tag:blogger.com,1999:blog-86429656802803103042024-02-19T21:20:21.468-08:00GALATEA RESURRECTS #23 (A Poetry Engagement)Unknownnoreply@blogger.comBlogger76125tag:blogger.com,1999:blog-8642965680280310304.post-50146025671362659332014-12-09T07:00:00.000-08:002014-12-12T09:51:46.710-08:00Issue No. 23 TABLE OF CONTENTS<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<i><span style="font-family: Arial;">[N.B. You can scroll
down on blog or click on highlighted titles or names to go directly to the
referenced article.]</span></i></div>
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<b><span style="font-family: Arial;">EDITOR’S INTRODUCTION</span></b><span style="font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: Arial;">By <b><a href="http://galatearesurrection23.blogspot.com/2014/12/editors-introduction.html">Eileen Tabios</a></b><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">NEW REVIEWS<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i><b><a href="http://galatearesurrection23.blogspot.com/2014/12/a-messenger-comes-by-rachel-tzvia-back.html">A MESSENGER COMES</a></b></i> <span style="mso-bidi-font-weight: bold;">by Rachel Tzvia Back<o:p></o:p></span></span></div>
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<span style="font-family: Arial;">T.C. Marshall reviews <i style="mso-bidi-font-style: normal;">T<b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-feel-trio-by-fred-moten-and.html">HE FEEL TRIO</a></b></i><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-feel-trio-by-fred-moten-and.html"> by Fred Moten and THE UNDERCOMMONS: FUGITIVE PLANNING AND BLACK STUDY byFred Moten and Stefano Harney</a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve Dickison reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/written-1976-2013-by-p-inman-1.html"><i style="mso-bidi-font-style: normal;">WRITTEN</i> <i style="mso-bidi-font-style: normal;">1<span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">976–2013</span></i></a></b><span style="mso-bidi-font-weight: bold;"> by P. Inman
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<span style="font-family: Arial;">Tom Beckett reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/written-1976-2013-by-p-inman-2.html">WRITTEN 1976-2013</a></b></i> by P. Inman<o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/two-publications-by-genevieve-kaplan.html">IN THE ICE HOUSE</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/two-publications-by-genevieve-kaplan.html"> and <i>SETTINGS FOR THESE SCENES</i></a></b>, both by
Genevieve Kaplan</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">John Bloomberg-Rissman reviews<i>
<b><a href="http://galatearesurrection23.blogspot.com/2014/12/sonnets-by-anonymous.html">SONNETS</a></b></i> <span style="mso-bidi-font-weight: bold;">by Anonymous</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Mark Young engages</span><span style="font-family: Times; mso-bidi-font-family: Times;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/beyond-ohlala-mountains-by-alan-brunton.html">BEYOND THE OHLALA MOUNTAINS: POEMS 1968-2002</a></b><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> </span></span></i><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial, Helvetica, sans-serif; mso-bidi-font-weight: bold;">b</span>y<i> </i>Alan Brunton, Edited by Michele Leggott & Martin Edmond</span></div>
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<span style="font-family: Arial;">Patrick James Dunagan reviews
<b><a href="http://galatearesurrection23.blogspot.com/2014/12/books-by-elizabeth-alexander-brian.html">LIFE by Elizabeth Arnold; A SEVERAL WORLD by Brian Blanchfield; THEOPEN SECRET by Jennifer Moxley; and RED JUICE: POEMS 1998-2008 byHoa Nguyen</a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Djelloul Marbrook reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/malanga-chasing-vallejo-selected-poems.html">MALANGA CHASING VALLEJO: SELECTED POEMS BY CESAR VALLEJO</a></b></i><span style="mso-bidi-font-weight: bold;">, New Translations and
Notes by Gerard Malanga</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <b><a href="http://galatearesurrection23.blogspot.com/2014/12/manual-and-imagems-1-by-richard.html"><i style="mso-bidi-font-style: normal;">MANUAL</i> and <i style="mso-bidi-font-style: normal;">IMAGEMS 1</i></a></b>, both <span style="mso-bidi-font-weight: bold;">by Richard
Berengarten</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Pam Brown reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/indirect-objects-by-louis-armand.html"><i style="mso-bidi-font-style: normal;">INDIRECT OBJECTS</i> </a></b><span style="mso-bidi-font-weight: bold;">by Louis Armand</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Allen Bramhall reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/home-among-swinging-stars-collected.html">HOME AMONG THE SWINGING STARS: COLLECTED POEMS OF JAIME DE ANGULO</a></b></span></i><span style="mso-bidi-font-weight: bold;">,
Editor Stefan Hyner, with an essay by Andrew Schelling</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <span style="mso-spacerun: yes;"> </span><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-way-in-by-linda-hogan.html">“The Way In,”</a></b> a poem in <i><span style="mso-bidi-font-weight: bold;">DARK. SWEET. NEW & SELECTED POEMS</span></i><span style="mso-bidi-font-weight: bold;"> by Linda Hogan</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Jennifer Campbell reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/going-with-flow-by-peter-siedlecki.html">GOING WITH THE FLOW</a></b></i> <span style="mso-bidi-font-weight: bold;">by Peter Siedlecki</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/to-keep-time-by-joseph-massey.html">TO KEEP TIME</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Joseph Massey</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">John Bloomberg-Rissman reviews
<i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-nick-montfort-1.html">#!</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-nick-montfort-1.html"> </a></b>by Nick Montfort</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-nick-montfort-2.html">#!</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-nick-montfort-2.html"> </a></b>by Nick Montfort</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/gemology-by-megan-kaminski.html">GEMOLOGY</a></b></i> <span style="mso-bidi-font-weight: bold;">by Megan Kaminski</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/bombyonder-by-reb-livingston.html">BOMBYONDER</a></b></i> <span style="mso-bidi-font-weight: bold;">by Reb Livingston</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Allen Bramhall reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/i-formation-book-2-by-anne-gorrick.html">I-FORMATION BOOK 2</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Anne Gorrick</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Neil Leadbeater reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/slate-voices-by-mavis-gulliver-and-jan.html"><i style="mso-bidi-font-style: normal;">SLATE VOICES: ISLANDS OF NETHE</i>RLORN <span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">by Mavis Gulliver </span>and
<i><span style="mso-bidi-font-weight: bold;">SLATE VOICES: CWMORTHIN</span></i></a></b><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/slate-voices-by-mavis-gulliver-and-jan.html"> by Jan Fortune</a></b><o:p></o:p></span></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><b><a href="http://galatearesurrection23.blogspot.com/2014/12/i-ate-cosmos-for-breakfast-by-melissa.html">I ATE THE COSMOS FOR BREAKFAST</a></b></i> by Melissa Studdard<o:p></o:p></span></div>
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<span style="font-family: Arial;">Tom Jenks reviews <i style="mso-bidi-font-style: normal;">T<b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-rottweilers-guide-to-dog-owner-by.html">HE ROTTWEILER’S GUIDE TO THE DOG OWNER</a></b></i>
by SJ Fowler<o:p></o:p></span></div>
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<span style="font-family: Arial;">John Bloomberg-Rissman reviews
<i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/after-cave-by-michelle-detorie-1.html">AFTER-CAVE</a></b></i> <span style="mso-bidi-font-weight: bold;">by Michelle Detorie</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/after-cave-by-michelle-detorie-2.html">AFTER-CAVE</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Michelle DeTorie</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Adam Strauss reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/nomina-by-karen-volkman-and-warsaw.html"><i><span style="mso-bidi-font-weight: bold;">NOMINA </span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">by Karen Volkman </span>and <i><span style="mso-bidi-font-weight: bold;">WARSAW BIKINI</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> by Sandra Simonds</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <b><a href="http://galatearesurrection23.blogspot.com/2014/12/a-strangers-table-by-anne-brooke.html"><i style="mso-bidi-font-style: normal;">A STRANGER’S TABLE</i> </a></b><span style="mso-bidi-font-weight: bold;">by Anne Brooke</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Rebecca Loudon reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-finnish-orchestra-by-kathryn-rantala.html">THE FINNISH ORCHESTRA</a></b></i> <span style="mso-bidi-font-weight: bold;">by Kathryn Rantala</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Zach Choi, Andrzej Richardson & Jeffrey Simonetti review <b><a href="http://galatearesurrection23.blogspot.com/2014/12/straight-razor-by-randall-mann.html"><i>STRAIGHT RAZOR</i> </a></b>by Randall Mann</span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/poems-for-time-capsule-collected-by.html">POEMS FOR THE TIME CAPSULE</a></b></span></i><span style="mso-bidi-font-weight: bold;">, collected by David Watts</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Heather Sweeney reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-meatgirl-whatever-by-kristin-hatch.html"><i style="mso-bidi-font-style: normal;">THE MEATGIRL WHATEVER</i> </a></b><span style="mso-bidi-font-weight: bold;">by Kristin Hatch</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/throw-n-by-james-wagner-and-bracha-l.html">THROW N</a></b></i> <span style="mso-bidi-font-weight: bold;">by James Wagner, Poems to
paintings by Bracha L. Ettinger</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/a-disturbance-in-air-by-michelle-poulos.html">A DISTURBANCE IN THE AIR</a></b></i> <span style="mso-bidi-font-weight: bold;">by Michelle Poulos</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/otherwise-my-life-is-ordinary-by-bobby.html">OTHERWISE, MY LIFE IS ORDINARY</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/otherwise-my-life-is-ordinary-by-bobby.html"> </a></b>by Bobby Byrd</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">SS Prasad engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/complete-minimal-poems-by-aram-saroyan.html">COMPLETE MINIMAL POEMS</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/complete-minimal-poems-by-aram-saroyan.html"> </a></b>by Aram Saroyan, 1st edition and 2nd Edition
(Edited by Aram Saroyan and James Hoff)</span>
and its <a href="http://galatearesurrection22.blogspot.com/2014/05/complete-minimal-poems-by-aram-saroyan.html"><b><span style="color: #0000e9;">review in GR #22 by Eileen Tabios</span></b></a><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-hours-selected-poems-early.html">BY THE HOURS: SELECTED POEMS EARLY &
