Silliman's Blog

I’ve thought about responding in detail to Brian Kim Stefans’ screed over the first half of my Lowell commentary, but found (find) it impossible, at least personally, to untangle his thinking from the ad hominem attacks that he loads into it. Of greater value & interest are Kasey Mohammad’s & Michael Magee’s discussion of the same issue. Though, frankly, Brian’s second approach on the same subject seems less over-the-top & thus more thoughtful. Alas, he slides back into the ad hominem mode for his third commentary.

I do want to reiterate that anyone who lived through the 1960s will remember that, in politics, the “third way” strategy advocated by Stefans – Walter Mondale was its apotheosis – invariably came out as road kill. While the intentions of a rapprochement may always be noble, in the world of American letters it requires amnesia to imagine it possible. If you’re anywhere on the post-avant spectrum – as Brian clearly is – the idea of rapprochement is virtually a death wish. Kasey, on the other hand, is exactly on target when he suggests that a “17^th way” will be possible before a “third one” is.

Daniel Nester offers a more cogent criticism concerning my comments in his email below:

Mr. Silliman:

Some quick comments on your otherwise spot-on assessment of all this Lowellmania of late.

When you say that when Time "could have focused on the aftermath & implications of the first Harlem riots of the decade, it chose instead to feature Lowell on its cover," I think it misses many points. 

To wit: Time could have had another poet, not from his clan, on the cover — Ginsberg, perhaps, an obvious choice, but perhaps a feature on "The New American Poetry."  Granted, that last proposed feature would have been four years late — not so unhip for mainstream media — but my point is by saying Time should have focused on the Harlem riots, you're implying that

n       any poet beside Lowell couldn't have competed with him for a Time cover — indeed, if we are to believe poets of your generation (Larry Fagin's asinine bloviating comes to mind), this was a glorious time for poetry, filled with cheap rents, great pot, and hot chicks;

n       Lowell and his lot didn't care about the Harlem riots — they probably did, they being of the aristopoet, armchair purply liberal pedigree;

n       poetry is less important than the Harlem riots — it is not, and to imply it is demonstrates that in the absence of good ideas all we have is moral indignation;

Granted, your comparison goes for cheap points, and does point out Time's oversight of engaging with the real world, just as Lowell, in his diction and topics, avoided the real world as well.  But by saying non-pedigreed poets, by right of Time magazine's exclusion, are "down" with Harlem riot concerns suggests alternapoets of the early 60s were political heroes, and the pedigreed ones weren't.  I'm afraid neither is the case.

I just don't think you need to invoke the Harlem riots to point out the iniquity of the poetry world back then.  Is all I'm saying.

Best, D

Daniel Nester

editor, Unpleasant Event Schedule

http://unpleasanteventschedule.com/

author, God Save My Queen

http://www.godsavemyqueen.com/

Nester is absolutely right in some of his points. I wasn’t trying to suggest that Lowell or his immediate circle were in any way involved in the decision to cover poetry over social eruption on the cover of Time. There is no reason to believe that Lowell didn’t feel some sympathy for the rioters, although frankly at that early moment most of the Left didn’t know how exactly how to react to that event.

As an editor, my experience tells me that a “poetry cover” on Time is what you choose for a week of little or no news of great topical importance. In the face of the first modern urban uprising, to have missed that was a major editorial comment on Time’s part. It’s not that poetry is “less important,” but rather that its importance functions on a very different dimension.

However, it’s a comment more on the school of quietude’s (SoQ’s) integration into the social milieu of the publishing industry, as such, that Time would think to put Lowell, rather than Ginsberg, on its cover – the latter would almost certainly have sold more copies in 1964. It reminds me of the degree to which many of the quietude poets don’t even know how that world represents their own small press scene. As one Pulitzer-winning SoQ said to me a couple of years back, “It must be hard to come out of college without a book contract.” Yeah. Right.  

Labels: School of Quietude

Link -  0 comments

My comment on a single allusion to David Bowie in Louis Cabri’s “Salon, salon” in the new Kiosk 2, evoked a response from Louis that has “Big Post Error” inscribed all over it. Jim Behrle, my personal P.R. agent, tells me that Blogger is claiming to have solved that irritating quirk.

I admit, reading what follows, it took me a couple of passes through Louis’ text to realize that retrochic should be understood & pronounced retro-chic & was not related to trochees.

The crux of your question about allusion, for me, is: When does one decide to go “up,” when “down” in interpreting and making allusion? Somewhat simplistic down/up metaphor, but: one can go “down” (or sideways) into allusions to specific details (intertexts) of form and history. Allusion can then be differentiated from quotation (Diepeveen), textual present (i.e. reading) from historical text (i.e. allusions), and so on, at a formal level. One can also go “up” into textual allusions to a general idea or concept, e.g. materiality.

Example, from criticism, where both directions for allusion might intersect under the rubric of white studies [1]: Bob Perelman’s reading of Bruce Andrews’s violence in I Don’t Have Any Paper So Shut Up (or, Social Romanticism) goes “up” – into Kantian concepts of aesthetic disinterestedness and autonomy. “When Andrews writes, ‘sink the boat people’, he doesn’t mean it – and thus finally could be said to write under the aegis of Kantian disinterestedness, even though that leads to a liberal poetics of free play” (107). The violence that concerns Perelman in Andrews’s work is too conflicted to get a specific reading as this or that, even though there is an insistent and concerted effort to get into its details, for instance, with the line: “Where’s a battered woman – I want to beat her up?” (Don’t Have Any 193). Perelman writes:

How much credence are we supposed to put in that question mark? The rhetoric is indecisive. It’s not “I want to beat up a battered woman” (which would be like Baudelaire’s “Let’s Beat Up the Poor”), but neither is it “Can we possibly understand the twisted feelings of someone who wants to beat up a battered woman?” It’s hard to imagine Andrews is condoning abusive men, but what, besides triggering a conflicted response, does such a sentence do? (Marginalization 106)

This passage offers two interpretive scenarios, one negative, one positive. The first, a negative scenario, proposes a formal and historical allusion for the line to Baudelaire’s penultimate prose poem in Paris Spleen (1869), which, while by no means excusing, would nevertheless underscore that Andrews’s offending line has literary precedence. The second scenario foregoes allusion and tries to put the sentence into other words by introducing empathy and the question of empathy’s limits – a positive scenario.

