Saturday, 26 July 2014


Virginia Heffernan wants poets to renounce "fetishy analog platforms" and take up poetry's new iteration: Twitter
The curiously formal verse of Twitter—bound tighter than villanelles in kimonos—is in general neither good nor bad. That doesn’t hurt its status as poetry: it is language precisely and even artfully deployed. This poetry loses and gains jobs, esteem and reputations. Wars, rumors of war, the fates of men and women hang in its lyrical balance. It costs, in short; and it pays. This is what relevancy is, maybe harder to define than poetry. Tweets are news. They are history.
Jean-Yves Fréchette, who in 2011 collected 1,001 of his poetry tweets into a book, has even coined a term for the twitter poem:
A "twoosh" is, in a sense, a perfect tweet. A tweet made up of exactly 140 characters, which is the Twitter limit. Writing a "twoosh" is using Twitter’s input matrix to create a new stylistic standard, to invent a new fixed form – as the sonnet, the ballad, the ode or the rondeau were in their time.

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