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"EARLY BOOKS (expanded editions): 2007-2009

"EARLY BOOKS (expanded editions): 2007-2009

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Published by Adam Fieled
This collection includes expanded editions of Opera Bufa, Beams, When You Bit, Posit, and Chimes by American poet Adam Fieled. Cover painting by Mary Harju.
This collection includes expanded editions of Opera Bufa, Beams, When You Bit, Posit, and Chimes by American poet Adam Fieled. Cover painting by Mary Harju.

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Published by: Adam Fieled on Apr 08, 2013
Copyright:Attribution Non-commercial


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 EARLY BOOKS: 2007-2009(expanded editions)Adam Fieled
One argument I would make behind my early books is that they aren’t
juvenilia. Part of the reason for this is that, though the books are tinged with avant-garde
colorations, I didn’t go into the writing of th
em a historical innocent. I know the majorRomantics and Victorians thoroughly; and what I was channeling (sometimes out of thin air)was influenced by that knowledge. Each of my most valued predecessors had their lesson forme
from Keats, I learned compression, and density (in the positive sense of the word); fromShelley, the pure joy of melodious language; from Byron, how to construct a protagonist whoroughly mirrored me; and finally (and most profoundly) from Wordsworth, how to connect myemotions with my intellect in a meaningful way. These are lessons which my MFA instructorscould not teach me
in most ways, being in-bred American rich kids pushed into poetry bytheir families, they were historical innocents in comparison. The old guard around Philly poetryknew even less
American art has always prized know-nothing attitudes, so as not to be adisturbance to the financiers who run the country. But I was never going to patronize the
national butcher shop, and I certainly wasn’t going to work there.
Part of the excitement of the early books for me was the excitement of risk
and oneof the risks I was willing to take was to create multiple voices
different voices, in fact, for
every book. I knew instinctively that I could achieve the feat that John Ashbery, Frank O’Hara,
and Bob Creeley had achieved
to bridge the gap between avant-
garde (“post
avant”) poetry
and the mainstream, and unite both under the same aegis. What I resisted in Ashbery and
Creeley in particular was the trick of finding a distinctive “uniting” voice and sticking to it. I
found (and still find) the role of changeling more intriguing. The uniting elements whichremained the same in the early books were extended, book-length (and conceptually lucid)
narratives, and stubborn cohesion around narrative in general. Ashbery and Creeley can’t hack
narrative at all
what they do have
, as poetic “brand names,” is a
n in-built thumb-printguarantee. Unambitious audiences will always find them comforting and aesthetically germanefor that reason
and ambition (especially in “world” terms) has never been strong in American
poetry. American poets prefer the simulacrum of ambition which a gestalt like Conceptualism
presents. If I was going to “incorporate” (and I was), there would be no simulacrum of 
I wanted to achieve something representatively artistic, and unique, past Ashberyand Creeley.This meant that in many ways, I would have to remain isolated
especially inPhiladelphia, where poetic avant-gardism was shrouded in carping conservatism, the impositionof strict parameters and old money. Until the Internet, there have never been any effectiveweapons against old money
but my timing in relation to the rise of the Internet was perfect,and, through blogs and e-zines, I could make myself at least half-immune to the vagaries of 
incorporated poetry. I called the Internet “New Art City” in ’06, and that appel
lation stillstands for me. I was also young and naïve enough not to fully understand what my position was(both in regards to old corporations and my own incorporation), and that helped. I believed inmyself and my own creative capacities without reservation. Years of hard experience will drainoff and steal this kind of fulsome belief, and grant practicality in return
that’s where I am in
regard to literature now. I still more than half believe
literature which aspires to the statureof high art and achieves its goals is more valuable in human society over long periods of timethan anything but other high arts and science
even if, by putting science first, I am forced todisagree with William Wordsworth and his own Preface. AF, 2013
Opera Bufa(expanded edition)
By Adam Fieled

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