Perelman’s ethico-aesthetic dilemma is that while his essay’s principle focus is political in the modernist sense of asking how words translate into action, Perelman emphatically does not want to “endorse a retreat to more normative genres and content” (108).

But I want to focus on the social, not the political,[2] evaluation of violence in Shut Up that to me is what makes Perelman’s reading so compellingly connect to the question of allusion. I’ve only just figured this out. Why has Perelman “decided” (this word in quotation marks, because I want to suggest a deconstruction of sorts) to go “up” into Kantian concepts instead of “down” into details? Because, going “up” into Kantian concepts preserves the ethical judgment upon “conflicted response,” upon aestheticizing violence (with all its dire modernist connotations). One unintended consequence however is that going “up” like this relieves the reader of having to deal with any historical mediation between his/her experience of textual violence and the text itself. This despite the caveat that “we should remember the situation in which he [Andrews] is writing. […] Andrews is publishing in small-press books and magazines: what prestige they have is literary.” I venture that a retreat into the aesthetic as the ultimate apologist’s safe-haven for violent expression (along the lines: poets can write whatever they want) would be unacceptable to Andrews and Perelman. If we wanted to remember the situation in which Andrews is writing, then wouldn’t we want to discover allusions going “down” into, sideways through the text? Doing so would problematize the ethical judgment, however, in the following way.

Consider the punk band Battered Wives that was, so far as its willfully-obnoxious title goes, representative of a stylistic tendency (in art, music, film, etc) in the late 70s/early 80s that Lucy Lippard calls “retrochic” – as in, stylistically chic to invoke racist, sexist, classist, etc., language and imagery, when cloaked in a retro allusion:

It was only in its last three years or so that the [‘70s] decade got it together to pinpoint an esthetic of its own, and this it did with a lot of help from its friends in the rock music scene, not to mention S&M fashion photography, TV and movie culture, and a lot of ‘60s art ideas conveniently forgotten, thus now eligible for parole. As we verge on the ‘80s [Lippard is writing in 1981], ‘retrochic’ – a reactionary wolf in countercultural sheep’s clothing – has caught up with life and focuses increasingly on sexist, heterosexist, classist and racist violence, mirroring, perhaps unwittingly, the national economic backlash…. (“Hot” 40-1)

Like the attempted allusion to Baudelaire’s poem “Let’s Beat Up the Poor,” to admit that this punk band is an apt allusion for Andrews’s line is not to condone the aestheticized violence in Shut Up. But it certainly opens the reading of a line such as “Where’s a battered woman – I want to beat her up?” to a cultural moment and (however ephemeral) style (and as a reading of that cultural moment, as in: is that what the Battered Wives mean by their title and album graphic of a lipsticked fist?). Moreover, it objectively locates ethical judgment within that moment rather than within author and reader as if there were no broader social context in which each finds him or herself as individuals. Going “down” into an allusion historically mediating the text resituates Perelman’s ethical judgment upon Shut Up’s “hot spots” (i.e., lines like the sentence in question here) at another social level. The ethical judgment is dialectically transformed, as Jameson would say (117), from a binary between good and evil in the individual mind of reader/writer, towards socio-historical contradiction.[3] In a 1979 Village Voice article whose title itself (“Retrochic: Looking Back in Anger”) performs an allusion – a testy one, to John Osborne’s 1956 “angry young man” play, Look Back In Anger, as moments (together with the young James Dean) of retrochic – Lippard differentiates between two kinds of punk: one practicing Brechtian distancing, the other playing with allusion in a retrochic way that fails to take responsibility for or give direction to the negative cultural baggage of the codes it revives: “[P]unk comes in two guises – this harsh social commentary retaining an echo of Brechtian irony and of the original British music movement’s working class political force; and retrochic, which sees the audience as ‘parents’ – authorities to be done in” (“Retrochic” 69). Another example that Lippard gives of retrochic are 70s Super-8 punk films such as Black Box that one reviewer characterized as “space age social realism” (Hoberman).

Perelman’s rhetorical question, “what, besides triggering a conflicted response, does such a sentence do?” is precisely Lippard’s dilemma, faced with retrochic’s senseless violence that in its aestheticization seems fascistic but doesn’t acknowledge itself as so. What the sentence in question does is trigger a conflicted response as an allusion to retrochic. But it is also, itself, a retrochic allusion – which Shut Up, on every level (text, work, publisher, etc), attempts to mediate.

In an irony to this question of allusion, Baudelaire’s prose poem begins with the narrator closing himself off in his room for fifteen days to read cultural ephemera (“I am speaking of books that treat of the art of making people happy, wise, and rich in twenty-four hours” [101]). The “lesson” he absorbs from his mass-media infusion is to enact upon a homeless person the sort of violence that retrochic, minus self-understanding, broadly embodies.

