ok, Russell, so why should we read YOUR book ???
Look, for example at what Daniel Bosch has to say in praise of my groundpounding efforts:
Russell Bennetts’ lab coat is pristine. In his “Reflections on Taboo-breakng” he has constructed a totem which inscribes precisely, syllogistically, that form of wildness to which we obsessional neurotics feel we are most entitled. Bennetts knows well the savage truth that poems — even “Untitled” poems — have both titles and bodies. He knows that a title personifies that body — it’s a poem’s name — and that the use and abuse of any poem’s name may be pyscho-emotionally freighted. Bennetts knows how often we over-rationalize and abuse poems’ names in transactions that cheapen the energy which animates their bodies — that poems’ titles must be subject to the strictures of taboo.
If Bennetts’ “Reflections on Taboo-breaking,” were not the quintessential poem of the long 20thcentury, we might reduce it to a belated Oulipoesis, the holding of a mirror to the blank page which has discovers it as an ideal form: the lipogram in A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y and Z. But his poem’s suppression of the entire alphabet is neither incomprehensible savagery nor empty post-modern gesture. In its silence and stillness, Bennett’s poem stands at the edge of taboo — as we all must — and does not go there.
Those doors, it opened opens where Cynthia opened in its closing scenes. Fanously, Taylor Swift has legs and knows how to use them.
Cynthia dived into the pool feeling 22. Twenty-two years later she (mights) finds herself living in a block of expensive flats. Read on to discover as to the soulless rating of the block of expensive flats.
(Russell Ron Bennetts, Kentish Town 10/2014)