Selected poems from previous & forthcoming collections together with Q&R apps on each page to enable audio rendition simultaneously with the written text
Excerpt
Here is a poetic text, a selection of choice works from the distinguished poet Robin Ouzman Hislop, whose remarkably alert and surprising lyrics constitute a significant poetic achievement today, in which electronic technology engages the reader doubly, enabling simultaneous reading and hearing of each poem. For Hislop’s poetry, this publication is especially effective, as the poet’s resonant and almost hypnotic voice brings music and personal emphasis to the texts. For those who have been disappointed by monotonous delivery at poetry readings, Hislop’s voice and passion will be a reminder of why poetry exists. ~R. W. Haynes, A&M International Universit of Texas, Laredo, USA
Professional Reviews Antonio Martínez Arboleda - Aquillrelle Author's Page
Hislop’s insightfulness is exuberant. He combines the analysis of the universe through the appreciation of the ephemeral instant with a variety of poetic forms. For instance, he provides sequences of human (or humanoid?) thought, by intelligently staging verse recurrence, notably in the poem “Human Simulation”, when the intertwining of shared words throughout several stanzas provides the baseline of the animation that the alterations of patterns depict, as in the form of sketches for TV cartoons. He also works with infinity mirror effect. The result of this experimental language is a reflection on the relativity of syntax and an invitation to imagine how advanced forms of computers would realise thought.
E.M. Schorb - Aquillrelle Author's Page
One pulls a flap and wonders, “What’s in here?” and is never disappointed. But at the same time. the ultimate subject of Mister Hislop’s extraordinary book is so large, so kaleidoscopic, that, in this reader’s opinion, to do it justice requires much more than a review. Like Joyce’s Finnegan’s Wake, it should have a skeleton key (as by Campbell and Robinson); like the universe, it should have a space traveller who can explore its endless depths. But don’t get me wrong. We get more than enough of magic and beauty when we just get some of it—like beautiful, unknowable life.
Ian Irvine (Hobson) - The Many Faces of Creative Indeterminacy
When Marjorie Perloff, long-term critical advocate for L=A=N=G=U=G=E poetry (indeed for experimental poetries generally), published The Poetics of Indeterminacy: Rimbaud to Cage back in 1981, she wanted to trace a particular kind of poetic ‘indeterminacy’ back to its 19thcentury roots in Rimbaud. Early on she quoted Barthes’ perspective on Rimbaud’s poetics: ‘Rimbaud … destroyed relationships in language and reduced discourse to words as static things … In it, Nature becomes a fragmented space, made of objects solitary and terrible, because the links between them are only potential.’ Perloff then traced the 20th century developments in this emerging poetics via chapters on Gertrude Stein’s ‘word-systems’, Samuel Beckett’s ‘poetics of absence’ and John Ashberry’s ‘open field of narrative possibilities’ (elsewhere termed a ‘field poetics’). Her book concluded with studies of the ‘marginless’ poetics of David Antin and the chance-operations poetics of John Cage, who wrote of his later works: ‘They begin anywhere, last any length of time … They are therefore not preconceived objects … They are occasions for experience.’ Perloff’s book led to further studies in which she announced L=A=N=G=U=A=G=E poetry as a further chapter in this century old poetics of ‘indeterminacy’.