Which suggests that perhaps capitalism’s continuous cultural “background radiation” is retrochic. Allusions to it in the last few years might include: the Big Allis 8 [4] black-and-white cover photo of a vulnerably-young boy’s face, cropped so that we see only the barest hint of a hairline (the man he will grow into), but most of his chin line (with a few droplets of water on it, the boy that he is), suggesting the raw social material potentially of, at worst, a skinhead (the effect is created by cropping only a detail from a larger photographic work by Roni Horn); the early paintings of Attila Richard Lukacs (especially his “True North” series, presenting Doc Marten boots à la mode); Clint Burnham’s short-story collection Airborne Photo (retrochic might be an apt allusion for the entire axis of Burnham’s poetic and critical work); and even the revived success (in various contexts) of Alfred Jarry’s King/Father Ubu character; among other works. A stunningly paradoxical assertion by Lippard, with interesting implications, is that retrochic’s source is Italian futurism (“Hot” 41). However, Baudelaire’s moment, particularly his prose poems, facing as they are Georges Haussman’s thirty-year plan for Paris under Napoleon III (urban planning rationalized to carry the automobile future) is also key, since linked to the idea of the ephemeral, retrochic ultimately may be modernity’s symptom, and the modern – one important articulation of it anyway – begins with Baudelaire’s prose poems and his famous fashion essay on newspaper illustrator and painter (of bourgeois life and of the Crimean war) Constantin Guys.

Allusion is one way to socially saturate [5] a text, raising complex questions for contemporary poetry that is apparently notoriously allusive. I’m only feeling my way here (I don’t know the literature on allusion that well), but maybe it’s useful to think of contemporary allusion divided not only up and down but into at least three kinds: wild, studied, illusive. Most allusion is studied [6]. An extraordinary recent example would be Harryette Mullen’s “privileging the codes of the oppressed” (interview, n.p.) in Muse & Drudge by utilizing Library of Congress slave recordings, Clarence Major’s From Juba to Jive, blues language, and colloquial expressions. Allusion exists wild [7] in Andrews’s texts, and in the texts of numerous others in varied ways and degrees (these categories exist of course only as far as they are useful) – and in certain respects perhaps he might stand tokenized here as a return to allusion. There is a third kind that mimics the gesture of allusion, producing, instead of a specific allusion, the rhetorical gesture of alluding (allusion does not require that the referential function of language predominate, but Perloff’s effect of indeterminacy of referent from Rimbaud to Cage relates [8]).

*   *   *

[1] For an introduction to key problems and issues of bridging Andrews’s work and white studies, see Juliana Spahr.

[2] The result of de-linking poetry and politics, which Perelman concludes is a condition of the times (“The political impossibilities of the present are impossible to escape” [108]”), is that, for example, “lyric” and “anti-lyric” poetries are then equally perceived as having an identical grasp on the social, as if the social were a homogeneous substance (like substance itself, in Spinoza), since all poetry is equally aesthetic and since, following Adorno, the aesthetic, however lyrical, is inextricably tied to the society that produces it. This is meant I believe to open to a benign vision of a future beyond antagonistic differences. But at the same time, this way of concluding from Adorno, who is arguing that there is no escape from the social (from society), by extension not even Spicer’s radio (Andrews makes this point), fails to acknowledge different kinds of social, that is, specific effects within specific texts, both received and produced. (The social is both received and produced, just as consumption and production of capitalism are linked yet distinct, i.e. the social in poetry is not reducible to either being made or received.)

Elsewhere I’ve distinguished between the social and the political (even as they join) in an aesthetic work, drawing from a difference between social command and commission, as Mayakovsky and Osip Brik suggest.

[3] Ethical criticism constitutes, for Jameson, “the predominant code in terms of which the question ‘What does it mean?’ tends to be answered” (59), but “lives by exclusion and predicates certain types of Otherness or evil” (60). In the context of words’ relation to action, Perelman’s political question for Andrews might be put as follows: Is the relation going to be like Uncle Tom’s Cabin’s influence on the anti-slavery movement, or like Louis-Ferdinand Céline’s on fascist-flamed anti-semitisim? Thus Perelman’s ethical judgment is a form of “social praxis” (Jameson 117), and my intent is by no means to dismiss its value. Perelman’s incisive review of The Political Unconscious has a similar focus as his Andrews essay, concluding that while Jameson discovers this vast intellectual zone of the political unconscious, there is little that seems to be politically conscious in the literary works he examines. A similar comment could be made, from Perelman’s perspective, about Shut Up and, in relation to this work, allusion “down” into history. This to me only demonstrates how social consciousness is uneven in culture (retrochic as proof). Jameson’s treatment of ethics via Nietzsche is impressed on me thanks to a paper by Nicole Markotić on the subject.

[4] I am indebted to Sianne Ngai for raising my interest to a disturbance in the Big Allis cover, though can’t be sure whether she would agree with my interpretation of it.

[5] Tom Orange suggested in an email saturation as metaphor for thinking about the social text.

[6] The New Princeton Encyclopedia of Poetry and Poetics describes six kinds of allusion (Miner).

[7] Cf. Andrews’s notion of “a writing that is itself a ‘wild reading’” 

(Paradise 54, cited by Spahr) and your “Wild Form” 
(“For Kerouac, 

the signified is a template, not to be reproduced but 
entered into, much as a 

musician might move through an improvisation with others” [n.p.]).

[8] One might say from Rimbaud to, for example, Flarf, because Flarf practices illusive allusion, too. Gary Sullivan writes on his Elsewhere blog about “one of [the] things flarf – especially Google-assisted flarf – does best: It strips specific language acts from prior context, the result being a language of almost ‘pure’ elsewhere.”

