2) do experimental e-zines only encourage readers who are already interested in experimental poetry to read them?
i want to ramble some about this question that i posted a while back.
as an e-zine editor, i know that the majority of _moria's_ readers visit the site from other similar sites. of the people who submit, about 25% write experimental poetry. the other submitters often write in a traditional format or write 'religious' or 'sexual' poetry. it seems that the readers have not even read the e-zine to see its style. many print editors say a similar thing, so i don't think that the online quality changes much there, except for the volume. it is much easier to submit via e-mail than via post. of the 25% who write experimental work, it is hard to say who is influenced by other experimental pieces that they find on the web versus what they find in print sources. i tend to think readers spend more time with print sources. most of the people who visit _moria_ only stay for a few minutes. i wonder if that is typical of online sources in general? if it is, perhaps that is something that will change in time. the one advantage that an e-zine has over a print source in terms of influence is its availability. anyone who can find a computer can log on and read an e-zine. as someone in the u.s., if i want to read an experimental australian magazine, i have to contact someone in australia to send it to me. to go through the trouble, even though it is not much trouble, i have to really want to read the magazine, especially since it is not free like an e-zine. since _moria_ gets readers from about 40 countries each month, i cannot help feeling that some poets or literary enthusiasts are exploring what experimental poets are doing in other countries via the web. still, is the web helping to create a network of experimental poets? what would such a network entail? how would it affect the diverse language traditions, i.e. the canons?
i want to ramble some about this question that i posted a while back.
as an e-zine editor, i know that the majority of _moria's_ readers visit the site from other similar sites. of the people who submit, about 25% write experimental poetry. the other submitters often write in a traditional format or write 'religious' or 'sexual' poetry. it seems that the readers have not even read the e-zine to see its style. many print editors say a similar thing, so i don't think that the online quality changes much there, except for the volume. it is much easier to submit via e-mail than via post. of the 25% who write experimental work, it is hard to say who is influenced by other experimental pieces that they find on the web versus what they find in print sources. i tend to think readers spend more time with print sources. most of the people who visit _moria_ only stay for a few minutes. i wonder if that is typical of online sources in general? if it is, perhaps that is something that will change in time. the one advantage that an e-zine has over a print source in terms of influence is its availability. anyone who can find a computer can log on and read an e-zine. as someone in the u.s., if i want to read an experimental australian magazine, i have to contact someone in australia to send it to me. to go through the trouble, even though it is not much trouble, i have to really want to read the magazine, especially since it is not free like an e-zine. since _moria_ gets readers from about 40 countries each month, i cannot help feeling that some poets or literary enthusiasts are exploring what experimental poets are doing in other countries via the web. still, is the web helping to create a network of experimental poets? what would such a network entail? how would it affect the diverse language traditions, i.e. the canons?
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