Mel Nicols Responds

As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.

As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.

As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.
As a poet, to see this is discouraging.

As a poet, to see this is discouraging.
As a poet, to see this is discouraging.

Solace (in no particular order): Grapefruit (Yoko Ono); Midwinter Day (Bernadette Mayer); Memory (Bernadette Mayer); The Sonnets (Ted Berrigan); Silence (John Cage); The Writings of Marcel Duchamp; Merz (Kurt Schwitters); Seven Dada Manifestos and Lampisteries (Tristan Tzara); the work of Joseph Cornell; “Fantasy (dedicated to the health of Allen Ginsberg)” (Frank O’Hara); “Notes on ‘Camp’” (Susan Sontag); The Society of the Spectacle (Guy Debord); Andy Warhol; Scratch (a film by Doug Pray); Les glaneurs et la glaneuse (Agnès Varda); etc. See also: “Song of Myself” by Walt Whitman.

For another example of new poetries represented in Poetry, curious readers may want to take a look at the February 1931 issue—I believe Lorine Niedecker, for instance, found it to be a useful resource.