UNCOLLECTED</a></b></span></i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/by-hours-selected-poems-early.html"> and THE AMERICANEYE</a></b>, both by Eric Hoffman</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/stained-glass-windows-of-california-by.html">STAINED GLASS WINDOWS OF CALIFORNIA</a></b></i> <span style="mso-bidi-font-weight: bold;">by Julien Poirier</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Neil Leadbeater reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/selected-poems-by-mark-ford.html">SELECTED POEMS</a></b> </span></i><span style="mso-bidi-font-weight: bold;">by Mark Ford</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/salsa-by-hsia-yu.html">SALSA</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Hsia Yu, Trans. from the Chinese by Steve Bradbury</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/comes-up-to-face-skies-by-steve.html"><i style="mso-bidi-font-style: normal;">COMES UP TO FACE THE SKIES</i> </a></b><span style="mso-bidi-font-weight: bold;">by Steve Gilmartin</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/i-didnt-know-mani-was-conceptualist-by.html">I DIDN’T KNOW MANI WAS A CONCEPTUALIST</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Desmond Kon Zhicheng-Mingde</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/maos-pears-by-kenny-tanemura.html">MAO’S PEARS</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Kenny Tanemura</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/on-liberty-repressed-by-tom-jenks.html">ON LIBERTY, REPRESSED</a></b></span></i><span style="mso-bidi-font-weight: bold;"> by Tom Jenks</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Allen Bramhall reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/sky-lanterns-new-poetry-from-china.html">SKY LANTERNS: NEW POETRY FROM CHINA, FORMOSA AND BEYOND</a></b>, </span></i><span style="mso-bidi-font-weight: bold;">Edited by Fiona
Sze-Lorrain and Frank Stewart</span><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-style: italic;"><span style="font-family: Arial, Helvetica, sans-serif;">Eileen
Tabios engages <i><b><a href="http://galatearesurrection23.blogspot.com/2014/12/life-in-ordovician-by-robert-murphy.html">LIFE IN THE ORDOVICIAN: SELECTED POEMS</a></b></i> by Robert Murphy</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Grace C. Ocasio Reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/routes-home-by-crystal-simone.html">ROUTES HOME</a></b></i> <span style="mso-bidi-font-weight: bold;">by Crystal Simone Smith</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-way-we-live-by-burt-kimmelman.html">THE WAY WE LIVE</a></b></i> <span style="mso-bidi-font-weight: bold;">by Burt Kimmelman</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Marthe Reed reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/state-of-union-by-susan-lewis.html">STATE OF THE UNION</a></b></i> <span style="mso-bidi-font-weight: bold;">by Susan Lewis</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Neil Leadbeater reviews <b><a href="http://galatearesurrection23.blogspot.com/2014/12/sarah-of-fragments-and-lines-by-julie.html"><i style="mso-bidi-font-style: normal;">SARAH – OF FRAGMENTS</i> </a></b><span style="mso-bidi-font-weight: bold;">by Julie Carr</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/they-talk-about-death-by-alessandra-bava.html">THEY TALK ABOUT DEATH</a></b></i> <span style="mso-bidi-font-weight: bold;">by Alessandra Bava</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/miniatures-by-meredith-cole.html">MINIATURES</a></b></i> by Meredith Cole<o:p></o:p></span></div>
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<span style="font-family: Arial;">Neil Leadbeater reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/a-toast-in-house-of-friends-by-akilah.html">A TOAST IN THE HOUSE OF FRIENDS</a></b></i> <span style="mso-bidi-font-weight: bold;">by Akilah Oliver</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-speed-of-our-lives-by-grace-c-ocasio.html">THE SPEED OF OUR LIVES</a></b></i> <span style="mso-bidi-font-weight: bold;">by Grace C. Ocasio</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Bill Scalia reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/woman-in-painting-by-andrea-hollander.html">WOMAN IN THE PAINTING</a></b></i> <span style="mso-bidi-font-weight: bold;">by Andrea Hollander Budy</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Amanda [Ngoho] Reavey
reviews <i><b><a href="http://galatearesurrection23.blogspot.com/2014/12/handiwork-by-amaranth-borsuk.html">HANDIWORK</a></b></i> by Amaranth Borsuk<o:p></o:p></span></div>
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<span style="font-family: Arial;">Nicholas T. Spatafora engages
<b><a href="http://galatearesurrection23.blogspot.com/2014/12/books-by-paul-pines-and-phillip-lopate.html"><i style="mso-bidi-font-style: normal;">LAST CALL AT THE TIN PALACE</i> <span style="mso-bidi-font-weight: bold;">by Paul Pines </span>and <i style="mso-bidi-font-style: normal;">AT THE END OF THE DAY: SELECTED POEMS AND AN INTRODUCTORY ESSAY</i><span style="mso-bidi-font-weight: bold;"> by Phillip Lopate</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios engages <b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-shape-of-box-by-grace-curtis.html"><i style="mso-bidi-font-style: normal;">THE SHAPE OF A BOX</i> </a></b>by Grace Curtis<o:p></o:p></span></div>
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<span style="font-family: Arial;">Tom Beckett engages <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/a-princess-magic-presto-spell-by-lisa.html">A PRINCESS MAGIC PRESTO SPELL</a></b></i><span style="mso-bidi-font-weight: bold;"> by Lisa Jarnot<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; mso-bidi-font-weight: bold;">Jim
McCrary lists recommended <b><a href="http://galatearesurrection23.blogspot.com/2014/12/jim-mccrary-lists-books-by-juliet-cook.html">books by Juliet Cook, Bruce Covey, Megan Kaminski,
Kiki Anderson, Raymand Hall, Melissa Sewell, Mike Young, and Larry Bierman as
well as two journals: <i style="mso-bidi-font-style: normal;">TOUCH THE DONKEY</i>
and </a></b><i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/jim-mccrary-lists-books-by-juliet-cook.html">NOO 15</a></b>.</i></span><span style="font-family: Arial;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">FEATURED POETS<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/featured-poet-nico-vassilakis.html">Nico Vassilakis</a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/featured-poet-xenia-chloe-h-villanueva.html">Xenia-Chloe H. Villanueva</a></b><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">THE CRITICS WRITE POEMS<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-critic-writes-poems-pam-brown.html">Pam Brown</a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-critic-writes-poems-steve-dickison.html">Steve Dickison</a></b><o:p></o:p></span></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-critic-writes-poems-amanda-ngoho_5.html">Amanda [Ngoho] Reavey</a></b><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">INTERVIEW<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">Neil Leadbeater interviews
<b><a href="http://galatearesurrection23.blogspot.com/2014/12/interview-jane-seabourne.html">Jane Seabourne</a></b><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">FEATURED ESSAY<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/featured-essay-robert-bly-vs-first-ten.html">“Robert Bly vs. the FirstTen Issues of kayak”</a></b> by Sandy McIntosh<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>FEATURED (WORD) ARTIST)</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/featured-word-artist-darrell-nettles.html">Darrell Nettles</a></b></span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">FROM OFFLINE TO ONLINE<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">Brandon Som reviews <i style="mso-bidi-font-style: normal;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/from-unincorporated-territory-guma-by.html">FROM UNINCORPORATED TERRITORY: [GUMA]</a></b></i> by
Craig Santos Perez<o:p></o:p></span></div>
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<span style="font-family: Arial;">Jeff Von Ward Reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/we-monsters-by-zarina-zabrisky.html">WE, MONSTERS</a></b> </span></i><span style="mso-bidi-font-weight: bold;">by Zarina Zabrisky<o:p></o:p></span></span></div>
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<span style="font-family: Arial;">Takeema Hoffman Reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/nochita-by-dia-felix.html">NOCHITA</a></b> </span></i><span style="mso-bidi-font-weight: bold;">by Dia Felix</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Takeema Hoffman Reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="https://www.blogger.com/"><span id="goog_848081044"></span>A HISTORY OF BROKEN LOVE THINGS<span id="goog_848081045"></span></a></b> </span></i><span style="mso-bidi-font-weight: bold;">by SB Stokes</span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Maia Kobabe Reviews <i><span style="mso-bidi-font-weight: bold;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/multiple-warheads-alphabet-to-infinity.html">MULTIPLE WARHEADS: ALPHABET TO INFINITY </a></b></span></i><span style="mso-bidi-font-weight: bold;">by Brandon Graham</span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">BACK COVER<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b><a href="http://galatearesurrection23.blogspot.com/2014/12/back-cover-review-copies-find-homes.html">Review Copies Find Homes!</a></b><o:p></o:p></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-15819634001850882042014-12-09T05:30:00.000-08:002014-12-09T08:19:53.693-08:00EDITOR'S INTRODUCTION<div class="separator" style="clear: both; text-align: center;">
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<br />
<div class="MsoNormal">
<span style="font-family: Arial;">Thanks as ever to <i>Galatea
Resurrects</i>' generous volunteer staff of reviewers. In addition to some
wonderful feature articles, we have <b>69 NEW POETRY REVIEWS </b>this
issue. We are delighted to have several student reviewers, including from high school!--thanks to poet-teachers Jessica Smith and Hugh Behm-Steinberg. We even have a <b><a href="http://galatearesurrection23.blogspot.com/2014/12/jim-mccrary-lists-books-by-juliet-cook.html">LIST</a></b> by a reviewer who just couldn't get his act together to do reviews but still wanted to recommend some books (we're transparent over here).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">With Issue No. 23, <i>GR</i>
has provided 1,452 new reviews and 122 reprinted reviews (the latter brings
online reviews previously available only viz print or first published in
now-defunct online sites). With this issue, we also increased our coverage of
poetry publishers by 14 to <b>520 publishers in 17 countries.</b> This
is important as much of the ground-breaking poetry work is published by
independent and/or relatively small presses who (by the nature of their work)
are not always as well-known as they deserve. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Poetry has enhanced my
love of lists so here are <i>GR</i>'s latest poetry-lovin' stats!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 1: 27 new reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 2: 39 new reviews
(one project was reviewed twice by different reviewers)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 3: 49 new reviews
(two projects were each reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 4: 61 new reviews
(one project was reviewed thrice, and three projects were each reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 5: 56 new reviews
(four projects were each reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 6: 56 new reviews
(one project was reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 7: 51 new reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 8: 64 new reviews (3
projects were each reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 9: 65 new reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 10: 68 new reviews
(1 project was reviewed thrice and 1 project was reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 11: 72 new reviews
(1 project was reviewed thrice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 12: 87 new reviews
(1 project was reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 13: 55 new reviews
