In
a column in The San Francisco Chronicle not long ago, Lawrence
Ferlinghetti asked, "Why are poetry readings never reviewed
in the media?" Not a world-shaking question, he admitted
(though he went on to discuss the lasting influence of readings
by Russian poets and the Beats, his tone hovering near North
Beach Oracular).
Ferlinghetti declared himself mystified by critical indifference
to poetry readings. What was keeping reviewers away? He considered
the sound levels of poetry events, quickly reassuring himself
that they were indeed loud enough, and concluded that poetry
performances are as "dramatic as any other stage event."
Maybe, he mused, the word "reading" should be banned
altogether and the performing poet required to memorize lines
"like any other actor."
In Hollywood, where we have more actor-poets and performance
artists standing on more stages, sound stages, sets, backlots
and soapboxes than anywhere else in the world, with more critics
in attendance than even Ferlinghetti would desire, poets still
feel shabbily treated by the press. Recently, the cover of a
Los Angeles weekly ran a banner with the breaking news that
poetry may not actually be read by a lot of people ("if
L.A.'s poets went on strike, would anyone notice?"). Years
ago the book section of the local newspaper used to run reviews
of poetry readings - and, in fact, it could be argued that these
reviews established a rhetorical model, a prototype, combining
the hushed breathiness of the fashion show moderator with the
gently insistent authority of personal hygiene guides.
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