It strikes me there are crucial distinctions, however. Flarf intentionalizes an aesthetics of indeterminacy, whereas Cage or Mac Low, for example, renders indeterminate what was once perceived as intentional. Flarf recuperates dispersal; Mac Low (e.g.) disperses recuperation (recuperation as including, say, the modernist classic).

It’s not just a mirroring reversal of syntax, but a paradigmatic difference. Flarf aestheticizes a second time what it already aestheticizes a first time as indeterminate (by evoking that line [sorry for that word, Brian!] “from Rimbaud to Cage or Mac Low”). Mac Low, by contrast, is not aestheticizing once again what he has already aestheticized as indeterminate (in part because of the differential social refraction within each kind of illusive-allusional practice, which to go into would take me far afield a footnote).

*   *   *

Andrews, Bruce. I Don’t Have Any Paper So Shut Up (or, Social Romanticism). L.A.: Sun & Moon, 1992.

___. Paradise & Method: Poetics & Praxis. Evanston, Ill: Northwestern UP, 1996.

Battered Wives. The Canadian Music Encyclopedia. <http://www.canoe.ca/JamMusicPopEncycloPagesB/battered.html> June 30, 2003.

Baudelaire, Charles. Paris Spleen. Trans. Louise Varèse. NY: New Directions, 1970.

___. “The Painter of Modern Life.” The Painter of Modern Life and Other Essays. Ed. Jonathan Mayne. Phaidon Press Inc., 1995. 1-41.

Big Allis 8. Eds. Deirdre Kovacs, Melanie Neilson, Fiona Templeton. Brooklyn, NY. 1998.

Burnham, Clint. Airborne Photo: Stories. Vancouver: Anvil Press, 1999.

___. Be Labour Reading. Toronto: ECW Press, 1997.

___. Buddyland. Toronto: Coach House Books, 2000.

___. The Jamesonian Unconscious: The Aesthetics of Marxist Theory. Durham: Duke UP, 1995.

Diepeveen, Leonard. Changing Voices: The Modern Quoting Poem. Ann Arbor: University of Michigan Press, 1993.

Hoberman, J. “No Wavelength: The Para-Punk Underground.” The Village Voice (May 21, 1979).

Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell UP, 1981.

Lippard, Lucy. “Hot Potatoes: Art and Politics in 1980.” Re-Visions: New Perspectives of Art Criticism. Howard Smagula, ed. Englewood Cliffs, NJ: Prentice Hall, 1991. 35-49.

___. “Retrochic: Looking Back in Anger.” The Village Voice (Dec. 10, 1979): 67-9. Lukacs, Attila Richard. “True North.” Diane Farris Gallery. <http://www.dianefarrisgallery.com/artist/lukacs/truenorth/index.html>. July 5, 2003.

Markotić, Nicole. “Decentring the Whole: Women and Subjectivity.” Unpublished. 1995.

Miner, Earl. “Allusion.” The New Princeton Encyclopedia of Poetry and Poetics. Eds. Alex Preminger and T.V.F. Brogan. Princeton, NJ: Princeton UP, 1993. 38-40.

Mullen, Harryette. Muse & Drudge. Philadelphia, PA: Singing Horse Press, 1995.

___. “Harryette Mullen in Calgary, Alberta.” Interview compiled and edited by Louis Cabri (featuring Louis Cabri, Jeff Derksen, Nicole Markotić, Steve McCaffery, Victor Ramraj, Sheryl Teelucksingh, Fred Wah). BOO 7 (July 1996). Vancouver, BC. n.p.

Orange, Tom. “the social word.” Private email. November 1, 2002.

Perelman, Bob. The Marginalization of Poetry: Language Writing and Literary History. Princeton, NJ: Princeton UP, 1996.

___. “Exchangeable Frames.” Poetics Journal 5. Berkeley, CA, 168-176.

Perloff, Marjorie. The Poetics of Indeterminacy: Rimbaud to Cage. Princeton, NJ: Princeton UP, 1981.

Silliman, Ron. “Wild Form.” Electronic Poetry Center. < http://wings.buffalo.edu/epc/authors/silliman/wildform>. July 4, 2003.

Spahr, Julia. “‘I’m Dracula’: Bruce Andrews and White Studies.” Electronic Poetry Center. < http://epc.buffalo.edu/authors/andrews/about/spahr.html>. July 4, 2003.

Sullivan, Gary. “Quick Digression.” June 27, 2003. Elsewhere. <http://garysullivan.blogspot.com/2003_06_22_garysullivan_archive.html>. July 5, 2003.

Link -  0 comments

An especially delightful project is Spidertangle: the_book, a collection that is, regardless of its title, more website than not. Spidertangle is mute on its editorial board &/or function, though if you ferret around the website long enough, you will get to a Yahoo groups list that has the ubiquitous experimentalist Miekal And as its moderator. The simplest description I can give of Spidertangle is that it appears to be a collection of visual works, vizpo I suppose, by a mostly well-known group of practitioners, evidenced by this table of contributors:

Link -  0 comments

·         mIEKAL aND & camille bacos

·         william james austin

·         william james austin & igor satanovsky

·         michael basinski

·         john m. bennett

·         maria damon

·         david daniels

·         k.s.ernst

·         ficus strangulensis

Link -  0 comments

·         peter ganick

·         jesse glass

·         bob grumman

·         scott helmes

·         crag hill

·         joe keenan

·         bill keith

·         richard kostelanetz

Link -  0 comments

·         jim leftwich

·         jim leftwich & andrew topel

·         joel lipman

·         carlos luis

·         mike magazinnik

·         malok

·         lewis lacook

·         sheila murphy

Link -  0 comments

·         lanny quarles

·         marilyn r. rosenberg

·         igor satanovsky

·         nico vassilakis

·         irving weiss

·         karl young

·         []

Link -  0 comments

I’m not sure about that last guy or gal – those brackets are its “name” – & I’d wager that Ficus Strangulensis is a pen name as well. But, on the whole, this is a group of folks who will be recognizable to anybody who’s paid even the slightest attention to visual poetics over the past decade.