(1 project was reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 14: 64 new reviews
(3 projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 15: 72 new reviews
(1 project was reviewed thrice and 4 projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 16: 73 new reviews
(2 projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 17: 108 new reviews
(3 projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 18: 104 new reviews
(3 projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 19: 68 new reviews
(1 project was reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 20: 64 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 21: 78 new reviews<b> </b>(2
projects were reviewed twice)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 22: 40 new reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 23: 69 new reviews</span><b style="font-family: Arial;"> </b><span style="font-family: Arial;">(3 books were reviewed twice)</span></div>
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<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I love seeing review
copies find a home. In this issue, we
have a modest feature showing some of the review copies in their new homes—in the
homes of their appreciative reviewers. A
favorite image is above, SJ Fowler’s book <i>THE ROTTWEILER’S GUIDE TO THE DOG
OWNER</i> now happily ensconsed with the reviewer’s daughter’s doll at Tom Jenk’s
casa. For other images, go <b><a href="http://galatearesurrection23.blogspot.com/2014/12/back-cover-review-copies-find-homes.html">HERE</a></b>!<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I continue to encourage
authors/publishers to send in your projects for potential review—note that
because we believe in Poetry's immortality, <i>GR</i> does not limit
reviews to just "recent" poetry publications. And, obviously, people
are following up with your review copies (see below)! Information for
submissions and available review copies <a href="http://grarchives.blogspot.com/"><b><span style="color: windowtext; text-decoration: none; text-underline: none;">HERE</span></b></a>. Future reviewers
also should note that the next review submission deadline is APRIL 19, 2015.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Of reviewed publications,
the following were generated from review copies sent to <i>GR</i>:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 1: 9 out of 27 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 2: 25 out of 39 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 3: 27 out of 49 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 4: 41 out of 61 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 5: 34 out of 56 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 6: 35 out of 56 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 7: 41 out of 51 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 8: 35 out of 64 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 9: 42 out of 65 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 10: 46 out of 68 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 11: 46 out of 72 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 12: 35 out of 87 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 13: 38 out of 55 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 14: 40 out of 64 new
reviews<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Issue 15: 43 out of 72 new
reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 16: 49 out of 73 new
reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 17: 73 out of 108
new reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 18: 84 out of
104 new reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 19: 41 out of
68 new reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 20: 50 out
of 64 new reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 21: 46 out of 78 new
reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 22: 30 out of 40 new
reviews<o:p></o:p></span></div>
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<span style="font-family: Arial;">Issue 23: 49 out of 69 new reviews</span></div>
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<span style="font-family: Arial;">*****<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The beauty of Blogger is
how typos can be corrected at any point in time. If you see any typos,
feel free to let me know as I can still correct them even after the
issue's release.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I hope you enjoy this
issue of <i>Galatea Resurrects</i>! HAPPY HOLIDAYS!<o:p></o:p></span></div>
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<span style="font-family: Arial;">Eileen Tabios<o:p></o:p></span></div>
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<span style="font-family: Arial;">Editor<o:p></o:p></span></div>
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<span style="font-family: Arial;">Dec 9, 2014<o:p></o:p></span><br />
<span style="font-family: Arial;"><br /></span>
<span style="font-family: Arial;"><br /></span>
<span style="font-family: Arial;"><i>P.S. This Introduction is photo-bombed by the editor's new puppy Athena in holiday regalia:</i></span><br />
<span style="font-family: Arial;"><br /></span>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-20985741611635724732014-12-07T23:50:00.000-08:002014-12-08T16:41:19.307-08:00A MESSENGER COMES by RACHEL TZVIA BACK<div class="MsoNoSpacing">
<span style="font-family: Arial;">BILL SCALIA Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">A Messenger
Comes</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Rachel Tzvia Back<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(Singing Horse Press, San Diego, CA, 2012)<o:p></o:p></span></i></div>
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<span style="font-family: Arial;">A theologian once told me
that we are “born into eternity.”<span style="mso-spacerun: yes;"> </span>In a
certain abstract sense this may be true.<span style="mso-spacerun: yes;">
</span>But Rachel Tzvia Back’s book reminds us that humans are born into <i style="mso-bidi-font-style: normal;">brokenness</i>.<span style="mso-spacerun: yes;"> </span>Her choice of epigram (from Leon Wieseltier’s
<i style="mso-bidi-font-style: normal;">Kaddish</i>) reminds us that brokenness
of spirit is a manifestation of a larger brokenness – but also that “the
messenger” somehow summons us into the future, keeps us moving toward
wholeness.<span style="mso-spacerun: yes;"> </span>Brokenness is the obvious
theme of Back’s terrific book.<span style="mso-spacerun: yes;"> </span>But if
the book were only about our broken condition, given Back’s remarkable skill,
the book would be too painful to read.<span style="mso-spacerun: yes;"> </span>Brokenness
evokes compassion, sympathy, and the desire to keep searching for meaning for
our loss, and by extension our very lives.<span style="mso-spacerun: yes;">
</span>Back’s book is not theology, or philosophy, or critical theory.<span style="mso-spacerun: yes;"> </span>It is human to its very core.<span style="mso-spacerun: yes;"> </span>Her book illustrates the joys and sorrows of
this one definitive, ineluctable fact about human formation: it never ends.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The book begins with the
first act of brokenness, the creation of the universe, God speaking the world
into existence, on <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>That first day when<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>he moved<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>gentle over the face<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>of turbulent waters<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>his heart <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>was breaking – <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>of course he knew<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>this was <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>unavoidable<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Creation could not occur
without separation – separation of the world into language, into physical distinction,
into time.<span style="mso-spacerun: yes;"> </span>However, Back takes us into God’s
dilemma: the perfection of his being is broken in creation of the physical
world.<span style="mso-spacerun: yes;"> </span>The poem continues:<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>all creation<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>an emanation<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>of distinction – <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>bordered firmament<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>separated<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>self<span style="mso-spacerun: yes;"> </span>and
still<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>in the infinite<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>moment<span style="mso-spacerun: yes;"> </span>that<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>abandonment of the <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>beautifully<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>unarticulated<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>his heart<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>shattered<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>into pieces<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>shards falling<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>in a torn-light hail<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>of violets gold<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>slender indigo<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>as a newborn<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>cliff suddenly <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>rose<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>out of the<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>newborn sea<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Godhead is broken and we are the pieces.<span style="mso-spacerun: yes;"> </span></span></i><span style="font-family: Arial;">But
why is this separation necessary?<span style="mso-spacerun: yes;"> </span>To put
it another way, if God in his omniscience knew that the first human would
betray him, why did he allow that betrayal to happen?<span style="mso-spacerun: yes;"> </span>If man does not betray God, continues to
exist in unity with God, how does God relate to his creation?<span style="mso-spacerun: yes;"> </span>What is there for God to do?<span style="mso-spacerun: yes;"> </span>The tension playing out in this poem, the
second of the book, represents a large measure of her method: the brokenness is
sad but inevitable, painful but necessary – and out of brokenness rises new
land.<span style="mso-spacerun: yes;"> </span>In the hands of a less skilled,
less feeling poet this theme could easily into a facile tilting at windmills
(at best) or nihilistic self-pity (at worst).<span style="mso-spacerun: yes;">
</span>But Back’s view is far more sympathetic, and empathetic, to the larger
“value” of suffering.<span style="mso-spacerun: yes;"> </span>In one poem she
references Lamentations 3:12, writing, <i style="mso-bidi-font-style: normal;">Bow
bent / we are set / as mark for the arrow </i>. . . .<span style="mso-spacerun: yes;"> </span>On the other hand, if God is directing his
bow at our heart, at least he’s directing attention at us, he’s aware of us (a
tiny slip of comfort Jonathan Edwards chooses to ignore in <i style="mso-bidi-font-style: normal;">Sinners in the Hands of an Angry God</i>).<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>A
lesser poet would mourn the losses (father, sister, and in a way a loss of
innocence) Back experiences and considers.<span style="mso-spacerun: yes;">
</span>God setting his bow against our heart might seem, in that case,
symptomatic of the objective correlative.<span style="mso-spacerun: yes;">
