Everything loosened up in this orgy of pre-rejected writing.

Everything loosened up in this orgy of pre-rejected writing.

Peter Riley had this to say about Nicholas Moore's later poems, introducing a selection of them for the Conductors of Chaos anthology (ed. Iain Sinclair, 1996): 

     Everything loosened up in this orgy of pre-rejected writing.
     Since nobody was listening, the poetry could be 'anything'.
     Long meditations, short epigrams, rhymed and unrhymed,
     measured and unmeasured, sonnets, songs, ballads, blues,
     straight philosophical statements, symbolic landscapes,
     surrealist figurations, imagist trances, jokes and nonsense,
     poems in gobbledegook, outrageous travesty and satire,
     calm description,  detective poems, jazz poems, cricket
     poems, haiku, doggerel, pure 1940s lyrics and persona
     narratives. . . all 'rubbish', all free as the wind.


Tutto si smuove in questa orgia di scritti già scartati.
Da quando nessuno ascolta più la poesia, la poesia stessa potrebbe  essere "nulla".
Lunghe meditazioni, brevi epigrammi, con rima e senza rima,
cadenzate e non cadenzate, sonetti, canzoni, ballate, blues,
chiari enunciati filosofici, paesaggi simbolici,
raffigurazioni surrealiste, magici incantamenti, freddure e  nonsense,
poesie in burocratese, satire e parodie oscene,
calme descrizioni, poesie poliziesche, poesie jazz, poesie
sul cricket, haiku, burlesche, liriche puro stile 1940 e copioni
teatrali...tutta immondizia, tutto libero come il vento.


da Peter Riley. The Day's Final Balance: Uncollected Writings 1965-2006. 
[Shearsman Books, Exeter, 2007, 208 pp.