Tuesday, January 22, 2008

 

One of the most interesting new poets of 2007 turns out to be Henry Parland, whose first book in English (at least to my knowledge) has just been published by Ugly Duckling Presse of Brooklyn. Parland is one of the great modernists of Swedish literature, in spite of the fact that he did not come from a Swedish family, read & spoke the language for less than a decade, and never once set foot in the country. And in spite of the fact that he died at the age of 22 in 1930. Ideals Clearance, translated ably enough by Johannes Göransson, presents Parland’s first volume, the only one actually published during his lifetime.

If Parland doesn’t fit any of the readymade categories into which first generation modernists typically get slotted, part of it may be because Baltic modernism – particularly the poetry – isn’t well known in the west, outside of the Russian Futurists who really are part of a different discussion¹ (tho Parland was born in St. Petersburg & lived there & in Kiev until the age of four when his parents fled the increasingly troubled country for the suburbs of Helsinki). Parland’s outsider status in Finland seemed equally precarious & led to a constant shuffling of schools until, at the age of 14, he was placed in an academy for Swedish Finns, where he was finally introduced to the language at which he would become a master.

The other reason that Parland doesn’t fit is that his poetry seems in fact much too contemporary for high modernism. Reading him, one thinks of a later movement, like the Objectivists – think of Oppen’s Discrete Series, Zukofsky’s short poems, much of Rakosi’s work, or Niedecker’s writers generally Parland’s own age but far removed from the fluid borders of the Baltic whose own literary interventions didn’t get started until Parland had been dead awhile. Or one thinks of certain more recent writers, including the great Finnish-American poet, Anselm Hollo. Parland is somebody whose work wouldn’t seem out of place at Saint Marks, or in the summer program at Naropa, or corresponding with the likes of Joseph Massey, Laura Sims or Graham Foust. Here, for example, is the ninth poem of the sequence, “Socks,” a series that literally engages fashion.

Legs,
what do you know about legs?
you who think about skirts
when you pass the windows of the department store.

What do you know
about the legs
of the twentieth century?

“Socks” is the second of the books four sections or series. In each, something just over half of the poems appear to be explicitly about the topic identified by the title, which is why it is noteworthy that Parland’s section titles include “Stains,” “Flu” & “Grimaces.” Where the short prose poems of Gertrude Stein, Tender Buttons, talks around a wide range of nouns in not much more space than Parland’s short poems, her objects tend to the specific. To write, literally, about stains or the flu or, for that matter, socks, is to identify with the most transitory and incidental elements of life. This is about as far from Pound’s sense of epic as one might imagine. Even the Russian Futurists, at least during the period when Parland was alive & writing, wrote of the masses in order to raise them to heroic proportions. Parland’s focus may magnify, but even at its most optimistic is never heroic. Here is a “Stain”:

Something was –
april snow by the road,
april sun in a smile,
and a blue murmur across the ground.

This is from “Flu”:

In the next room
the pool balls laugh
but the mouth across from me
spits wordleftovers
in my face.

They fall to the floor
and run between my feet
like cockroaches
with six bustling legs.

Anyone who has ever tried to get through a workday with a fever will recognize this slightly hallucinated tableaux, the impossibility of rendering sense from another’s conversation. In the poem from “Stain,” Parland uses the literal fact of his referent, an unintelligible blue smear on the ground, to invoke other equally “unreadable” moments, a lingering dollop of snow, the flash of a smile. I can’t tell how literally sorl translates into murmur, but certainly in English the effect is perfect.

Because this edition places the Swedish on the facing page, you can test the degree to which Göransson is an interventionist as a translator & thus how much of this modernity is Göransson’s sensibility. The answer, I think, is not much. Here is the Swedish for the first poem above:

Ben,
vad vet ni om ben?
som tänker kjolar
ni går förbi Strumpcentralens skådefönster.

Vat vet ni
om det tjugonde århundradets
ben?

A more purely literal translation of the final sentence might read

What do you know
about twentieth century
legs?

Or, more literal yet, “What know you,” which would preserve the power of the single syllable words that are so critical to this poem’s impact in the original. But to do so would lose the sense of ordinary language, and this is a poem that requires the air of the demotic.To quibble that the original puts the ultimate emphasis on legs not century strikes me as missing the point. Within the constraints of translation, and of the original², this is a faithful, workmanlike job. Which means that the attitude, which is what comes across as so distinct, comes not from Göransson but Parland.

