How to Make Your Poetry More Marxy

UK poet Verity Spott tells us how to make our poetry more "Marxy": "[T]he Poet must be shuddering in the depths of a concept. It is not enough that she regulates her reality through the framework of rigid lyric prosody; she must at once create and dismantle the world through the prism of the value judgment. She must do this. Go and make her do it. If she doesn't do it we need more women poets."

This is serious tutelage, all. Read on for more from Two Torn Halves, one of those very worthy blogs with actual "lyric muscle":

Creative Writing students will already be aware of the numerous distinctions within left aesthetics. To recap, Marxist, Marxian and Marxy. The latter (in the final week of the trilogy - now) is used to describe (as in late Horkheimer or 'first' Beckett, or any number of other men - plastics and directives etc.) that which sounds like it might have something to do with Marxism, but is yet marked by a seething or dulling (etc.) abstraction that reduces it to merely being 'Marxy' - marked (as in beast) by its Marxyness. An awareness of the necessity of product naming, a recourse to obscure letters and theories known well to some (the more Beckett) of its readers - we all recall Ian Vine's letter to TEI on 25/5/66.

Verity Spott goes on to edit a "poem" by Simon Armitage, or rather, to "perform a [productive (etc.)] analysis by [sub-limation] synthesis." Afterward:

There are certain words essential in the type of poetry we are moving towards. 'Internet' and 'Credit' allow the poet to maintain the affect of disdain without mounting a critique. If you can manage to do this with a friend you're guarenteed (sic) an all expenses trip to the Rich Mix gallery (etc.).

The Muse is obviously essential. It's best if the Muse is contained within the brevity of an unnamed woman and/or an unnamed civilian caught up in conflict. [NB // some might install a soldier also]. Remember, love is only capitalism. This must be your driving principal. Syntax is the enemy of love which is capitalism. Bad bathos is also a weapon. Drop a contemporary reference alongside a crescendoing sublimity. Remind your readers how fucked everything is. In fact, fuck your readers and their reading with your Penis.

Your Penis.

This brings us on to the late (see Adorno for 'late' // 'sp'a't'): the performance of a poem. First of all stand uncomfortably in (object) relation to the microphone. You don't want anybody to hear your poem. Reluctantly move closer if prompted, but you can't be too quick in your ((late)) moving back away from it. Ensure it is never at mouth level. It is not, after all, your Penis. Returning to the bad bathos above, when reading these lines you may experience laughter. It is, after all, funny to juxtapose suffering and pop culture. If your audience do laugh scowl at them as if they have done something wrong. You understand the brutality of culture and its intricate relations. Katy Perry is not funny. Katy Perry is pure death. Katy Perry is your Penis [NB Lobachevsky etc.]

It is best that your poem lasts longer than is comfortable. Don't forget to use make your not point over and over again. People are very patient at readings. Do not imagine that conviction, intelligence and wit are necessities. It is enough to synthesize their characteristics and replicate them.

Oh my! Go to the blog itself for the poem and its necessary fixes ("tail" to "Capital," natch).