{"id":5347,"date":"2018-12-23T12:55:43","date_gmt":"2018-12-23T12:55:43","guid":{"rendered":"http:\/\/glasfrynproject.org.uk\/w\/?p=5347"},"modified":"2019-01-16T18:09:57","modified_gmt":"2019-01-16T18:09:57","slug":"tilla-brading-breath-from-the-black-mountains","status":"publish","type":"post","link":"https:\/\/glasfrynproject.org.uk\/w\/5347\/tilla-brading-breath-from-the-black-mountains\/","title":{"rendered":"TILLA BRADING: Breath from the Black Mountains."},"content":{"rendered":"<p>Regarding Olson\u2019s idea of the use of breath to determine line lengths, I am on the side of John Cage. Cage knew Olson from Black Mountain College but (says Fetterman (1996), when asked if he was using such a framework said that he did not really understand what Olson meant at the time but later said he liked it.<\/p>\n<p>Before we look more closely at \u2018breath\u2019, it puts the idea in context to check out some life-line comparisons between the two writers who are the subject of this short exploration: Charles Olson who lived from 1910-1970, enjoyed some years parallel to David Jones\u2019 span of 1895-1974.<\/p>\n<p>In this paper of slightly glissando comparisons between the authors I have not yet found any reference by either of them to each other\u2019s work yet I believe they were independently ploughing some similar furrows.<\/p>\n<p>&nbsp;<\/p>\n<p>To read the rest of this paper, click here: <a href=\"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2018\/12\/Tilla-2-p.pdf\">Breath from the Black Mountains<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #ff6600;\"><strong>Tilla Brading<\/strong>\u00a0is a poet, performer and textual artist who has taught creative writing as well as working most of her life with students who have a variety of Learning Difficulties. From the experience of her up-bringing on a hill farm in Ystradfellte, Powys, using its people and situations, her work has evolved towards a freer exploration of language, semantics, performance and the visual. Starting points may be from texts, landscape, history, the news or anything that can weave, meld and fray into a termination if not a completion. She was joint editor of Odyssey Press \/ PQR (Poetry Quarterly Review) and assistant custodian of the cottage where Coleridge lived in Nether Stowey, Somerset. Her work which has included collaboration and improvisations has appeared in a variety of books, magazines, projects and on-line.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Regarding Olson\u2019s idea of the use of breath to determine line lengths, I am on the side of John Cage. Cage knew Olson from Black Mountain College but (says Fetterman (1996), when asked if he was using such a framework said that he did not really understand what Olson meant at the time but later [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5458,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"footnotes":"","_jetpack_memberships_contains_paid_content":false},"categories":[53,12],"tags":[],"jetpack_featured_media_url":"https:\/\/glasfrynproject.org.uk\/w\/wp-content\/uploads\/2018\/12\/black-mountain-junction-box-5_edited-1.jpg","jetpack_shortlink":"https:\/\/wp.me\/p42xiC-1of","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/5347"}],"collection":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/comments?post=5347"}],"version-history":[{"count":9,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/5347\/revisions"}],"predecessor-version":[{"id":5507,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/posts\/5347\/revisions\/5507"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media\/5458"}],"wp:attachment":[{"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/media?parent=5347"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/categories?post=5347"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/glasfrynproject.org.uk\/w\/wp-json\/wp\/v2\/tags?post=5347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}