One thing that all the works I looked at here have in common is that they’re static – straight JPEG files, no Flash, not even an animated GIF. This I found very liberating. It puts all of the demands of the work right back onto the image itself, rather than trying to distract us with bells & whistles. It also suggests work that, over time, will be able to survive beyond current computing platforms. Anyone who is old enough to have seen “animated” poems written in Harvard Graphics or Ventura Publisher when they were the presentation software programs of the day will recognize the advantage of that. At the very worst, these works can just be scanned into whatever new platform exists ten, fifty or 150 years from now & be good to go, something you can be certain won’t happen with the present generation of animated, sound-augmented writing.

As a gathering of visual works, two questions that almost always jump into my head around such projects pop up here as well:

·         Is it poetry?

·         Is it good poetry?

There are pieces here that are unquestionably good-to-great art – Lanny Quarles’ piece, all of Maria Damon’s needlepoints & the work by Jim Leftwich, both solo & in collaboration with Andrew Topel, stand out as memorable, intelligent, fun & well executed. But Richard Kostelanetz’ piece seems as muddled & predictable as the rest of his oeuvre & there are a few people here whose work in straight text forms – Sheila Murphy, Peter Ganick & Nico Vassilakis – have done more for me than their pieces here. If you stop long enough to think about the implications of Michael Basinski’s faux art brut, its visual vibrancy will be undercut by an intellectual queasiness that is hard to dispel.

So it’s a mixed bag, ranging from the brilliant to the ordinary & beyond, which makes it hardly different from any other journal these days. All of which still begs the question: is it poetry? I’m not sure how many of the contributors here actually care what the answer to that might be – maybe this is some of what Brian Kim Stefans characterizes as my “famously knee-jerk, even reactionary” impulses. But when I just focus in on the very most exciting pieces here – the work by Quarles, Damon, Leftwich & Leftwich/Topel – I come up with different answers.

Maria Damon’s four needlepoints strike me as absolutely & unproblematically poems, well within bounds established, say, by Ian Hamilton Finlay a generation ago entailing the work as an object. They’re beautiful, funny, brilliant and their core dimension is linguistic, rather than visual. Leftwich’s solo piece also strikes me as solidly within a historically unproblematic concept of poetry. Even if that concept might be qualified as concrete poetry, its core value (once again) is linguistic, albeit a graphemic linguistics that Saussure might find quite odd. Quarles’ piece – my favorite in all of Spidertangle – is more of a borderline case, however. It uses language, but its primary value, it seems to me, is visual. And the Leftwich/Topel collaboration – the most overtly beautiful piece in Spidertangle – is entirely textural, rather than textual. To characterize it as poetry would be to appropriate the old poetry is whatever a poet does stratagem, which reduces the term to pointlessness if not absolute meaninglessness.

In a sense, these works function more or less on the same fence I saw Ed Ruscha’s visual texts sitting on when I commented on his painting here last September 24^th. In general, they have more power asking, rather than answering, the question concerning their status as poetry. It is not that they live outside of genre, but rather that they use its very edges as a primary medium, that helps to render the very best of these works powerful indeed.

Link -  0 comments

One week from today

Reading in Oakland, CA

Sunday, July 13

7-9 PM

Mary Burger

Ron Silliman

at the gallery

21 Grand

449B 23^rd Street

(between Broadway & Telegraph)

$4 Cover

Link -  0 comments

The first time I saw “Biotherm,” my impulse was to squint. As published in A Controversy of Poets, the 1965 anthology edited by Paris Leary & Robert Kelly that attempted to put School of Quietude poets (selected by Leary) alongside New Americans (chosen by Kelly) side by side, Frank O’Hara’s “long” poem for Bill Berkson appears in 6 point type. Six points is really what graphic designers call “mouse type,” a font size used for material in an ad you are compelled to print (usually for regulatory reasons) but which you really don’t want anyone to read. The width of O’Hara’s page when slotted into the volume’s mass market paperback format is no doubt what forced the issue – Olson’s ”Letter to Melville 1951,” which immediatly follows O’Hara, manages to function perfectly well at 8½ points, the standard “body text” font for the volume, requiring only a few hanging indents.

The result is that on the first page of O’Hara’s poem, the title itself – “Biotherm (for Bill Berkson)” – looks huge in its standard 9 point font, O’Hara’s name, at 9½ points, looks like a billboard. Contrasted with these, the body of O’Hara’s text produces a sort of vertigo, as though one were looking down from a great height. As I’ve noted before, I didn’t really connect with Frank O’Hara’s work until I saw him in Richard Moore’s brilliant USA Poetry PBS documentary in 1966, in which O’Hara is something akin to the Tasmanian Devil cartoon character, writing, drinking, smoking, talking to the camera, to friends in the room & to someone on the phone simultaneously with an ease & grace that was jaw-dropping, the typewriter keys clattering on at an almost alarming rate. I bought the Kelly/Leary anthology at Cody’s as a result of seeing Louis Zukofsky in the same series – it was the only volume in Cody’s that had any work by Zukofsky at all. But I don’t remember if that was before or after the O’Hara show. I already had seen O’Hara’s work in the Allen anthology, but it didn’t click with me there – I suspect that it must have looked too “easy” or casual & I was a very serious teenager indeed. So “Biotherm,” even in that itty-bitty type (or just possibly because it required that itty-bitty type), was really the work through which I began to first take O’Hara as a poet seriously.

