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<div style="text-align: center;font-family: arial; "><span class="Apple-style-span" style="color: rgb(255, 140, 0); font-family: Arial, Helvetica, sans-serif; line-height: 19px; font-size: xx-large; "><b>EPOC</b><i> (Experimental Poetics of Cleveland) </i></span></div>
<div style="font-family: arial; "><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 17px; "><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 19px; "><font class="Apple-style-span" color="#ff8c00"><font size="4" style="font-size: 13px; "><span style="font-size: 13px; line-height: 19px; "><font size="4"><em style="position: relative; "><font size="3"><font size="2"><br>
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<div style="font-family: arial; "><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 17px; "><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 19px; "><font class="Apple-style-span" color="#ff8c00"><font size="4" style="font-size: 13px; "><span style="font-size: 13px; line-height: 19px; "><font size="4"><em style="position: relative; "><font size="3"><font size="2"> “Adding to the stock of available reality.”</font></font></em><font size="2"> –</font></font><font size="2"><strong "mso-bidi-font-weight:="" normal"="" style="font-size: large; ">R. P. Blackmur</strong> </font></span><font size="2"><em style="position: relative; "><br>
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Experimental Poetics of Cleveland (EPOC) </em>is an underground journal dedicated to poetic investigation and interrogation, printing the “results” of work on clusters of interrelated questions as well as collections of your personal work.<br>
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<span></span>Experiments will begin with questions: such questions suggest an experimental design (a way to investigate the questions) of a poem that must be driven by honest observation, research, and—because it is a poem—chancing, inventing new interrelationships among subjects, vocabularies, and literary devices. The results, if one calls all this an experiment, are the poems themselves.<br>
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<span></span>Recently there’s been a realization among editors of certain scientific journals that descriptive reports of hopelessly failed (but significant) experiments should be published too—to prevent unwitting replication, to learn from what doesn’t work – EPOC shares this vision. <br>
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<span></span><em style="position: relative; ">EPOC Journals </em>provide models of poetic engagement fueled by an experimental attitude (not always the same thing as experimentation) aimed at significance richer than mere formalistic exercises. A key criterion of this journal is that failure is recognizable. </font></font><br>
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<font size="2" style="font-size: 13px; "><strong style="font-size: large; ">A CALL FOR NEW WORK:</strong> EPOC is actively searching for a conversational community from within the Northeast, Ohio area with shared values, questions and critiques about Poetics (language and communication) and the world. Various affiliations and cross-affiliations among those actively rethinking the place of poetics in a changing world (a nexus that should, at this point, be only loosely labeled “Language”) are pertinent to the growth of this community.<br>
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<span></span>Contributors, EPOC has an open door editorial policy; every serious response given to the guiding question of this issue is of interest. Please understand that this is a generous policy; when a call goes out for submissions there is a risk taking on behalf of printing these journals.<br>
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<span></span>Submission(s) are accepted daily (with no fees) at <a title="" href="mailto:hobgobpress@aol.com" style="text-decoration: none; font-size: large; ">hobgobpress@aol.com</a>; attachments of your work only. <br>
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<span></span>*Note: Submissions must be:<br>
<span></span>-experimental poetry<br>
<span></span>-questions, prompts, or theories probing the nature of poetry (form, technique, purpose, etc.) <br>
<span></span>-responses to previous prompts by poets in the EPOC community<br>
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<span></span>Subject line should read “EPOC.” The body of your message should include as much information about your poetry as you have available (notes, peer review, suggestions, implications, past and present usages, previous research) *Note: It needn’t be much (as most of us are just beginning to discover the applications of our work) just a seed, a launching off point for others who want to continue examining your experiment further. If you are unable to produce any background information on your poetry please write that in your message.</font></font><font class="Apple-style-span" color="#ffa500"><font class="Apple-style-span" size="5"><br>
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<b>Poets, please write your responses to the<br>
following GUIDING QUESTIONS (PROMPTS)<br>
<span></span>below and send your SUBMISSIONS to<br>
<a href="mailto:HobGobPress@Aol.com" title="" style="text-decoration: none; ">HobGobPress@Aol.com</a> for publication.<br>
*Note: You own the rights to every thing you<br>
post on this site as well as send to me.</b><br>
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<span></span><font size="3"><strong><span>GUIDING QUESTIONS (PROMPTS):</span></strong></font></font></font><font class="Apple-style-span" color="#7fff00"><font class="Apple-style-span" style="font-size: 13px; "> </font><font size="3" style="font-size: 13px; "><strong>TELEPATHY</strong></font><br>
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<font style="font-size: 13px; "><span>1.</span> How can we achieve telepathy?<br>
<span>2.</span> What is telepathy?<br>
<span>3.</span> Do we already use telepathy? To what degree?<br>
<span>4.</span> How does the body affect communication?<br>
<span>5.</span> How much of telepathy could be perceived information versus accurate information?<br>
<span>6.</span> How true is our intuition? Our gut?<br>
<span>7.</span> How important would telepathy be if we all could do it?<br>
<span>8.</span> What modern examples (technology, literary devices, etc.), if any, are similar to telepathy? Why?<br>
<span>9.</span> What significance does telepathy have toward our understanding of language?<br>
<span>10.</span></font><font class="Apple-style-span" style="font-size: 13px; "> </font><font style="font-size: 13px; ">What are the potential benefits of telepathy?<br>
<span>11. Are complete thoughts the best and only way to transfer thoughts? Can impressions be sent instead? What would that be like?</span><br>
<span>12. How much of telepathic communication, or perceived telepathic communication, rely on the speaker? How much relies on the pre-conditioning and past experiences of the receiver?</span></font></font></span><font class="Apple-style-span" color="#7fff00"><br>
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<font class="Apple-style-span" style="font-size: 13px; ">Poets, you need NO experience doing the so-called 'Experimental Poetry," only a playful heart and investigative spirit. By responding to the PROMPTS below you will be immediately PUBLISHED in these JOURNALS (so long as you reply honestly) which will be SOLD in Cleveland area bookshops and online. No catch. The EPOC Journals are dedicated to poetic investigation and interrogation, printing the “results” of work on clusters of interrelated questions (as well as, went submitted, others' randomly submitted work).</font><br>
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</b><font class="Apple-style-span" style="font-size: 13px; "><b>WEBSITE:</b> </font><a href="http://www.bmstroud.com/clexeland-journal.html" target="_blank" rel="nofollow nofollow" style="font-size: 13px; cursor: pointer; text-decoration: none; ">http://www.bmstroud.com/<wbr><span class="word_break" style="display: inline-block; "></span>clexeland-journal.html</a></font></span></div>
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