Nr. 2 (19) anul VI / aprilie-iunie 2008 - ROMDIDAC

the musical phrases that the poem’s and the song’s ‘flesh’ consist of. This is
what differentiates this poetry from jazz poetry, and rock from jazz. Corso’s
poetry, just like rock music, usually has a steady time – marked by the tirelessly
succeeding (even if sometimes imperfect or jagged) feet – whereas a poetry
like Clark Coolidge’s for instance, very much similarly to jazz music, usually
employs a flexible time.
So when a poem or – in a wider context – a poetry is not explicitly talking
about rock culture related items or does not meet the musical and cultural
constraints (or better liberties) of a rock song – one could well-groundedly
consider it as potential rock poetry after coming across relevant elements of
popular and media culture, together with a liberal treatment of cultures high and
low, as well as a modern prosody encouraging steady (even if imperfect or nonstandard)
cadences while accommodating ‘classic’ forms in an unconventional
manner – the “loose formalism” as defined above – or developing rhythms and
other prosodic consistencies in original and/or rebellious ways – the “formal
heterodoxy” as proposed and illustrated in this subchapter.
Ex Ponto nr.2, 2008
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