All of which is just to note that there is a terrific essay on the poem in Sal Mimeo #3 by none other than Bill Berkson himself. Part memoir, part close reading, part meditation on the aspects of genre, with an exceptional seven-page glossary of references to the topical & situational references in O’Hara’s poem (itself only twelve pages in original manuscript), Berkson’s piece originally was composed  “for a booklet accompanying the deluxe Arion Press edition of ‘Biotherm’,” published in 1990. With 42 lithographs by Jim Dine, that volume is still available new at a mere $2,750. (A second suite of eight Dine lithographs selected from the illustrations to Biotherm goes for ten grand.)

Larry Fagin’s Sal Mimeo – which looks photocopied to me, in spite of its title – presents Berkson’s material in a more workmanlike setting. It’s one of several “historic” pieces in the current issue. Others include a 1988 interview with the late John Wieners, poems by Richard Kolmar from the 1960s & others by Alan Fuchs from his 1971 chapbook, Before Starting. Part of what makes Sal Mimeo so much fun is that it balances not only the historical with the new, but also the widely known with the still emerging. Some of the poets certainly are the New York School folks with whom Fagin traditionally has been associated: Berkson, Ron Padgett, Tony Towle, Bernadette Mayer. But, as with Carla Harryman’s work discussed here on Tuesday, Fagin goes further afield than one might expect. There are collaborations by Lyn Hejinian & Jack Collom, a marvelous suite of poems by Michael McClure, work from Bolinas poet Larry Kearney. There are also poets whose work I frankly don’t know, such as Richard Roundy, Daniel Nohejl, Chris Edgar, Eileen Hennessey and more. It’s definitely worth a read or, better yet, a subscription. Fagin can be reached at 437 E. 12^th St., # 18, NYC 10009.

Labels: New American Poetry

Link -  0 comments

A Final Sonnet

for Chris

How strange to be gone in a minute!        A man

Signs a shovel and so he digs      Everything

Turns into writing a name for a day

                                      Someone

is having a birthday and someone is getting

married and someone is telling a joke       my dream

a white tree        I dream of the code of the west

But this rough magic I here abjure        and

When I have required some heavenly music         which even now

I do        to work mine end upon their senses

That this aery charm is form     I’ll break

My staff       bury it certain fathoms in the earth

And deeper than did ever plummet sound

I’ll drown my book

It is 5:15 a.m.                                   Dear Chris, hello

Ted Berrigan

gone this day

1983

Link -  0 comments

Yesterday, I noted the degree to which the reception of Robert Lowell’s Collected Poems constitutes an act of literary CPR, an attempt to return the School of Quietude (SoQ) back to the imaginary hegemony it once fantasized as its birthright.

Lowell’s advocates are not unaware of the odds they face, or the difficulties involved in resurrecting something quite this moribund. They themselves have problems with a lot of Lowell’s writing: “if the equivalent of Uncle Artie had written ‘Day by Day,' published shortly before Lowell died, it would have seemed slack and listless,” writes Pritchard in the New York Times. These partisans are also skeptical as to whether the historical moment will allow their genie to be squeezed back into the lamp. Times Book Review editor McGrath writes

If someone of Lowell-like talent and Lowell-like ambition were to come along now, it's not a given that poetry would be his or her No. 1 career choice. If you had a literary bent and really wanted to become famous and leave a stamp on your generation, you would write novels or screenplays. Or, better yet, you would set your verses to a bass line and become a rap artist.

Leave to the Times not to notice, since its advertisers still have budgets, that the normative adult novel as an art form is far deader than even the poetry of the School of Quietude & that Hollywood’s idea of a screenplay is, literally, Dumb and Dumberer.

Part of the great frustration one senses from Lowell’s acolytes has to do with the fact that his generation in general & Lowell in particular failed to quash the rabble – the Olsons & Ginsbergs & O’Haras – in his day, thus enabling all manner of post-avant nonsense to come tumbling after. By the time Lowell died, the School of Quietude was completely outnumbered. While they may be able to keep the representation of post-avant poets in the Norton to a few, the existence of a Norton Postmodern just demonstrates how complete the revolution has been. McGrath bemoans a world in which “poetry has become an art form with more practitioners than actual readers.” Not dealing with the contradiction that such an actual renaissance of practicing poets suggests – & apparently ignorant of the role trobar clus has had in writing for at least 600 years – McGrath opines that this may be because “Lowell may have belonged to the last generation to believe seriously in the poetic vocation.”

The implication just beneath the surface of all these texts is that Lowell et al didn’t deal these threats from outside because Lowell & more than a few of his comrades – Berryman, Sexton, Plath, Schwartz, Jarrell – were bonkers. “They were all a little nuts,” as McGrath puts it, &, “except for the teetotaling Jarrell, they were all alcoholic.” (These are the “horrific odds” that Caroline Fraser finds Lowell pitted against in her fawning LA Times review.)