Parland is not just a good poet – tho he is that – he’s also a particularly instructive poet for somebody like myself. I’m always arguing location, location, location, and that there is no such thing as a poet, only kinds of poets. Yet Parland’s relationship to Sweden is tenuous at best. After school in Finland, he lived what little remained of his life in Lithuania, a nation whose status as such has flickered off & on for centuries. One can only wonder what would have become of Parland had he remained there long enough for the Stalinists to take over. Or if he would have fled west in advance of the Second World War – he was too young for the first. Given the history that was awaiting Parland, there is just no way to speculate as to what he might have become as a writer had he lived. For one thing, he was working on a novel for much of the last two years of his life.

So Parland is something of a test case for my idea that poetry is a system and that location is determining as a factor in the questions of what shall be read, when & how. As you can see from descriptions above, I’m mostly forced to compare him to poets whom he almost certainly never read and to some (like Hollo) whom he actually may have influenced.³ Yet perhaps by sitting as outside the system as Parland does, he casts it into an ever sharper relief. By revealing all the ways in which this brief wunderkind doesn’t fit, Henry Parland shows us precisely what “fitting” must mean.

 

¹ The ways in which Russia both is and isn’t a Baltic state would take a footnote the size of War & Peace to fully tease out. Suffice it to say that Russia has a deeply conflicted relationship to the concept of Europe as well as to its own status as a nation that is both European & Asian at the same time.

² Strumpcentralens is a word that appears just once on the entire web, at least until today, sayeth Google, and that in a PDF version of Parland’s original.

³ One modernist classic whose tone Parland’s book does remind me of, at least a little, is Blaise Cendrars’ Kodak, the volume that caused a certain film manufacturer to sue Cendrars even though it was composed entirely of appropriations from Gustave Lerouge’s novel Les mysteriuex Docteur Cornelius. Cendrars’ book was published in 1924, so it is conceivable that Parland (who read Proust in the original) did know of it.

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comments:
What a nice surprise to find you writing about Henry Parland. A note on his 20th century legs, though. The Swedish word "ben" means also "bone."
 
"sorl" is a collective murmur, as in a room full of people where you can't really hear a single conversation


tddasrkb
 
You're right about sorl, Ron. On these northern shores, you would use it to describe the first actual sign of spring, the sound of melting snow. It's definitely a sound that puts a smile on everybody's face. So, I guess murmur fits here perfectly. Then again, it's a word that refers to all kinds of sounds, say, the background noise in a café full of people.

I'm not surprised that Strumpcentralen gets only one hit if Googled. It's a proper name of a store, or a center, that sells socks and stockings (probably a historical one, located in Helsinki), where the first part of the word, strump, refers to socks. (Think Pippi Longstocking, née Långstrump.)

And finally, to bring this up to date. Although Henry died young, and I guess without children, the name Parland is not unknown in today's literary world of Finnish writers writing in Swedish. Stella Parland (born in 1974 and probably a grand daughter of Henry's brother Oscar) is a poet and a critic, with a flair to post-avantguard absurdism.
 
I've probably shopped there
 
Speaking of Anselm Hollo, when is the poetry world going to give him a festschrift?

Anselm's collected poems--in its next incarnation--will probably run to some 2000 pages. His work has just gotten better and better as he's gotten older, and his task has begun to resemble more and more a continuous thread of commentary and observation, in a way rather like a long epic, though far less formulaic than that. Maybe Anselm should be considered for the Nobel? I'm sure I'm not the first person to have thought of that. Had he remained in his native Finland, I'd bet he'd be thought of as a very recognizable European treasure. We're lucky, though. Anselm came to America, and we've had the privilege of appreciating his work first-hand, in English!
 
Tack så mycket!
 
One more thing...

Here’s a poem from ”Socks”:

XIX

Berget vid Fredricksberg:
ett sår tvärs över ansiktet
blödande
under tågvisslingarnas knivhugg.

In my translation:

The cliff at Fredricksberg:
a cut right across the face
bleeding
under the knife blows of whistling trains.

The poem and my quick translation aside, but let it be known that the rock excavation that Parland describes here is still visible, and, amazingly enough, it’s the scene overlooking my office window (located right across the railway tracks at Fredricksberg Station in the heart of Helsinki). The whistle blows, of course, are long gone, but the trains are still there, on their way to St. Petersburg and points east, the one going all the way to Moscow aptly called “Tolstoy.”
 
Exotic neat little poet: his case reminds me a little of Henry J.-M. Levet who also died young (but not so young) and who only left 12 poems.

Curious sense of humor in the two, but I think that legs works a lot better than bones! If it was bones it would be a ghastly poem... As it is, kind of smartly sharp.