</span>But in another poem Back refers again to Lamentations, specifically to a
prayer beginning <i style="mso-bidi-font-style: normal;">Modeh ani</i> – “I give
thanks” – in which the poet thanks God in his great kindness who “restores our
souls to us each new morning” (this from Back’s notes).<span style="mso-spacerun: yes;"> </span>This book is no simple lamentation for loss;
it is more an anthropology of the meaning of loss and the hope of replenishment.<span style="mso-spacerun: yes;"> </span>In an early poem, a couple is debating the
origin of creation, the origin of human separation from God; the two hold
differing views, but their difference is reconciled in the best possible way
after the woman turns away,<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>assured<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>she had had<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>the last<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>word<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>until he reached across<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>the slender space<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>between them and<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>kissed her<o:p></o:p></span></div>
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<span style="font-family: Arial;">The brokenness of creation
is manifested in language as well as time, and in the section of the book titled
“In a Language of Sand (A Love Suite)” Back connects the two:<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>With the first word she wrote<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>you, you<o:p></o:p></span></div>
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<span style="font-family: Arial;"> began to exist . . . <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>With her first written word you became <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>you.<o:p></o:p></span></div>
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<span style="font-family: Arial;">And later, <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>It was love in the language of sand . . . <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>Unsated and discontent – <o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>a language with no present tense.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>I was and would be<o:p></o:p></span></div>
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<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>captive.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Throughout the book Back
treats the distinction between Word and word, between divine Word (the language
of God at creation here, not the embodiment of Christ), words as pieces of
creation, the “unlettered becoming lettered.”<span style="mso-spacerun: yes;">
</span>Emily Dickinson also works in this area; in poem 305: “The difference
between Despair / And Fear – is like the One / Between the instant of a Wreck -
/ and when the Wreck has been -”, for example.<span style="mso-spacerun: yes;">
</span>Back references Dickinson (though not this specific poem), and through
the book I could feel echoes of Dickinson’s anxiety of time, especially the
absence of time in the experience of pain (or loss) – that is, the terrible
awareness of present-<i style="mso-bidi-font-style: normal;">ness</i>.<span style="mso-spacerun: yes;"> </span>Time, for Back, is another brokenness; time
is not of a piece; it does not ‘flow,’ but is relative to experience of its
passing, which is subjective.<span style="mso-spacerun: yes;"> </span>A language
with no present tense is the eternal present (admittedly a contradiction of
terms), a time without time; when “time” is present, the “unlettered” becomes
“lettered.”<span style="mso-spacerun: yes;"> </span>But time is all we
have.<span style="mso-spacerun: yes;"> </span>The twofold direction of Back’s
poem is memory and possibility; the conjunction she chooses in the last line of
the poem quoted above indicates her desire to live in both, or perhaps the
inter-determinate nature of both: we live in our awareness of the past, but we
keep moving into the future.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Or, we might think of
Kierkegaard’s teleological suspension of the ethical.<span style="mso-spacerun: yes;"> </span>In Kierkegaard’s formulation, the ethical
(the universal) is human existence, and its <i style="mso-bidi-font-style: normal;">telos</i>
is embodied in our ethical responsibility to each other, authored by God himself.<span style="mso-spacerun: yes;"> </span>But what does Abraham do when God asks him to
commit a wholly unethical act (murder his only son)?<span style="mso-spacerun: yes;"> </span>There is no answer in the ethical for this,
so Kierkegaard invents a new category for Abraham’s condition (the ethical is suspended
in order that Abraham can obey God by his willingness to kill Isaac; his
willingness to obey God reinserts Abraham into the ethical, and God does not
allow the murder).<span style="mso-spacerun: yes;"> </span>This suspension is, in
a sense, an eternal present; in this condition, time cannot exist for Abraham
because time exists wholly in the universal (we determine our future based on
our experience of the past), and the “present” is at best always fleeting; the
best we have is not <i style="mso-bidi-font-style: normal;">present</i>, but <i style="mso-bidi-font-style: normal;">participle</i>; not <i style="mso-bidi-font-style: normal;">be</i>, but <i style="mso-bidi-font-style: normal;">becoming. </i><span style="mso-spacerun: yes;"> </span>A language with no present tense is the
reinsertion into time; note Back’s careful choice of verbs in the final line
(what use has God for verbs?<span style="mso-spacerun: yes;"> </span>Verbs are
both language and time, connected, in our experience of this inevitable,
necessary brokenness).<span style="mso-spacerun: yes;"> </span>Only love, the
variety of love Back writes about here, suspends the brokenness of time; it is
the kiss “across the slender space” that separates us.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">In Book 6 of the <i style="mso-bidi-font-style: normal;">Aeneid</i>, Aeneas travels to the Underworld
to seek help in finding his way to the promised land for the ‘new race of Trojans’
(Rome), and in doing so meets many of the souls locked in permanent
torture.<span style="mso-spacerun: yes;"> </span>But, in the most beautiful
passage in the poem, Aeneas also gets to visit those who have lived lives of
piety and meets the shade of his father, Anchises, who shows him all the souls in
paradise waiting to be born.<span style="mso-spacerun: yes;"> </span>In this
sense, there is an eternity that all souls participate in; being born into
history, into the tenseness of time, is a separation from that wholeness.<span style="mso-spacerun: yes;"> </span>Back’s book begins at the brokenness of the
creation of the universe, what this creation entails: the necessity of language
and time, but more significantly loss, and love.<span style="mso-spacerun: yes;"> </span>God’s heart may be broken, but we are the
pieces of his broken heart; and, just as a spoken word seeks a listener, broken
hearts seek reconnection. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
*****<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bill Scalia holds a PhD in
American Literature from Louisiana State University.<span style="mso-spacerun: yes;"> </span>His most recent essays include “<span style="mso-bidi-font-weight: bold;">Toward a Semiotics of Poetry and Film:
Meaning-Making and Extra-Linguistic Signification” (in <i style="mso-bidi-font-style: normal;">Literature / Film Quarterly</i>) and “Bergman’s Trilogy of Faith and <i style="mso-bidi-font-style: normal;">Persona</i>: Faith and Visual Narrative” in
the anthology <i style="mso-bidi-font-style: normal;">Faith</i> <i style="mso-bidi-font-style: normal;">and Spirituality in Masters of World Cinema</i>
(Cambridge Scholars Press, 2008).<span style="mso-spacerun: yes;"> </span></span>Bill
teaches writing and literature at St Mary’s Seminary and University in
Baltimore, MD.<span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-31091407695083215682014-12-07T23:45:00.000-08:002014-12-09T08:16:28.461-08:00THE FEEL TRIO by FRED MOTEN and THE UNDERCOMMONS: FUGITIVE PLANNING AND BLACK STUDY by FRED MOTEN and STEFANO HARNEY<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">T.C.
MARSHALL Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Feel Trio</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; font-size: 12.0pt;"> by Fred Moten<o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">(Letter Machine Editions, Tucson,
AZ, 2014)<o:p></o:p></span></i></div>
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<span style="font-family: Arial; font-size: 12.0pt;">and<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Undercommons:
Fugitive Planning and Black Study</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; font-size: 12.0pt;"> by Fred Moten and
Stefano Harney<o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">(Minor Compositions / Autonomedia, Brooklyn,
2013)<o:p></o:p></span></i></div>
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<br /></div>
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<br /></div>
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<div style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Under-Standing <o:p></o:p></span></b></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Feel Trio</span></i><span style="font-family: Arial; font-size: 12.0pt;"> has been getting a lot of attention
ever since it came out because it is delightful and enjoyably challenging to
read, because its author is delightful and often challenging to listen to, and
because it moves just far enough beyond his other very fine books to challenge
the world to give him the notice he has deserved all along. The core of his
fans has broadened, and now the book is getting read all over the place mostly
because it made the short list, and then the finalists list for the National
Book Award in Poetry. It did not win, and that may in the end be a good thing.
Besides the travesties at the ceremony, there are other dangers in that prize.
Winning it can be a stamp of approval for reductive pleasures. The aesthetics
of the poetry world obscure some interesting challenges, one way and another,
and there’s at least one challenging thing about <i style="mso-bidi-font-style: normal;">The Feel Trio</i> that should not be missed.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;">Plenty of
folks have been, and will be, writing about the many great things about this
book of poetry. The one thing that puts some extra challenge into reading this
book by Fred Moten is another book: called <i style="mso-bidi-font-style: normal;">The
Undercommons</i> by Stefano Harney & Fred Moten. If we read <i style="mso-bidi-font-style: normal;">The Feel Trio</i> without an understanding
of <i style="mso-bidi-font-style: normal;">The Undercommons</i>, we may be in for
that reductive trouble. It’s the trouble that the National Book Award can
bring, even without its ceremonial brouhahas and idiocies. That trouble is
really about being somehow less troubled, but that’s the challenging thing. <i style="mso-bidi-font-style: normal;">The Feel Trio</i> is certainly in and of
itself not a nice or easy book, nothing “lemony” in it at all. It can trouble
your reading with passages like this one:<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>your coat is plain in light and the
bottom is prepared to challenge<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>standing with texture and seeing but
suddenly. that pattern on the<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>edge is graphic patience higgins on
the edge so write him down like<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>smoke on paper and basic flavor.
