I encountered quite a big glitch in my Mina Loy paper last night so I spent my trip to work making even more notes and annotations to the Love Songs. The papers main contention is that the concepts of noise and audition inform the Love Songs and that to consider them in purely literary terms is only a half-seeing approach. So I’ve gone through and demonstrated how sound works in terms of content (that is, the images and events that take place in the poem), but now I’m looking at sound/ noise itself. I’ve limited myself somewhat by trying to see her noise in terms of Russoloian language noise – that is, the noise of consonants. I think consonantal noise is present, but there is more that is harder to quantify, such as the short /i/ sound. She certainly never goes the direction of Stein with an ever present sonority, but still what are those rattlings and shaking tin walls? Why are they there??? I’ll work it out, I’m sure. Otherwise… Office poetry is a beating keyboard and the monotonous hum of hard-drives etc. He’s taken good songs, that’s all Dub dubbing Eto What are you watching Laugh phone ring Noise Jyu ichi nin