The distinction between poetry & fiction & non-fiction is more than meaningless, but opposed, suppressive to the production of good writing; a hangover from nationalist, imperial, colonial, Judeo-Christian impulses that continue to negatively inform so many of the traditions that represent the bedrock of Western Civilization.

I recommend the forum on pg. 153 of Fence’s Vol. X, organized by Edgar Garcia, named “What’s the Problem With American Poetry Right Now?”, which includes a piece by Joyelle McSweeney—another professor of mine—whose opening piece is captivating, jarring & at best completely unconcerned with anything but an aesthetic, artful, playful, & mired in metaphor, figurative (like other featured Ariana Reins). The titular question for plain clarity, becomes the thing obscured, avoided.

publication and infrastructure obviously makes a book “good” by definition, conferred upon it an importance that is indeed debatable.

I think it made me think about it more and really consider why I was choosing to add this to my routine

Serious writers or theorists will, of course, often nod to the fact that their work defies categorization, or opine on the functional difference between non-fiction/memoir, creative non-fiction, & fiction; this concern, if it is ever genuine, does not stop them from participating and endorsing the current model of publishing.

Fairly lonely in this conviction for most of my life, as I watched every outfit publishing “hybrid” or anti-genre work went insolvent. I was happy, therefore to seeI reassert proudly outperform/bullish in my forecast for a market-wide reorganization that will deprioritize genre. AI’s potential impact on publishers is quickly becoming a kinetic one. Until recently no longer relevant, except to describe bad writing manufactured by markets, & it is not clear to me why so many programs & writers are interested in maintaining it

If you’re looking to get rid of this beard, maybe this is not the right angle for your gifting

The distinction between poetry & fiction & non-fiction is more than meaningless, but opposed, suppressive to the production of good writing; a hangover from nationalist, imperial, colonial, Judeo-Christian impulses that continue to negatively inform so many of the traditions that represent the bedrock of Western Civilization.

I recommend the forum on pg. 153 of Fence’s Vol. X, organized by Edgar Garcia, named “What’s the Problem With American Poetry Right Now?”, which includes a piece by Joyelle McSweeney—another professor of mine—whose opening piece is captivating, jarring & at best completely unconcerned with anything but an aesthetic, artful, playful, & mired in metaphor, figurative (like other featured Ariana Reins). The titular question for plain clarity, becomes the thing obscured, avoided.

publication and infrastructure obviously makes a book “good” by definition, conferred upon it an importance that is indeed debatable.

I think it made me think about it more and really consider why I was choosing to add this to my routine

Serious writers or theorists will, of course, often nod to the fact that their work defies categorization, or opine on the functional difference between non-fiction/memoir, creative non-fiction, & fiction; this concern, if it is ever genuine, does not stop them from participating and endorsing the current model of publishing.

Fairly lonely in this conviction for most of my life, as I watched every outfit publishing “hybrid” or anti-genre work went insolvent. I was happy, therefore to seeI reassert proudly outperform/bullish in my forecast for a market-wide reorganization that will deprioritize genre. AI’s potential impact on publishers is quickly becoming a kinetic one. Until recently no longer relevant, except to describe bad writing manufactured by markets, & it is not clear to me why so many programs & writers are interested in maintaining it

If you’re looking to get rid of this beard, maybe this is not the right angle for your gifting