black smoke composition huddles<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">around the off chance, the sooty groove and the violent arco
catalog.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 9;"> </span>(11)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><br /></span>
<span style="font-family: Arial; font-size: 12.0pt;">That’s not
simple and easy to read unless you hang loose enough to let the syntax gather
what it may and you maybe supply a little reference point here and there; I
make “higgins” out to be Billy who had a patience I could almost see when he
was hanging back from hitting a beat at his drumset and putting it a bit off my
regular sense of regularity. Much of this book is made from music, and it has
its own musics in rhythm and sonorities of wording and even in syntactical
moments left hanging like that. Its musical references are to black art mostly,
but not all the references are lined up simply and not all the references are
necessary for us to “get” in any particular way. A line like “detroit is in the
water” has a reference now that may not have been there so pungently in the
moment of writing. A passage like the following one cuts into the space opened
in that reference to Detroit’s water shutoffs, the space opened by that other
book’s subtitle:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>the violence of coping strata is
specific and seasoned. we give<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>shit away to hurt people and build
poor shelters that move and<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>wrap around. we love to hold the
continual failure in one another,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>till new things come from that like
bullets that catch bullets for<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>butter and chocolate. our thing
event theme is doin it to death.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 9;"> </span>(23)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">That
passage can be read by itself as a bit of a poem or with the rest as a whole
poem or with the series it’s part of as the stunning work called “Block
Chapel.” But “Block Chapel” and the poem on page 23 and <i style="mso-bidi-font-style: normal;">The Feel Trio</i> as a whole can all be read more fully with the benefit
of a reading of <i style="mso-bidi-font-style: normal;">The Undercommons</i>
because of the way that book makes the terms of the argument turn around.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">The
relation between the terms “violence” and “coping strata,” for instance, is
given immense depth in that study. Likewise, the sense of “give shit away,”
referring both to social assistance from agencies and to assisting each other,
is given a fresh twist in <i style="mso-bidi-font-style: normal;">The
Undercommons</i> that makes how “we love to hold the continual failure in one
another” a lot sharper. You can’t read <i style="mso-bidi-font-style: normal;">The
Undercommons</i> without gaining a double-edged sense of these terms and “doin
it to death.” Even just the word “hold” gets held in about three ways in that
book. The very style of <i style="mso-bidi-font-style: normal;">The Undercommons</i>
teaches us to read differently. Its content too is a fierce challenge to how we
read our world and its arts.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">That
difference in reading is part of what makes <i style="mso-bidi-font-style: normal;">The
Undercommons</i> a necessary companion book to <i style="mso-bidi-font-style: normal;">The Feel Trio</i>. If we merely read <i style="mso-bidi-font-style: normal;">The Feel Trio</i> as we have been reading other advancing work in
recent decades, we risk consigning it to the same kind of aesthetic arguments
that continue to simply help keep the world as we know it afloat. Art has its
place in that world, and mostly is kept in it, contained in it, but <i style="mso-bidi-font-style: normal;">The Feel Trio</i> exceeds art and
aesthetics—just as its namesake musical combo did. Another part of that
companion volume’s necessity is that if we read <i style="mso-bidi-font-style: normal;">The Feel Trio</i> without the difference created in the hard work and
play of thinking in <i style="mso-bidi-font-style: normal;">The Undercommons</i>,
<i style="mso-bidi-font-style: normal;">The Feel Trio </i>just might get turned
into a “manageable,” understandable book. Giving it a prize might turn out to
be domesticating it. That’s what the challenge is: as usual, resistance, kept
alive beyond hope of any prize<b style="mso-bidi-font-weight: normal;">.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Undercommons</span></i><span style="font-family: Arial; font-size: 12.0pt;">, through its title alone,
designates a space underlying the common concept of what we “have in common”
and points toward the way we have already begun to go beyond that into the
commons we create in acting together (v. Giorgio Agamben’s <i style="mso-bidi-font-style: normal;">The Coming Community</i> (Minneapolis: U Minnesota P, 1993). This is
the concept of the voice in <i style="mso-bidi-font-style: normal;">The Feel Trio</i>
that wants to be “unfurled in tongues that won’t belong in / anybody’s mouth,
mass swerving from the law of tongues” (74 and back cover). <i style="mso-bidi-font-style: normal;">The Undercommons</i> enacts in its thinking
and wordplay a reversion of terms against the common sense of things that we
are used to, and used by, like that “law.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Its chapter
titles sketch its doings and un-doings: “The University and the Undercommons,”
“Blackness and Governance,” “Debt and Study,” “Planning and Policy,” and
“Fantasy in the Hold,” all lead to startlingly refreshed views of where and how
we take hold of our lives and histories. Each takes a term we are used to
seeing positively and exposes its faux-naif negativity. The play of positively
toned terms like “credit” and “forgiveness” are shown in their fight against
the positive sense of the social “debt” we cannot repay to all those who have
helped us along the way. Chapter 6: “Fantasy in the Hold” proposes a stunning
idea about logistics as the basis of Capital’s logic in our lives; that idea
exposes that logic’s thrust and then its breaking point.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Anything I
reduce it to here will be bereft of the web of shifting terms that <i style="mso-bidi-font-style: normal;">The Undercommons</i> builds. Its claims
sometimes come out very plainly, but they are also poetically constructed in
altering the common surface meaning of terms and exposing what’s in plain
sight. Words like “governance” and “policy” get turned around on themselves,
and we see the way they are used in public thinking to dupe us into joining the
plan. <i style="mso-bidi-font-style: normal;">The Feel Trio</i> shows how our own
plans might take another shape:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I burn communities in shadow,
underground, up on the<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>plateau, then slide with the horny
horns, vision’s festival<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>is folded in overtones and
outskirts. j tizol, harry carnival<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>and feel lines out around an open
forte, an underprivilege<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>of the real presence, curled up
around an outlaw corner.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>curling around corners puts me in
mind of jean toomer.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I think I’ll change my name to gene
tumor. I want to be<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>a stream tuner, unfurled in tongues
that won’t belong in<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>anybody’s mouth, mass swerving from
the law of tongues,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>let me slip my slap-tongued speech
in your ear, the burnt<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>starry star of all love in your ear.
o, for a muse of fire music.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 9;"> </span>(74)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">That
“won’t” says it all. “Will not,” the future, contracted is also present will in
resistance or refusal. On the first page of <i style="mso-bidi-font-style: normal;">The
Feel Trio</i>, “refuge” turns into “the city of refuse” where trash and
resistance combine in that word that equals “won’t” and designates how so many
of us are treated too. That first poem starts with listening to the songs of
those who Curtis Mayfield called the “people who are darker than blue.” It goes
to where <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>… sometimes it gets
deep in the hold<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">and the cell’s hard pleasure curls up in the water.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">so I sail the dark river in the mind by rocket ship<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">(my high water everywhere is outerspace, alabama)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">and stay alive in the concept with an outbound feeling<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">of refuge, I’ma run, I’mo run, I’m gon run to the city<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">of refuse<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 7;"> </span>(3)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">With John
Lee Hooker’s flood songs and Sun Ra’s future perfect Saturn as references fore
and aft, this poem sets out. But it warns us too of the dangers, “balmed-out
underground” in one line and “preoccupied with the tonal situation” in another.
There is people’s history and jazz and blues history here right from the
get-go, but there is more than a little bit of danger in the telling of that
too. One side of the danger is falling into the simply lyric tongue and
aestheticizing the music just as expressive rhythms or praises and leaving the
justice out. They give prizes for that. The other side of the danger is telling
histories everybody has rehearsed, and leaving the trouble of justice out <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt;">The Feel Trio </span></i><span style="font-family: Arial; font-size: 12.0pt;">shows great capacity for avoiding
these traps, both at the level of its technical poetics and at the level of its
social reckoning. The next page starts:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>welcome to what we took from is the
state.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>welcome to kill you, bird. the
welcome state<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">and its hurt world, where you been lost and tied,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">bird.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 7;"> </span>(4)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">The
troubling of justice is doubly present right there in the awkward wording that
focuses on the state and the state it will put you in. The address to “bird”
calls up Camarillo State Hospital and Charlie Parker’s incarceration there, but
this is not told in some sentimental or exemplary way. It is done through
naming what the trouble is and in naming the response: “you perfectly welcome
to what we give away” (4). As the first poem has said:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 7;"> </span>…
it’s like<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>that outside drama is our knowledge
of the world <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>and nobody claims it but us. we get
it twisted<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>in the diagram. we know the score.
we got a plan.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 7;"> </span>(3)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">That
“twist” and that “plan,” both have a larger context and depth if you couple <i style="mso-bidi-font-style: normal;">The Feel Trio</i> with <i style="mso-bidi-font-style: normal;">The Undercommons</i>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">The poems
allow themselves to work a lot of the latest aesthetic moves and sometimes create
fresh variations, which could be celebrated as coming from black vernacular and
acknowledging its force. This might be seen as enough by some prize-winner
readers, but the bridge to the poetics of the prose book is not to be missed
here. That poetics allows the terms of the official world no quarter. It
expands the world of reference for the poems as it runs those terms to ground
within their own conceptualization. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Late in <i style="mso-bidi-font-style: normal;">The Undercommons</i>, the concept called
“borders” is exposed through its implication in Kapital’s international
logistics of shipped goods and laboring people. That term’s use in mastering
both people and things is deftly personified in an inversion of its own
functions of objectification:<o:p></o:p></span><br />
<span style="font-family: Arial; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">These borders grope their way toward the movement of things,
bang on containers, kick at hostels, harass camps, shout after fugitives,
seeking all the time to harness this movement of things, this logisticality.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 8;"> </span>(94)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">The twist
that <i style="mso-bidi-font-style: normal;">The Undercommons</i> unfolds lies in
this impersonal personification and the recognition of persons implicated in
that objectification by policy and “borders.” This book uses an image of
blackness as “the site where absolute nothingness and the world of things
converge” that comes neatly from the mind of the slave in the hold, though it
could be that of the wage slave on board or smuggled in some container these
days. This gives that ‘nothingness” embodiment. Whoever crosses money’s borders
between home and statelessness is in this mind-frame: the mind that holds out
for something more yet is held in a nothingness, kept in the dark as some
shipped thing. That’s what makes for the chapter-title phrase: “Fantasy in the
Hold”; at the same time, that phrase exposes the hollow fantasy of Kapital’s
logistics—that it can objectify any of us. With this handle on that
“nothingness,” we are re-positioned among the terms of that logistics and its
logic of what is and is not nothing. “We are the shipped, if we choose to be,
if we elect to pay an unbearable cost that is inseparable from an incalculable
benefit” (95). Phrases like these can illuminate the poems with a darkly
re-conceived vocabulary and an awareness of inverting and converting terms.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">Even the
musics in <i style="mso-bidi-font-style: normal;">The Feel Trio</i> are lit up by
<i style="mso-bidi-font-style: normal;">The Undercommons</i>. To get them as “the
antiphonal accompaniment to gratuitous violence” (96) that is perpetrated in
such a logic of logistics, and not just as someone’s simply sad moan, is to
rise to being “absolute about abolition” (82). And though “we don’t know what
we mean by it,” exactly, “because it is neither a category for ontology nor for
socio-phenomenological analysis,” we begin to ask each other what it might be
“for this to be understood in its own improper refusal of terms” (96). That’s
the impetus of<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Feel Trio</i> whether you’re talking Taylor/Oxley/Parker’s refusals
to conform their jazz to describability or the poetry’s “terror of enjoyment in
its endlessly redoubled folds” (95).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">The middle
passage of <i style="mso-bidi-font-style: normal;">The Feel Trio</i>, “come on,
get it!,” starts with a gist of this:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 5;"> </span>Performers
feel each other differently,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">as material things that never happen,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>in<span style="mso-spacerun: yes;"> </span>persistent substance and their risen cities,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">even if there’s no escape. their training in certain
clinical tendencies,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 3;"> </span>or
in the general structure of being a problem,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">because of the pivot they never
disavowed<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;">in thrownness, begins the world where we are fallen,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 3;"> </span>falling
down together in an accident we dream<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 8;"> </span>(35)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">It is no
accident that these books hinge together as pivot for each other. The thinking
play of <i style="mso-bidi-font-style: normal;">The Undercommons</i>, before its
final interview piece, lands in the concept of “hapticality” (97-99)--how we
know by feel. <i style="mso-bidi-font-style: normal;">The Feel Trio</i> cues up
on that in answering its own rhetorical question: “how do we read this? this is
what it’s for. to claim catastrophe” as “we revel in what breaks us up” (59).<o:p></o:p></span></div>
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<br />
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 12.0pt;">*****<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">The Rev. Dr. T. C. Marshall is one pseudonym of Yeshe Norbu, an activist in the realm of the hungry ghosts.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-4885310859896509892014-12-07T23:40:00.000-08:002014-12-12T07:50:55.886-08:00WRITTEN 1976-2013 by P. INMAN (1)<div class="MsoNoSpacing">
<span style="background: white; font-family: Arial;">STEVE
DICKISON Reviews<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: Arial;">Written 1976–2013</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: Arial;"> by P. Inman<u><br />
</u></span></b><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: Arial;">(if p then q classics, Manchester, UK, 2014)<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="background: white; font-family: Arial;">Here’s this
giant mega-tome, 728 pages with which to start to get a grip on the extent of
it, the span of written (also, one would say, salvaged) works across nearly
four decades from poet P. Inman. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="background: white; font-family: Arial;">What is
here: a division into some eleven books within the book, prior smaller books dating
from <i style="mso-bidi-font-style: normal;">Platin</i> (Sun & Moon, 1979)
thru <i style="mso-bidi-font-style: normal;">per se</i> (Burning Deck, 2012),
augmented by two early and one late section of uncollected pieces that open and
close the volume — beginning with “oc” in the uncollected section 1976–79 (“an
ice think / prosed…” are this first poem’s first words) and concluding with
“misterioso” from uncollected 2012–13 (“…acoustic muss” the last poem’s thus
the book’s last words). <br />
<br />
What one is impressed by is the consistency of the undertaking. From 1976
onward, Inman (gifted, one could say, with the look, sound, and semantic
possibilities of his own name as a starter) takes the ‘face value’ of words to
be as multiply loaded in values as they can be. If you stare into the word, do its
letters start to revert ‘back’ to pictures, to ‘root’ or constitutive sonic ‘objects’?
