Linh suggested that I send my response to his comments on the "Cool" as a direct post to the blog. I am doing so:
The problem with "School of Quietitude" is that it is a putdown rather than a descriptive term. Its main effect is to be blind to -trying to erase- anything written outside the perimeters of The New Sentence.
The contemporary Turkish poetry anthology, "Eda," is 300 pages of hot poetry and sixty pages of hot essays. The poems or essays there have nothing to do with any school of quietitude and almost as little to do with what the new sentence is purported to have achieved.
It is a poetry and poetics of an integral outside (from the American point of view), spun, woven out of the consciousness of a "hot" place in the contemporary world. Having been born and spent formative years outside The United States, you understand that.
Let me add a few comments in response to Patrick’s. When I began reading American poetry for the first time –in the very early sixties- my impression was how this poetry was defined by what one is not permitted to do in it. I do not feel like this any more; not because I am completely Americanized, but because I see American English as an imperial language. Coolness is embedded in it (this blog is an interesting place to bring up the point). I wrote about it in 1993, in my essay "Questions of Accent," calling American English a "step-mother" tongue.
In my view, the only way a poem can be written in American English is by being completely hot. The coolness will derive by the relationship of the poem to the general public, the heat deriving from its survival function. In other words, an American poem is simultaneously completely hot and completely cool.
For instance, the coolness of Ashberry’s poetry derives, in my opinion, from the intense subjectivity of its vision, forcing the poet to create a language "parallel" to the public one. It is amazing that a poetry of such obsessive reverie projects an aura of coolness (the deceptive transparency light also brings to a photograph).
My very best,