Levet also wrote a novel that his parents wouldn't permit to be published, and is now lost.

Very nice post, and good to hear about this poet. I am ordering the book. Funny to think of him lost amidst all these tiny countries and tiny languages, and yet somehow a book has survived. I hope the rest of the book is as good as the few snippets you've left.

How Lutheran was he?

Thanks for this.
 
Kari, is Fredericksberg station the same one as the central station that Saarinen designed?

http://sketchup.google.de/3dwarehouse/details?mid=d6a3d4f6557280b1a1c3ba1c9a17d002
 
Thanks for the review Ron.

About the Russians: The Finland Swedes were very much aware of the Russians (Parland has a few poems in which he makes sort of insider-joke rewrites of Mayakovsky poems), and the German Dada and the Swedes etc. In fact, they were very fond of Edgar Lee Masters. A very cosmopolitan moments resulting from the breakdown of the empire.

Also wanted to say that this past year Action Books published the first individual volume by Gunnar Bjorling, Parland's closest artistic ally. If you are interested I can send you a copy.

(It's translated by Fred Hertzberg whom some of your American readers may know from his time as a PhD at SUNY Buffalo.)

Fred's introduction and some excerpts are in the most recent issue of the Norwegian journal Nypoesi:
http://www.nypoesi.net/?id=tekst&no=48

Best,
Johannes
 
I'm with you, Kirby, the poem does work better with legs than bones. But then again, the word is there, and one can't help reading it two ways.

And no, it's not the one drawn by Saarinen. That one serves as the Central Station of Helsinki and is situated a mile or so down the tracks. The old wooden building, dating back to the 19th century, that once stood at Fredriksberg (without the "c" that I unforgivably inserted in my previous comment) was taken down a few years back. It was rebuilt, though, and now acts as a coummunity center or some such, a few hundred yards away. The new Fredriksberg Station instead is a shiny monster of colossal proportions but never to match Saarinen's feat, I bet.

All in all, it is wonderful to think that we are talking about a specific location in time and space that Ron once passed through, unawares that it was immortalized in a poem, a poem he would be reading and raving about many a years later.
 
I'm sorry, Ron. What I meant to say is that you would be raving about the writer of that poem, not the poem itself.
 
One brief addition. In answer to your Stalin conjecture: Parland's uncle Vilhelm Sesseman, a philosophy professor who introduced Parland to Russian Formalism, was immediately killed upon the Russian invasion and all his papers taken out into the street and burned.

Parland was engaged to a Jewish ballet dancer from Moscow (can't remember her name off the top of my head) who had the good sense to leave the country a couple of years after Parland's death. She ended up in Chicago where she died some time in the early 1970s. So perhaps Parland would have come to the US...
 
Kari, I lived in Tampere for five years and often visited Helsinki -- coming in by train. So, I think I can picture the whereabouts of this station. For some reason I can't find an image of it in the internet.

What I like about Parland is his ability to think big and small at the same time -- legs (small) of the twentieth century (big), and then in your translation, the massiveness of the cut through the rocks (what kind of rock is it there -- the slightly reddish rocks that are so big) versus the whistle-blows (smaller).

Do you mean by whistle-blows, the word whistle-stop? Is this a tiny train station, that we would call a whistle-stop? This is a tiny station that one stops at only if there is a signal to do so.

I can't figure out what a whistle-blow is, but it just sounds wonderful in your translation.

There is something so amusing about Parland's ability to shift from big to small so quickly. It's another thing he shares with the poet Henry J.-M. Levet, who seems to be able to mix the deeply personal with the objective, and to weave the two together throughout a poem.

I published LEvet's complete poems a few years ago in Jacket. There are only 12 of them, called Post Cards.

Like PArland, he liked to wear nice suits.

Levet didn't play tennis, but liked to be seen walking with a tennis racquet.

Why is that he is called HEnry Parland? Isn't that a very English name? Henry?

Henry J.-M. Levet was a Jewish anglophile whose original name should have been Henri, but was Anglicized, too. What is with the Anglicization of Henry Parland's name?
 
Yeah, you did pass it--in fact, one passes it every time coming into Helsinki by train. It's the first stop out of Helsinki for all trains, very much like 125th Street after Grand Central.

And yes, the excavation was made through red granite, the most common rock formation we have here, as you probably know. (I'll provide a link to a photo of the station, if I can find one, at the end of this comment.)