Or do they shift ‘forward’ to become these ‘new’ things slipped loose from what
they’d been taken to be and to ‘stand for’? <br />
<br />
Take these consecutive passages, near mid-book, from “kilter” (out of <u>vel</u>,
1995):</span></div>
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<span style="background: white; font-family: Arial;"><br /></span>
<br />
<blockquote class="tr_bq">
<span style="background: white; font-family: Arial;">
monk besides. from farmland. each rife.</span><span style="background: white; font-family: Arial;">
each barn. parting to. her rife.</span><span style="background: white; font-family: Arial;">
remains wedded. to swim. staff meeting.</span><span style="background: white; font-family: Arial;">
staff meeting. filled with. missing wail.<br /> </span><span style="background: white; font-family: Arial;">the Pacific. entirely of. nervous system. </span><span style="background: white; font-family: Arial;">cloud stallow. small epsom. of papercut.</span><br />
<br />
<br />
<span style="background: white; font-family: Arial;">its. ri. ce. subtr. action. ch. in. len. ghts. exis. ted.</span><span style="background: white; font-family: Arial;">
out. ea. ch. rese. mble. tha. t’s. le. ft. curr. ency.</span><span style="background: white; font-family: Arial;">
fi. ts. the. ses. blac. ked. in. app. le. api. eces.<br /> </span><br />
<br />
<br />
<span style="background: white; font-family: Arial;">Giotto. from. the. bottom. rice.</span><span style="background: white; font-family: Arial;">where. she. went. to. subtraction.</span><span style="background: white; font-family: Arial;">
my. name’s. effects. found. near.</span><span style="background: white; font-family: Arial;">
size. lake. message. posture. caved.</span><span style="background: white; font-family: Arial;">
posture. caved. on. a. wineglass.</span><br />
<br />
<br />
<span style="background: white; font-family: Arial;">ill. usts. peop. </span><span style="background: white; font-family: Arial;">les. si. los. </span><span style="background: white; font-family: Arial;">gri. sts. are.</span><span style="background: white; font-family: Arial;">
came. lled. sid. </span><span style="background: white; font-family: Arial;">eds. Bl. ack.</span><span style="background: white; font-family: Arial;">
Hi. lls. dra. </span><span style="background: white; font-family: Arial;">wer. pov. ert.</span><span style="background: white; font-family: Arial;"><br style="mso-special-character: line-break;" /></span><br />
<span style="background: white; font-family: Arial;">(<i style="mso-bidi-font-style: normal;">Written</i>, p. 364)</span></blockquote>
</div>
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<span style="background: white; font-family: Arial;">
<!--[if !supportLineBreakNewLine]-->
<!--[endif]--><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="background: white; font-family: Arial;">Say that
one is inclined to read the poetry as distressed modes of verbal or lexical
‘music,’ sounds clipped together, plugged parts of words sculpted into stanzas
(those Italian ‘rooms’). What such an auditor, intent on music, is met with
immediately is the visual ‘look’ of the work, its line (and its ostensible
linearity) perforated variously with percussive ‘stops.’ Parts of the
accustomed words have dropped or blown out. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="background: white; font-family: Arial;">It’s as
if the visual appearance of words and lines is set this way to hold the
auditory ‘back’ briefly from its accustomed soundings. So the habit of reading
needs to open up, learn to let the interruption be there, registered as seen
even if it goes unsounded. So the lacunae come to count as speculative sounds
(lost and postulated both), ‘units’ of a ‘missing’ sight-sound-sense complex that’s
set conspicuously forward. Presently absent.<br />
<br />
Music does get put into play both at the margins of the poems (by way of
titles, fore- and after-notes, citations, nods, etc.) and sonically activated
in the chipped / fractured / annealed(*) / soldered / portmanteau’d lexicon. Words
have been treated.<br />
<br />
Here too I’m thinking, on the sidelines, about the specific idiomatic practice
of given practitioners, as (say) vibraphonist Walt Dickerson of Philadelphia,
whose peculiar touch and tone, the velocity and ‘bounce’ he’d get hammering on
the bars, he credited in part to his soaking the heads of his mallets in a
special solution before approaching the instrument.</span><span style="font-family: Arial;"> There are ways in which the lore surrounding the
music isn’t actually on the ‘outside,’ since it’s crucial to the sounds. Then
where does the ‘outside’ of the work begin? Where’s that horizon; how’s it
located; what would it look like if you saw it?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">As a kind of raw indexing
of the ‘extra-musical’ or ‘extra-poetic’ affinities at hand here (granted the
‘extra-’ can’t clearly be isolated from the ‘interior’), those names pointing
outward from the works would include, between three sometimes overlapping sets:
<br />
<br />
(1) dedications to poets, musicians, family and friends, et al. (the largest
set): <u>Platin</u> “to Tina” [Darragh, poet and Inman’s longtime partner]; #17
(a 14-line sonnet) in <u>Platin</u> “for Ted Berrigan”; <u>Ocker</u> “a series
for Robert Grenier”; <u>uneven development</u> “for Charles Bernstein”; <u>think
of one</u> “for Tina again” and “decker” “another for Tina”; “dust bowl” “for
Wally Reed / local 626”; “red shift” (poem within the eponymous book) “for Joan
Retallack”; <u>criss cross</u> “for Tina & Jack”; “my drift” “for Bruce
Andrews”; “science fiction” “for Ornette Coleman,” after his 1972 album;
“vagabond (1)” “after Agnes Varda,” her film, 1985; “landscape” “for Rod
Smith”; “sonny sharrock” (electric guitarist) “for Ben Friedlander”; “sunders”
“for Susan Howe”; “wide face” “for Doug Lang”; “reception. theory.” “for Diane
Ward”; “n.b.” (for nota bene, “note well” in Italian) “for Tom DeLio”; “lieu /
instead.” “for Hannah Weiner”; “i.e.” “for Tina”; “lac[e]y.” (pointing to
soprano saxophonist Steve Lacy) “for Tom Raworth”; “long. black. veil.” “for
Heather Fuller”; “palestrina, in, english.” “for Tina”; “minus” “for Doug
Lang”; “n.even, n.else” “for Jules Boykoff & Kaia Sand”; “14 panels for
lynne dreyer”; “qua” “for Tom Orange”; <u>per se</u> “for Jack & his clan”;
“another lang(e)” “for Art Lange”; “now/time (in memoriam,Walter Benjamin)”
“for Tom DeLio”; “m’event” “for Tina”; “finitesimal (2)” “for Cathy
Eisenhower”; “amagansett again” “in memoriam Leslie Scalapino”; “brooklyn” “for
Phyllis Rosenzweig”; “summa” “for Ron Silliman”;<br />
<br />
(2) borrowed or possibly borrowed titlings (a smaller set): <u>criss cross</u>
(cf. Thelonious Monk’s 1951 tune, his 1963 Columbia LP, and/or Robert Siodmak’s
1949 film starring Burt Lancaster and Yvonne DeCarlo?); “felicidade” (after
Brazilians Vinícius de Moraes and Antonio Carlos Jobim’s great song “A
Felicidade” (happiness) from Marcel Camus’ 1959 film <u>Orfeo Negro</u> (Black
Orpheus)?); “land’s end” (Jasper Johns’ 1963 painting, in the collection at SFMOMA?);
“hackensack” (in New Jersey, and Monk’s early ’50s tune); “written. twice.”