Labels: School of Quietude

Link -  0 comments

But I think the reality of the situation is different. For one thing, Lowell himself was never so hostile to the New American poetry &, after a reading series on the West Coast in 1957 introduced him to readers who placed greater demands on poetry than he was used to in Boston (or at least the Boston he knew), Lowell’s own poetry changed. Indeed, reading the reviews as they come out now, it’s always important to see where the reviewer stands with regards to the Early vs. Late Lowell question. Lowell himself never rejected the idea of “confessional poetry,” M. L. Rosenthal’s hokey attempt to link Lowell up with the writing of Ginsberg & the Beats in an attempt to render Lowell interesting by association.

Where younger writers – Bly, Merwin, Rich – brought up essentially in the same tradition as Lowell were able to form a new aesthetics once they dropped the crabbed, metered works of their youth, Lowell’s rather endless late sonnets show a poet unable to break fully free. It’s no wonder he idolized Hart Crane, the SoQ practitioner from his parents’ generation who also glimpsed the implications of modernism (& its descendants), & who similarly struggled to identify a “third way” between the School of Quietude & the broad tradition of avant writing.

The poems in Hank Lazer’s Doublespace – and especially Lazer’s later writing – demonstrate that there really is no third way. The closest thing we have to it in contemporary American poetry is ellipticism, the tendency that one might cobble together from, say, the work of Jorie Graham, C. D. Wright, Ann Lauterbach, Forrest Gander & their peers, seems more of a decision deferred than a uniting of opposites. That most of the poets who come to ellipticism do so as refugees from the broader SoQ tradition suggests further that the problem both Crane & Lowell confronted – what should an intelligent poet do when they realize that they’ve been writing within a tradition that no longer has any compelling reason to exist? – has not gone away.

Labels: School of Quietude

Link -  0 comments

Whenever I feel too completely dismissive of Robert Lowell, I think of Bob Grenier. Grenier studied with Lowell at Harvard &, I believe, it was Lowell who helped Grenier get into the Writers Workshop at Iowa City even as the triumvirate of Creeley, Zukofsky & Stein were beginning to render Grenier opaque to the Brahmin crowd back in the Bay State. You can still find vestiges of Lowell’s influence, though, in Grenier’s first book, Dusk Road Games: Poems 1960-66, published by Pym-Randall Press of Cambridge, Mass.:

On the lawns before the brown House

on the hill above the city

the wheeled sick sit still in the sunshine –

Lowell turns up again as an influence in the “conservative” portion of Hank Lazer’s remarkable Doublespace: Poems 1971-1989, his attempt to bridge the gulf between Le School d’ Quietude & post avant poetics. One of Marjorie Perloff’s first books was her 1973 The Poetic Art of Robert Lowell.

But what always gets in the way of any possible admiration I might have for Lowell is his poetry. When it was first published in 1946, Lord Weary’s Castle – that title alone tells you everything about literary allegiances – was read, rightly, as a turn away from any poetics of direct speech, not only anti-Williams & the polyglot circus of Pound’s Cantos, but even anti-Frost & anti-Auden. For the New Critics, the conservative agrarian poets who were at that same moment consolidating their hold on English departments across the United States & beginning to wonder about their legacy, Lowell was an affirmation of their larger program. It didn’t hurt that he was a Lowell, either. By the time he was 30, Lowell had already won the Pulitzer Prize and had a photo spread in Life Magazine.

Yet Lowell, especially the early Lowell, is seldom a good poet for more than two or three lines at a time, which invariably are buried in larger lugubrious monologs that do little more than show a man unable to actually get to his own writing through his presumptions about “what poetry should be.” It is precisely that should be, the sense of obligation to a dead aesthetic inherited from a mostly imaginary British Literary Heritage, that I take to be behind David Antin’s famous line “if robert lowell is a poet i don’t want to be a poet,” a sentiment that was virtually universal among the poets I knew in the 1960s & ‘70s. Still, in 1964, on a week when Time magazine could have focused on the aftermath & implications of the first Harlem riots of the decade, it chose instead to feature Lowell on its cover.

Labels: School of Quietude

Link -  0 comments

In a sense, it was on Lowell’s watch as the Guardian of High Literary Value that the barbarians, led by Olson, Ginsberg, Kerouac, Levertov, Ashbery, Duncan, Creeley, O’Hara & LeRoi Jones, overthrew at last any residual pretense of a cohesive literary tradition extending outward from a “center” built around the School of Quietude (SoQ). Much of the reaction this past week to the release of an 1,186 page Collected Poems, published by the SoQ house press, Farrar, Straus & Giroux, has I think to do with reactions to this phenomenon.

On the one hand, you would expect the SoQ to be beating the drums, proclaiming this to be the literary event of the year. & there has been some of that. The subhead to Peter Davison’s review in The Atlantic Monthly, a journal founded by James Russell Lowell, reads “The new collection of Robert Lowell's poems will doubtless stand from now on as The Work.” Similarly, the subhead to a review A. O. Scott, the New York Times film critic, in Slate, calls Lowell ”America’s most important career poet.” The Los Angeles Times, which chose a woman who wrote a book on “living and dying” in the Christian Science church to review Lowell’s Collected, says that “the magnitude of Lowell's achievement — an achievement won against horrific odds — can now come fully and magnificently into view.” That at least deserves some sort of award for overwriting.

At the same time there has been a lot of ambivalence expressed in the reviews as well, not so much at the poetry as at the career & faded reputation, suggesting a deeper (and not overtly expressed) anxiety about what his life & work say about the SoQ in general. The New York Times ran a Sunday Magazine piece on “The Vicissitudes of Literary Reputation,” by Charles McGrath, editor of that journal’s Book Review. W. H. Pritchard’s review in the Times notes that “Lowell had no place to go but down.” Newsday ran a review under the subhead “Robert Lowell was revered in his lifetime but is largely forgotten today.” Caroline Fraser in the LA Times quotes Donald Hall from a Boston Globe article, “You don’t hear his name much.”