I'm not sure about the origins of his first name, but the "Anglicized" form is not that rare either. Most Hanks around here are either Henriks (yours truly included, by second name) or just plain Henris. Anyway, I wouldn't read too much into that. Or how do you explain all the Erics, Eriks, and Ericks that we have? It could have been a cultural statement but hardly a political one. But who knows?

The whistle-blow, yeah, I made that one up. The original uses the word "hugg" which translates into "stab." I first thought of using it but then settled for "blow" instead, mainly because blow refers to both hitting and the way a whistle is made. Cute, huh?

And finally, although it was a very small stop at the time, I don't know if the trains whistled at Fredriksberg for any specific reason, other than it is what trains do (or did at the time). I think Parland used it only to mark business, as a Futurist(ic) symbol of noisy city life in general. And to juxtapose two images referring to two different senses, of course.

A photo of the old station house is found here (taken in the 1920's):

http://www.rauhanliitto.fi/jarjesto/historia.htm

And here's an over-all view of Fredriksberg as we know it today:

http://commons.wikimedia.org/wiki/Image:Pasilan_ratapiha.jpg

The new station building is seen on the right and the excavation Parland was talking about (or at least what's still left of it) is visible beyond the row of tracks in front (and actually seen from the direction where my daily work is done).

Nothing is hidden, is it?
 
According to official stats, there are 22864 Henrys living in Sweden (2 of them female). The name itself is the English form of Henrik which is made up of two German words, "home" and "master." (So, I'm, in fact, the master of my Seinfeldian domain.) The same source also states that the form Henry has been in use in said country since the early 1800's.
 
Yes, all of FInland sits on red granite, I once heard. After global warming inundates your country you can live in high-rises on stilts when it's Water World.

Oh yes, Pasila! Of course, that is always the first stop. I didn't know it by its Swedish name. My union headquarters was near there, and I went a few times there to sign some obscure documents.

At any rate, I've ordered the Parland volume, and am tapping my fingernails, awaiting its arrival.

Thank you for your contributions to my understanding.

Interesting: in my Anthology of Modern Swedish Literature, none of the Parlands is given a mention.

I had hoped that the Henry business would give away his parental inclincations toward an Anglophilia. That IS the case with Henry J-M Levet, who favored English style suits, and wanted to be seen as English.
 
Hi all. Good to have Henry Parland translated. I'm waiting for my copy of the book.

Henry George Parland had British ancestors.

His uncle Seseman was not killed after the war, as Johannes suggests. But he was sent to Siberia in the 1950s - he did also return to the Soviet republic of Lithuania. His book Estetika was translated into English recently: http://www.rodopi.nl/senj.asp?BookId=Baltic+7
 
Er, well, let me be the one to shatter the illusion and disclose the ugly reality: Karri did not mention that they have not only removed but renamed the station. The Swedish name of Pasila—the present-day suburb—is Böle, and the station bears the same pretty-sounding name. The majority of people living in the neighbourhood could not tell you the way to Fredriksberg—they would've never heard of it! The railyard area renewal plans, ambitious as they are, should include taking the old name back on the map.
 
Read the beginning of Henry Parland's novel Sönder in English translation here:

http://www.swedishbookreview.com/article-2005-2-parland.asp
 
Hastily wrote about ""removing the station", when I intended to refer to the taking down, moving and rebuilding of what used to be the Fredriksberg station building. (I wish my poor English would allow me to formulate the idea a little less laboriously.)
 
My copy came today! Beautiful little book!

I wish this post was at the top so that more people would comment some more on Parland. I love how many of his verses are just about anything, and whatever.

Is there anything this good in Finnish?

The intro talks only about the Swedish Finns. What about the Finnish Finns? Did they get on to this sensibility?
 
Timo, your English is perfect! Give me a break! Thanks too for telling about Bole! I knew that Frederiksberg was no longer the name or I'd have remembered it. I thought I must be losing my mind. But nope. No such luck!

Thanks also for the link to the prose chapters. I really like this writer enormously.
 
Well, but at least in the context of poetry, perfection is not enough—at least for those of us who are somehow predestined to feel awkward at every possible turn and fork of you know this so-called natural language...
 
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Rebecca Mabanglo-Mayer

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Portrait by Didi Menendez

Ron Silliman has written and edited over 30 books to date. Silliman was the 2006 Poet Laureate of the Blogosphere, a 2003 Literary Fellow of the National Endowment for the Arts and was a 2002 Fellow of the Pennsylvania Arts Council as well as a Pew Fellow in the Arts in 1998. He lives in Chester County, Pennsylvania, with his wife and two sons, and works as a market analyst in the computer industry.


© 2002 - 2009 by Ron Silliman


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