Mike Weller Poetry Feller, Posie Rider (Mossad Press*) (out of print)

Is Posie's title built around "A Minimus Postcode Poem" first read at Writers Forum (New Series) workshop and dedicated to Doug Jones?

If so, time it saw reprint. Has lines beginning and ending ---

"and the little electronic coloured lights go ▪▪▪▪
Phone Cards ▪▪▪▪ Mobile Phone & Accessories ▪▪▪▪
Repairs & Unlocking ▪▪▪▪ "

The poet's myEBook version has some of those so-crap-as-to-be-almost-pointless blurry cell-phone low rez YouTube images Weller pretentiously calls "videographs" just like this one here ---



*Mossad Press is an imprint of Sad Press Books

Margaret Roberts and a film star



Photograph taken at Dartford Conservative fête 1951.
(from Bromley Times 26/1/12 reviewing The Iron Lady movie)

the invisible artist

political verse

It is impossible to fully grasp Rimbaud’s work, and especially Une Saison en Enfer, if you have not studied through and understood the whole of Marx’s Capital. And this is why no English speaking poet has ever understood Rimbaud. Poetry is stupid, but then again, stupidity is not the absence of intellectual ability but rather the scar of its mutilation.

Copy////pasted from Sean Bonney's September 27 2011 blade pitch @ poet's abandoned buildings for his Commons and Happiness (poems after Rimbaud) publications

Continuing ballad of The Someday Funnies

'The Someday Funnies' ballad veered into present writer's Beat generation Ballads blogged at this spot few times since printed bookwork publication a year ago. See here, here & here.

This ballad was written originally as poetic hommaġe to a 'lost' book of the 1970s. As legendary among sci-fi and comic fans as HP Lovecraft's 'lost' Necronomicon among fans of horror fantasy.

The Someday Funnies as book-myth became topic of study in an article by Bob Levin for an issue of American Comics Journal in 2009. (The Comics Journal considers comic-book and cartoon-strips as art and literary form through serious and scholarly analysis. There is nothing comparable UK where milieu writers have arguably veered to medium of radio and television. And comic-book artists still seem to be perceived as part of some creepy swivel-eyed male geekdom.)

My own understanding adapting beat generation ballads from blog to Veer bookwork at the time was that Levin's lavishly illustrated essay on The Someday Funnies in The Comics Journal was something of a revelation.

What I didn't know was Comics Journal had stimulated interest, not only in Michel Choquette and his lost comic book, but a will to finally publish the hidden horde of submissions which included a full page contribution from Mike Weller when he was living as alter-ego '70s underground cartoonist, Captain Stelling. Over the years Weller and his 20th century pulp experience has been fictionalized by present author as both historical object and personal subject in Mike's own visual bookwork Space Opera and entry opening decade 21st century worked as prose-fed Michael John home'baked Slow Fiction.

Like olden days when great beat generation US 45rpm singles couldn't make the British hit parade because Tin Pan Alley ruled the charts - The Someday Funnies has not yet hit radar UK - neither comics fandom nor liberal arts media.

And the tombstone of a book is causing a stir on the other side of the pond. Puffed and hyped-up in North America during fall 2011 - conflicting reviews of Choquette's book have since appeared at The Comics Journal website itself where one editor Tim Holder describes his own journal's response as a house divided. This is because original discoverer Bob Levin celebrates publication while Journal co-editor Dan Nadel's disses the book's arrival, backed up by several posts acquiescing with his critique in the comment thread. R. Fiore's later post at the Journal
provides a detailed, much wider critique of selection and content - followed by a long thread with several knowledgeable comments.

Choquette responds to reviews of his book by taking it out of a generic house of comics to wider blogosphere online @ Huffington Post.

Present author composed 'The Someday Funnies' ballad when believed lost. He wouldn't change one visual or written aspect now it's been found.

Songs Our Teachers Learn Us on youtube

selling

time

&

taste

'The politics of time' from Songs Our Teachers Learn Us, or, Lessons To Be Taught sequence

Notes on writing reading and face to facEBook performance part six

& parts one, two, three, four, five

Bob Cobbing was dismissive when the word 'fun' was used to cajole him into doing a gig. Pre-emptive rejoinders such as "It'll be fun", could guarantee his turning down an invitation to read.

In /new fairy tales/psychopoetic landscapes/old superlatives/ use of word 'beauty' in poetics is examined through Climb A Free Wheeler dictionary of hyperbole. This writers forum chapbook has strapline 'Interrogate the lexicon and sophisticated spin-patter of modern marketing'. Visual barcode one component of cover montage - a completely non-functional poetic that delighted Bob Cobbing when collaborating first Writers Forum colour cover with new kitchen-top printer. (Cobbing's first and last full colour artist's book with our tongue our drils and quadras followed in December, 2001).

At Climb A Free Wheeler performative readings audiences were invited to shout one letter after another from alphabet (at Klinker gigs 'X' and 'Z' were favourites). Superlatives beginning with said letter were shouted back to hearers.

In London performance after Hugh Metcalfe's poetics-avant pub cabaret Klinker - multiple, if heterogeneous, poetry arts bubbles and place venues have sprung up in university rooms; pub-function rooms; free, open public spaces; civic halls and centres; theatres, cinemas; bookshops, galleries, restaurants; commercial, industrial, institutional arts buildings; people's homes; poetry hegemonized places of worship - all proliferate in capital and cities elsewhere.

There are (post)modern examples of poetry and poets selling and being sold with superlatives 'amazing', 'beautiful', 'collectable', 'fun', 'gorgeous', 'genius', 'magical', 'talented', 'witchy'. ('quirky' was added in biro to writer's file copy, a ...Wheeler entered category 'Q', 21/5/03).

Present writer finds himself internalizing and newly re-encoding same words he once deconstructed as hyperbolic superlatives. 'Gorgeous' and 'sparkling' just two new ones. In modernist '50ies 'Mad Men' era of 'hidden persuaders' and through '60ies, '70ies, '80ies, - 20th century hyperbole was decoded for Climb A Free Wheeler in random combination. Intention being to deconstruct overused superlatives through sound. To decode words used and encoded for selling news items, popular fiction, advertising, arts' celebrities and their products.

...Wheeler was published and first performed before poets and artists began using MySpace, before Facebook, before use of vid-embedded blogspot bubbles like this one of present writer, egnep (EGNEP). Before the ltle bk of txt msgs (Michael O'Mara Books, 2000) found online currency @Twitter in Web 2.0's visual web association#.

Facebook Mick takes his social media 'friends' and 'followers' seriously. Michael (socialized 'Mike') Weller even encourages reconstruction of superlatives - subverting his own deconstructions as if they are passé shadow readings beyond decent retrofitting.

'Find funny', 'Funny furious'
(two 'F' category entries in Climb a Free Wheeler, Writers Forum, 2001)

(hand-written back cover statement 'I claim my free Weller!' collaged by Bob Cobbing, June 2001)















Finished notes planned for inclusion in Songs Our Teachers Learn Us, or, Lessons To Be Taught sequence.