The manifesto seeks to dissolve, rather than create, as with modernist manifestos. My process deconstructs its own artlessness, is nomadic, in its unoriginal reuse of the past.
J. H. Prynne rejects the ‘Polis’, Olson’s theoretical moral centre of gravity, because it is unable to reconcile the nomad with the need for settlement1. Resisting Olson’s morality, as I have, is then a means for the nomad to desire rest, and for so restlessness, an affective aversion to settledness, to make up a rejection of the ‘nomad’ and the world of poetry.1Anthony Mellors, Late Modernist Poetics: From Pound to Prynne (Manchester and New York: Manchester University Press, 2011), 122
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