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I was initially struck with a mix of emotions and thoughts that took me a while to disentangle. I think my feelings on the issue of others working with this particular fragment or other poetic works of Reginald’s are related to two distinct sets of issues – the quality of the work produced and the nature of what’s being done with another’s material.<BR/><BR/>Regarding quality, in general I prefer good art to mediocre. Poets and artists of other sorts draw upon, allude to, or incorporate elements of the works of others all the time – it’s a normal part of artistic production, and there are a number of perfectly legitimate ways in which this can be done. Here, too, I’d prefer that the products of the use of the work of others be good art. (What constitutes “good art” is, of course, a thoroughly complicated matter – one that I’m not addressing here, because it would take me on a long tangential trajectory in a case where it’s been difficult enough for me to disentangle and articulate what I think on the issue. It’s an topic that Reginald addressed at great length in many of his posts on this blog or in his essay collections.) <BR/><BR/>In principle, I feel that my feelings about how others might draw upon Reginald’s work in their own poetry shouldn’t be any different from my feelings regarding the use of anyone else’s poetry. Realistically, though, that’s not the case, especially regarding this issue of quality. Part of the mixed bag of emotions I initially felt upon reading this question was fear and wariness. There’s a big part of me that for purely emotional but very strongly felt reasons doesn’t want anyone mucking around with Reginald’s work. What I’ve done with this fragment was uncomfortable enough, but I’m ultimately happy with the result and the process of producing it, where what I did was to distill what was legible in his fragment, but where all the content is his. I wouldn’t be comfortable adding significant content to it, and I’m certainly not comfortable with anyone else doing so.<BR/><BR/>That said, I also recognize art isn’t always comfortable. <BR/><BR/>There are a number of ways in which poets or other artists quote, allude to, borrow from, or otherwise use or incorporate the work of others. That’s normal, natural, and one of the things that creates vibrant connections between different artists and works. While I may be uncomfortable about the idea of others drawing upon Reginald’s work – which is frankly a worry that I won’t like what’s done, or that I’ll think the result inferior or unworthy of him – I also realize that one of the ways an artist’s work continues to live is through the refractions of it in the works of others. As such and despite my wariness, I’m not opposed in principle to work that utilizes Reginald’s work, though with some important caveats, which constitute much of the rest of this reply.<BR/><BR/>One basic way in which the work of others is utilized is through artistic quotation or allusion (where quotation and allusion are not the same thing, but where quotation may be seen as a specific form of allusion). In the case of quotation, in general, I’d prefer credit be given (especially with borrowings from my Reginald). At the same time, I realize that, so long as things stay within the spirit of fair use (or for that matter the letter of fair use, for there can be intellectual property issues at stake), there are many cases of legitimate quotation or drawings upon the works of others through allusion without explicit attribution – for example, Shostakovich’s quotation of the “Lone Ranger” phrase of Rossini’s William Tell Overture in his 15th symphony, or Reginald’s drawing upon the imagery of a Manet painting in his poem “Kinds of Camouflage” (which I commented on in “Comments on ‘Kinds of Camouflage’” a few posts ago on this blog). There are many examples of poets borrowing a few words, a phrase, a line from another’s poem. Again, so long as it stays within the realm of fair use, the main difference I see between this and drawing upon phrases one encounters on roadside signs or that simply pop into one’s head is that the practice of drawing upon the poetry of others contributes to the intertextuality of poems.<BR/><BR/>There are instances of drawing upon another’s work that are more systematic or extensive than allusion or quotation of a small part of the work, cases where there is utilization of a whole work, or significant portions thereof, with a reworking of the material and/or incorporation alongside added material. The most obvious example of this in contemporary art is remixing of music, where for lack of a better term, I think we could speak also of remixing in other artistic genres, including poetry. My perspective here is that remixing is acceptable if credit is given and permission gotten. (Since remixing involves reworking significant portions of another’s work, “fair use” doesn’t cut it. Remixing without credit or permission is in the territory of Vanilla-Ice-ripping-off-Davd-Bowie-and-Queen-for-lack-of-decent-material-of-one’s-own.) Beyond legal or moral acceptability, remixing, of music or poetry, can be done well or badly. A good remix is both an original work of art and something that forces a rethinking and brings a new appreciation of a familiar work. At best, a bad remix reminds one of how much better the original work is and makes one want to return to it.<BR/><BR/>While I’d be fine with (or at least not opposed to) someone quoting or alluding to this or other works of Reginald (preferably with explicit credit, definitely within the framework of fair use or with permission gotten), and while I’d be fine with a “remix” (preferably well done, and definitely with credit and permission given [with a further caveat that for poems published in collections, that even as literary executor, I may not be the sole person needing to give permission]), one thing I definitely would not want to see done with this fragment is for someone to add to it in an attempt to “finish” it, and certainly not to add to it and present it as a finished Reginald Shepherd poem. The reason I’m strongly opposed to that is because even if well intentioned, it strikes me as active misrepresentation, if not a lie. (It seems fairly clear to me that this is not what you’re suggesting. I’m more trying to head off any misunderstanding of what I’ve said here.) <BR/><BR/>RobertRobert Philenhttps://www.blogger.com/profile/09457837427267431889noreply@blogger.comtag:blogger.com,1999:blog-4014415529871703586.post-28065684687811781862009-03-27T09:57:00.000-06:002009-03-27T09:57:00.000-06:00Dear Robert, I'm not even sure if I should ask thi...Dear Robert, I'm not even sure if I should ask this question...but as a friend and previous student of Reginald's, how do you feel about poets using the fragments in order to create new poems in dedication to him? <BR/><BR/>I think there should be a requirement to state in each poem that it is based on this 'fragment' by Reginald. <BR/><BR/>I hope the notion isn't offensive, I see it as a way to honor and feel connected to his work...<BR/><BR/>All best,Diana Adamshttps://www.blogger.com/profile/07500018575404887262noreply@blogger.comtag:blogger.com,1999:blog-4014415529871703586.post-47966925834657547122009-02-15T15:39:00.000-06:002009-02-15T15:39:00.000-06:00Thank you, Robert. I think it will be a great lead...Thank you, Robert. I think it will be a great lead in to National Poetry Month.seana grahamhttps://www.blogger.com/profile/03774794086733027289noreply@blogger.comtag:blogger.com,1999:blog-4014415529871703586.post-63246058340299780722009-02-15T15:04:00.000-06:002009-02-15T15:04:00.000-06:00Thank you for this comment. Enjoy reading Fata Mor...Thank you for this comment. Enjoy reading Fata Morgana. RobertRobert Philenhttps://www.blogger.com/profile/09457837427267431889noreply@blogger.comtag:blogger.com,1999:blog-4014415529871703586.post-22264665423757879052009-02-13T21:54:00.000-06:002009-02-13T21:54:00.000-06:00That is very beautiful, and I agree totally with t...That is very beautiful, and I agree totally with the approach you are taking to it. I think that giving us the fragments before giving us a kind of summing up of it is key.<BR/><BR/>I saw a very nice piece in the Bloomsbury Review today, which led me back to him. I am not, like so many here, a friend, or a student, or even an aspiring poet. I came upon his work and thought by chance, at the end of his life. Nevertheless, I feel a connection. And I feel that I want my life to be informed by his work and thought. I ordered Fata Morgana after reading that review. I'm glad that it includes his late poem to you, already posted here, Robert.seana grahamhttps://www.blogger.com/profile/03774794086733027289noreply@blogger.com