(after Monk’s tune “Played Twice”?); “tenth prose” (after Michael Palmer (?) echoing
Osip Mandelstam’s “Fourth Prose”? — “It scarcely has a title. Nadezhda
Yakovlevna, the poet’s widow, told me that <i style="mso-bidi-font-style: normal;">Fourth
Prose</i> was simply a kind of household nickname.” (Mandelstam translator
Clarence Brown);<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">(3) direct allusions or
proper names taken as or alongside titles (a likewise smaller set): “foxrock,
near dublin…” (Samuel Beckett’s birthplace); “annette” (cited “--cf. Carla
& Paul Bley; Annette Peacock,” players and composers); “kahlo” (cf. Frida);
“milton. babbitt. (50. words. each.)” for the electro-acoustic American
composer; “melnick’s. / for David M.”; “roscoe mitchell (nonaah),” 1977
Mitchell album and composition, “for Doug Lang”; “nono / Luigi Nono
(1924–1990)” post-war Italian composer; “prose lachenmann” (cf. Helmut
Lachenmann, German new music composer and student of Nono); “six feldman
amounts / (Morton Feldman)” American new music composer — in a note we’re told
Inman structurally based this work loosely on the six subdivisions in one of
the recorded performances of Feldman’s composition <i style="mso-bidi-font-style: normal;">Crippled Symmetry</i>; “counting badiou” (cf. French Communist
philosopher Alain Badiou); “bec du hoc” after a painting of that name by
Georges Seurat; “misterioso / (Monk),” his song.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Altogether these namings
make up a populated field of index points, locating Inman’s work in relation to
a selectively crowded room of peers and forebears. Though it needs to be
acknowledged that, while it’s helpful in some ways to draw out and cite such
locators, Inman’s work sets forth and is played out within its own conditions. It
doesn’t (with one exception for his older peer, David Melnick of San Francisco)
closely follow or resemble the work of Inman’s dedicatees. It would feel silly
to designate it “language poetry” or “conceptual writing” as it doesn’t seem to
care about categories or subdivisions of poetry or art per se. It’s enormously
playful, with a ludic sensibility that isn’t driven, e.g., by exercises with
constraints à la Oulipo (nothing about the poetry feels ‘French’ or influenced
from that direction). It’s idiomatically insistent and eccentric in the
extreme. It’s perversely unyielding, densely textured, affect-saturated
writing.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">About two weeks ago I
watched and heard several rarely performed pieces by Robert Ashley at Mills
College in Oakland, where the new music composer (who died in March this year,
at 83) had been in residence from 1969–82, during the rise of his ‘operatic’
period, when he started to write and perform his most original and
characteristic work. The program for the evening focused on earlier works, back
as far as 1963, and included his “String Quartet Describing the Motions of
Large Real Bodies,” his “Symphony In Memoriam Crazy Horse,” “Wolfman” for voice
and electronics, and his solo vocal + chorus work “She Was A Visitor.” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">This last of these closed
the first half of the concert: the title phrase gets repeated by a speaker
surrounded by a chorus segmented into smaller groups of six or seven singers; each
group takes the spoken phrase (“She was a visitor”) broken into its component
phonemes and, following their individual conductor, sustains any one of the
base sounds for as long as each singer’s voice allows. When the speaker runs
out of steam, the last sustained sung sounds fade out, and the piece is over. It’s
a spare work, yet lavish due to the web of voices cushioning the speaking
voice. It’s ‘minimalistic’ due to its sheer repetition, though there’s immense
variation among some 50 human voices. </span><span style="font-family: Arial, Helvetica, sans-serif;">Among the pleasures of the piece was seeing that it could be pulled off by a leading voice other than Ashley’s, which hardly seems the case with some of his operatic works, that feel hugely dependent on the lush peculiarity of his intonation and delivery. </span><span style="font-family: Arial;"><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">I started thinking of and
reading P. Inman’s body of works in <i>Written</i> as ‘scores’ for voice or
voices, as either performance works for live staged reading or for radiophonic
delivery, like the German hörspiel or ‘earplay,’ an ongoing art practice in
many places in the world. Characteristically in the US the radio play is mostly
limited to different versions of storytelling (“This American Life,” et al.),
dependent pretty much totally on paying out traditional narrative threads and
tying them up with a satisfying resolution. The musical potential of the form
barely gets tapped. <br />
<br />
Maybe I’m just wanting this poetry to reveal itself as music? Though what I
think keeps it from tipping over in that direction is exactly its elusive work
with something like narrative. Only it’s the narrative that’s riding on the tip
of a syllable as it leans against the ones preceding it while foreshadowing the
syllables about to come. It’s a narrative of shadow and light, definition and
haze, the invisible thread keeping “<span style="background: white;">posture.
caved. on. a. wineglass.” afloat and intact while it peels away from
paraphrase. How “the Pacific. entirely of. nervous system.” sounds exactly
oceanic without rendering ocean pictorially. <br />
<br />
I’m thinking too about this work of P. Inman’s in regards to Catherine Malabou
on brain plasticity. She </span>writes, in <i style="mso-bidi-font-style: normal;">What
Should We Do With Our Brain?</i>, that “Humans make their own brains, and they
do not know that they do so. Our brain is a work, and we do not know it. Our
brain is plastic, and we do not know it. The reason for this is that most of
the time flexibility superimposes itself on plasticity.” (12) Flexibility —
“plasticity minus its genius” (12) — is at work in our tendency “to fold, to
render oneself docile vis-à-vis one’s environment, in a word, to adapt to
everything, to be ready for all adjustments.” (13) By contrast, “to talk about
the plasticity of the brain means to see in it not only the creator and
receiver of form but also an agency of disobedience to every constituted form,
a refusal to submit to a model…. The capacity of each to receive and to create
his or her own form does not depend on any pre-established form; the original
model or standard is, in a way, progressively erased.” (6)<span style="background: white;"><o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">One thing the works in P.
Inman’s <i>Written 1976–2013</i> may be intent on is progressively erasing “the
original model or standard” in favor not only of “disobedience to every
constituted form” and “refusal to submit to a model.” Besides that work of
generative refusal, one could see his poetry as offering, in lieu of models or
standards, an “open form” embodied as the opening of wholly new forms
contingent, ever and always, on the audience’s meeting with the substance of
the work — which it seems was secretly always the only true justification underlying
and fueling the idea of “open form.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">10 Nov 2014<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">=====<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Notes<br />
</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">(*) <u>Annealing</u>, viz glass- or metalwork: “<span style="background: white;">a heat treatment that alters the microstructure of a
material causing changes in properties such as strength, hardness, and
ductility”;</span> “<span style="background: white;">Annealing can induce
ductility, soften material, relieve internal stresses, refine the structure by
making it homogeneous, and improve cold working properties.” (Annealing
(metallurgy), Wikipedia)</span><o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">Catherine Malabou, <u>What Should We
Do With Our Brain?</u>, foreword by Marc Jeannerod, translated by Sebastian
Rand, Fordham University Press, 2008.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Steve Dickison: Four poems from my manuscript <i>Wear You to the Ball</i> received the 2014 BOMB Poetry Prize this September, selected by CAConrad; the fuller work was performed, twice, in collaboration with new music composer Bill Dietz. Recent writing, much of it from that work, is in print magazines <i>Hambone, Aufgabe, Mandorla, Vanitas, Amerarcana</i>, and <i>Where Eagles Dare</i>, and online at <i>EOAGH, ONandOnScreen, Evening Will Come (The Volta)</i> and<a href="http://poeticsoflistening.blogspot.com/">poeticsoflistening.blogspot.com</a>. After some years in the East Bay, I have an apartment in San Francisco, work as Director of The Poetry Center at San Francisco State University, and am teaching there and at California College of the Arts.</span><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-21956570298019416362014-12-07T23:35:00.000-08:002014-12-08T17:08:31.213-08:00WRITTEN 1976-2013 by P. INMAN (2)<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 12.0pt;">TOM BECKETT Reviews</span><span style="font-family: Times; font-size: 12.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Written 1976–2013</i></b><b> by P. Inman
<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>(if p then q classics, Manchester,
UK, 2014)</i><span style="font-family: Times; font-size: 12.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">I’m glad
this great block of a book is in the world.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Sometimes,
as things which at first blush seem fragile and ephemeral pile up, it becomes
apparent that they are the things most obdurate and resistant to the forces
that would--if nothing else—ignore (or worse, <i style="mso-bidi-font-style: normal;">explain</i>) them.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">P.