But you shall. The Collected represents in many ways one final chance for the School of Quietude to resuscitate any residual life left in the Lowell heritage. A parallel project ten or fifteen years from now on behalf of Richard Wilbur certainly won’t do it. So it’s now or never. If this act of literary CPR doesn’t work, the Brahmin sub-sect of the SoQ will be stuck forever continuing to make do with its imported poets from the U.K. & Ireland.

Labels: School of Quietude

Link -  0 comments

Consider “Another Artifact”:

Open lips for sucking and pouting were all stopped up with a plug that wouldn’t come out. Without result, lips and teeth tugged on the plug of a wasp wasted object. Baby’s hands were moist as usual so she wiped them down the side of her shirt. But she couldn’t pull the stopper out even with the use of her wadded up shirt, which she had finally struggled out of. A voice from behind her said, it isn’t supposed to open. Hands pried baby’s digits away dislodging the object, which was returned then to a shelf and set between a portrait of baby and a kachina doll with green pants and something earnest about it moving forward. For a minute baby looked around for her shirt. It had apparently disappeared along with the door shutting. Baby’s lips moved in and out in a sucking pout as she contemplated the wasp-wasted relic on the shelf. The object was obviously the physical manifestation of the inside of a song bound up methodically around the middle with twine. Such fortification caused baby to place her hand two inches below her navel and rub there with a circular motion. Her belly was getting hot and her body was tuning up. Eee sounds rose clear and up into her throat from her navel. If there had been silence, silence would have been pierced but the room was always humming.

Whenever I’m feeling like I have this writing thing half figured out, all I have to do is come across a text like the one above, by Carla Harryman from the latest issue of Larry Fagin’s zine, Sal Mimeo, & I immediately have a sense of just how very little I really know & how much more there is to learn.

“Another Artifact” is one of 16 pieces from Baby published here. In 2000, a Harryman contributor’s note in How2 referred to a “book of prose poems titled Three Portraits: M., Baby, and Him.” My presumption is that this text comes from that project, although it is always possible that the project itself may have evolved in the three years since that note. But what intrigues me here is the use of the genre identifier “prose poems” in conjunction with the work above &, indeed, with the entire series in Sal Mimeo. Harryman, here as elsewhere, is pushing definitions out to places they’ve not previously inhabited.

I’ve tended to see Harryman’s written texts as exploring a terrain between what have traditionally been thought of as fiction & theater, but doing so with an understanding of language that extends directly from her engagement with poetry. Thus Baby in general, and pieces like the above in particular, seem to me very much about the construction of the metasignifier Character. The depictive terrain – the referential context of the piece as a whole (& indeed of the 16 pieces gathered here) – is restricted much in the way that theater limits its frames.

Link -  0 comments

 Unlike much post-avant writing, the individual sentences in “Another Artifact” integrate unimpeded into narrative frames, enabling Character to very rapidly accumulate amid referential schema once Baby is introduced by name. Indeed, the work insists on it, recycling words & phrases over multiple sentences: plug, lips, wasp wasted, shirt, sucking, pout. At the same time, the text is remarkably clear about its aural palette: Hands pried Baby’s digits, not fingers. With so many s, p, t, b & d sounds, the text all but hisses & spits. Baby’s orality is amply figured.

More mysterious, indeed just the opposite of Baby in this text, is the nature of the object pried from Baby’s digits. This object is wasp wasted & has a plug that “isn’t supposed to open.” It can sit on a shelf & is “the physical manifestation of the inside of a song bound up methodically around the middle with twine.” If required to do so, could you draw it? Of what material is it made?

Link -  0 comments

What makes this object the opposite of Baby is that its existence is derived entirely from the observation of external features – something that “the physical manifestation of the inside of a song” problematizes – whereas Baby is constructed conversely, as much out of what she does & doesn’t see or say – for example, failing to identify the person who takes the object from Baby & returns it to the shelf other than as “a voice from behind her” – as from actual depiction of her actions.

Such devices are as old as modernism:

Through the fence, between the curling flower spaces, I could see them hitting. They were coming toward where the flag was and I went along the fence. Luster was hunting in the grass by the flower tree. They took the flag out, and they were hitting. Then they put the flag back and they went to the table, and he hit and the other hit. Then they went on, and I went along the fence.

In The Sound and the Fury, Benjamin’s developmental disability disrupts his ability to create coherent schema from the actions he sees. The reader must then read through him &, in turn, read his character through precisely these disruptions & distortions. Yet Faulkner in 1929 quickly resolves the character back into a normative model of narrative types, even as, in places, the author (rather than the character) pauses to linger over the possibility of an infinite sentence, the “flaw” in Faulkner that lets you know he could imagine further than these cinematic family tragedies, even if he couldn’t quite bring himself to act on his vision.

Like Faulkner, Harryman throughout her writing uses the figures of family in an almost chesslike fashion to articulate narrative configurations. But here – & this is where I think the “prose poem” comes in – even if Harryman’s interest lies in the construction of Baby, it does not seek to integrate this character unproblematically into a figure of recognizable psychological tropes. Where the opacity of Faulkner’s passage drops away the instant the reader clues into the figure of a developmentally disabled adult & his handler trailing along watching a game of golf, the resistance of “a kachina doll with green pants and something earnest about it moving forward” will not dissolve. The opacity in Faulkner is merely apparent, a tease. In Harryman, it’s a commitment & this makes all the difference in the world.

Link -  0 comments