walk immediately back to the center of the room. Continue spinning.

]]> By: Jim http://www.poetryfoundation.org/harriet/2009/11/literary-gatherings-a-schmoozers-guide/#comment-26187 Jim Tue, 03 Nov 2009 21:32:05 +0000 http://www.poetryfoundation.org/harriet/?p=6156#comment-26187 Re: #5, the reciter must stare at the interlocutor intensely, never breaking eye contact, and grin, so as to add to the creepiness. Then await applause, approval, and commendation. Proposed #10: I also like hearing casual evaluations of ouevres that contain contradictory and bi-polar assessments: I can’t stand Poet X, though of course her Poem A is a masterpiece. I think it’s important to use the word ouevre/s in literary conversation, to pronounce it so authentically French as to make it un-recognizeable to a normal ear in a room full of other pretentious conversations, so your interlocutor must either ask for you to repeat or to go along with the conversation having no idea what you just said. Also, one much always italicize foreign words (genre), especially when they’re mostly adopted into English or have perfectly acceptable English synonyms. Proposed #11: Make sure to keep looking around at others in the room, to ensure you’re talking to the most important person available, and that any opportunity to talk to a better, more connected player is not lost (e.g., when someone makes the mistake of parting with Seamus Heaney, giving him a moment to eat a small square of cheese). Then abruptly stop the conversation you’re in (this is typically done mid-sentence while the interlocuter is talking to you by simply leaving lesser-person's conversation without saying anything, to elope with more important acquaintance, announcing your intentions with “Hey, Seamus!...” Beware, however: be sure you have prepared your seemingly original though still banal encomiums for the greater-than, or else! Who's got others? Re: #5, the reciter must stare at the interlocutor intensely, never breaking eye contact, and grin, so as to add to the creepiness. Then await applause, approval, and commendation.

Proposed #10: I also like hearing casual evaluations of ouevres that contain contradictory and bi-polar assessments: I can’t stand Poet X, though of course her Poem A is a masterpiece. I think it’s important to use the word ouevre/s in literary conversation, to pronounce it so authentically French as to make it un-recognizeable to a normal ear in a room full of other pretentious conversations, so your interlocutor must either ask for you to repeat or to go along with the conversation having no idea what you just said. Also, one much always italicize foreign words (genre), especially when they’re mostly adopted into English or have perfectly acceptable English synonyms.

Proposed #11: Make sure to keep looking around at others in the room, to ensure you’re talking to the most important person available, and that any opportunity to talk to a better, more connected player is not lost (e.g., when someone makes the mistake of parting with Seamus Heaney, giving him a moment to eat a small square of cheese). Then abruptly stop the conversation you’re in (this is typically done mid-sentence while the interlocuter is talking to you by simply leaving lesser-person’s conversation without saying anything, to elope with more important acquaintance, announcing your intentions with “Hey, Seamus!…” Beware, however: be sure you have prepared your seemingly original though still banal encomiums for the greater-than, or else!

Who’s got others?

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