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Posh Lust is about poetry that is everywhere findable, provided the bits of "everywhere" are words and provided this life is lettered. Posh Lust is poetry from "below." People study poetry and some read it. Poetry is a pinnacle art as in "a small ornamental turret" even when it's a drunk imaginary communist or just a drunk imaginary. Kitsch makes the serious art of poetry bearable, so that poetry may become a situation where one is entertained by many an aspirational boner or becuntment in the literary field. There are poets who try to make poetry popular, as there are philosophers who have dismissed poetry and yet have written extensively about it. To some, poetry is a 17th century gas preserved in amber ? the last fart of Louis XIV. But the intellectual life inhabits poetry still, poetry that decries habit and shakes itself loose from encrusted style. Posh Lust is to the kitsch of poetry what Cabri's previous book Poetryworld is to the art of it. Posh Lust follows a failed dialectic (sequitur / non sequitur) ? as seriality without numbering, as a chain both of consequences and inconsequence, a chain broken every time it has tied, every time it tried linking together any A and B. A reader may find, among the 17 poems in each of the 4 sections (68 poems in all): a contemporary answer to "The Owl and the Pussycat," a hidden reworking of the Nixon tapes' anticipated visit by Allen Ginsberg, a cheeky id?es re?ues rendition of the great Guillaume Apollinaire, Bob Ross folded upon Ezra Pound on Chinese credit as Our Man in Havana, an anthem to letters that neither look nor sound like other letters, a treatment of the noises bursting from beneath letters as "9/11" remade for a B–movie horror film, Olsonian rhetoric cartooned in Walmart, repeal of the Canadian Wheat Board Act, one centred poem, a toastmaster's neoliberal code of ethics, and plenty more, none of this being true ? but truthful.
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