Inman’s poems constitute a bulwark, a place from which to make a stand, made of
such obdurate, resistant stuff.<span style="mso-spacerun: yes;"> </span>These
are poems which resist the reader’s expectations.<span style="mso-spacerun: yes;"> </span>And, I want to say, they are poems which are
just plain dogged in their investigation of the materiality of language.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">These
are poems, too, which ping-pong between opacity and incandescence.<span style="mso-spacerun: yes;"> </span>Consider this passage from <i style="mso-bidi-font-style: normal;">Ocker: A Series for Robert Grenier</i>:<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">nnoam</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">trouse</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">debris clud</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">age briner</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">girer, rub plancher</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">table pensed space</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(104)</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Now
consider this passage from <i style="mso-bidi-font-style: normal;">Red Shift (for
Joan Retallack)</i>:<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">monied thigh wrapping a highway / any red closed by a chap-</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">ter / insect bite hospital / bends look as apart for a minute</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">drawn on the Mohawk / opera near an average. statement a</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">space between trees / (dringe balk) / the ocean glinted dully,</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">the color of an exaggeration / the odds however they happen</span> </blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(226)</span></blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">This is
work which is not easily consumed.<span style="mso-spacerun: yes;">
</span>That’s what makes it beautiful and worth returning to.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">*****<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tom Beckett is trying to finish his novel <i> Appearances</i>. Recently, his journal <i>The Difficulties </i>was archived at Craig Dworkin's Eclipse project: </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: blue; text-align: justify;"><a href="http://eclipsearchive.org/projects/DIFFICULTIES/difficulties.html">http://eclipsearchive.org/projects/DIFFICULTIES/difficulties.html</a></span> He lives in Kent, Ohio.</span></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-8642965680280310304.post-3160108220041395802014-12-07T23:25:00.000-08:002014-12-08T17:10:58.260-08:00TWO PUBLICATIONS by GENEVIEVE KAPLAN<div class="MsoNormal">
<span style="font-family: Arial;">EILEEN TABIOS Engages<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">IN THE ICE HOUSE</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by
Genevieve Kaplan <o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(Red Hen Press, Pasadena, CA, 2011)<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">and<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">settings for these scenes</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by
Genevieve Kaplan<o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(convulsive editions, Chicago & Madison, IL,
2013)<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Shards of glass.<span style="mso-spacerun: yes;"> </span>Often catching light.<span style="mso-spacerun: yes;"> </span>Ultimately refracting or shifting what point
of view the reader initially brought to the poems.<span style="mso-spacerun: yes;"> </span>You look up from the poems on the page and
see the world anew—in this sense, Genevieve Kaplan’s poems in <i style="mso-bidi-font-style: normal;">IN THE ICE HOUSE</i> generate the effect
possible by many great poems: expanding the reader’s vision.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Shards—for the effect is
often created through an unexpected slice, a sharpness, as in<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">THE LANDSCAPE<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Granted,
the flowers will take hold,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">what
is yet rising will ease somehow. From here,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span>the light
attacks<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">the
window and the stress of the shining<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">does
not ease.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I wonder if this collection
was created as a singular project versus being a collection of individual
poems.<span style="mso-spacerun: yes;"> </span>By this, I mean that the poems
together create their own distinct world—and (from my experience) this effect
often arises from a momentary (though it can last days and weeks, of course, if
not longer) taking over of the poet’s psyche … and the poet writes and writes
until the energy finally dissipates.<span style="mso-spacerun: yes;">
</span>Which is to say, the voice is admirably strong in this book.<span style="mso-spacerun: yes;"> </span>The receptive reader even has a sense of
travel through the space created by the poems.<span style="mso-spacerun: yes;">
</span>This book is a world one not only reads but visits, so palpable is its <i style="mso-bidi-font-style: normal;">landscape</i>.<span style="mso-spacerun: yes;"> </span>Even its air is different—<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">THE LANDSCAPE<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Lacked
nothing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">but
an eye, arms, and—no one<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">lay
there to receive it.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Or
lacked a frame. Some<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">manual.
The landscape lacked a firefighter,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">a
police officer, a guide dog. The landscape<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">had
no symmetry. Could not be received<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">because
no one could abide it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Deft technique helps.<span style="mso-spacerun: yes;"> </span>There are 85 poems in the book, and what
helps knit them together are the returns to certain touchstones: birds, trees,
ice...<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Yet despite the clear
references, a sense of mystery permeates the poems, elevating them by drawing
the reader in more deeply through a wondering over what is being
addressed.<span style="mso-spacerun: yes;"> </span>For instance:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">The
look is fading and the hills too<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">where
the sun slopes across, they’re circled<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">in
dust.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span>It is never the heat that remains<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">—from
“The Ice Storm” (47)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Another effect: while the
individual poems are effectively wrought, reading the book chronologically
generates a sprawling resonance I more relate to reading long novels.<span style="mso-spacerun: yes;"> </span>What I see in Kaplan’s book is a maturity not
often seen in inaugural poetry books, making me eager to read more of her poems.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial;">**<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">From <i style="mso-bidi-font-style: normal;">IN THE ICE HOUSE</i>, I moved to her chap, <i style="mso-bidi-font-style: normal;">settings for these scenes</i>.<span style="mso-spacerun: yes;"> </span>I
see much of the same fine elements I saw in her book.<span style="mso-spacerun: yes;"> </span>But I also see her writing sprawling more
across the page, more use of the white space:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQXia-ort89nZKu5vEwktVdnFQc9rIET7KjUYXN6s70TeBJ4B0ei5tlPf7bgdihQj4H5hw76u-0A7rhJvD2zdXOqot5bR3jU5Hvx90RGmKm5_z9OjJSaZkHXYyBh_psT3NvsMLasCeLA/s1600/kaplan.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQXia-ort89nZKu5vEwktVdnFQc9rIET7KjUYXN6s70TeBJ4B0ei5tlPf7bgdihQj4H5hw76u-0A7rhJvD2zdXOqot5bR3jU5Hvx90RGmKm5_z9OjJSaZkHXYyBh_psT3NvsMLasCeLA/s1600/kaplan.JPG" height="300" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The text in the chap,
including almost the stuttering type of reading it encourages, generates a
similar palpability—here’s an example separated out from its visual placement
on the page: “there, a light / tended itself / / throwing / ordinary voice in
and / out / in and out / and over / and all / the / light / coming away.” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But by using white space or
in-betweeness along with words, Kaplan more effectively manifests the
“theme” implied by the chap’s title.<span style="mso-spacerun: yes;"> </span>The
caesuras allow for presence or presences as might be applied by the reader. The
readerly engagement thus affirms how the poems are “settings for these scenes,”
scenes that occur not just through the writing but the reading.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It was a joy to read both
collections together.<span style="mso-spacerun: yes;"> </span>The chap is dated,
thus I assume made, after the book.<span style="mso-spacerun: yes;"> </span>The
trajectory is promising for future reads of Kaplan’s work.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-28903650811775801992014-12-07T23:20:00.000-08:002014-12-08T00:07:32.824-08:00SONNETS by ANONYMOUS<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">JOHN BLOOMBERG-RISSMAN Reviews<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Sonnets</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> by Anonymous <o:p></o:p></span></b></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(Face Press, Cambridge, U.K, 2014)<o:p></o:p></span></i></div>
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<span style="font-family: Times, Times New Roman, serif;">1.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Yesterday an envelope arrived in the mail, from Ian Heames’
Face Press, with my copy of JH Prynne’s new <i style="mso-bidi-font-style: normal;">Al-Dente</i>,
a little book of 8 poems. Unexpectedly, there was another little book in the
envelope, called <i style="mso-bidi-font-style: normal;">Sonnets</i>, of which
there are 9, for which no one seems to take credit. At least there’s no name on
the thing. It might be by Ian, since it’s also Face Press, and since he sent it
to me, but it might be by someone else. I really have no idea. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">I wrote Ian to thank him for <i style="mso-bidi-font-style: normal;">Sonnets</i>: “They come from a world I recognize only too well, and are
just what I need to survive in it.” They are, really. What better kind of book
to review, than one that I didn’t know I needed til I had it in hand?<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Sonnet 1 begins with these five lines:<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>Find the
cave where the internet is most weak.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>Look back
at the distinctions we outmade.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>Dusk steels
over the onlookers who stare back<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>with elite
eyes and began to eat. I dropped my <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>Lumix into
the sea. This is what I am tired of.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Jumping quickly thru these lines I hear echoes of Plato’s
parable of the cave, what seems to be a desire to escape the omnipresence of
mediated noise, Lot’s wife / Orpheus in the underworld, both of whom made the
same “mistake”, a complex neologism in “outmade”, a use of “steels” where we
might expect “steals” tho steels works just fine, the oddness of elite eyes
(are they elite because they belong to those who have the luxury of eating?), a
tense change between the present of “steels” and the past of “began”, a camera
(the Lumix is made by Panasonic) and then a sudden declaration for which the
referent must be inferred in “This is what I am tired of.”. All written in the
most straightforward of syntax, each word with its “normal” semantics … and yet
… and yet. I am going to refuse the temptation to untangle this because if it
was meant to be untangled it wouldn’t have been tangled in the first place. Not
that it’s tangled. Not in the least. But I do want to linger a moment over
“This is what I am tired of.” I want to know what “this” refers to. I cannot
escape the (intuitive) sense that it refers to poetry. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">I find, a few lines later, <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 4;"> </span>Text
is to whole conduct<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>as life is
to other themes. Love that<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>corrects
nothing. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">I think of Auden’s “For <span style="mso-bidi-font-weight: bold;">poetry</span> makes <span style="mso-bidi-font-weight: bold;">nothing</span> happen”
juxtaposed with Williams’ “It is difficult to get the news from poems yet <span style="mso-bidi-font-weight: bold;">men die</span> miserably every day for
lack of” etc etc, but because of the steely dusk and the sea – and the rhythms
and musics – I really mostly think of Spicer’s<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Times, Times New Roman, serif;">This ocean, humiliating in its
disguises<br />
Tougher than anything.<br />
No one listens to poetry. The ocean<br />
Does not mean to be listened to. A drop<br />
Or crash of water. It means<br />
Nothing.<br />
It<br />
Is bread and butter<br />
Pepper and salt. The death<br />
That young men hope for. Aimlessly<br />
It pounds the shore. White and aimless signals. No<br />
One listens to poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">And I come away thinking that perhaps it is truly
unnecessary, perhaps it has always been unnecessary, in poetry at least, to
distinguish signal from noise (“White and aimless signals”, not “White and
aimless noises”). And to just go with it. Which I think might make the author
glad, because further into this sonnet I find:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 3;"> </span>Better
to win<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>hearts than
enemies with the first <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>line of a new thing.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">2.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">I find myself wanting to note that it’s not only the music
that has me thinking Spicer, it’s also the feel that this is a serial poem, not
nine “one-night stands”. Certain words recur, like, “elite”, “sea” / “seas”,
“simulator” / “simulation”, etc. So do flowers, eco-concerns … But Spicer
couldn’t have written this. This is a poem from our time, not his, and tho I’ve
lived thru both, Spicer died in 1965, long before the neoliberal / globalizing
/ post-modern / langpo / post-langpo / cyborg etc etc turn(s), and those parts
of my life feel very different to me. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">3. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">These sonnets are made of sentences. Are they “new
sentences”? To quote Bob Perelman’s “On <i style="mso-bidi-font-style: normal;">Ketjak</i>”
<a href="http://www.english.illinois.edu/maps/poets/s_z/silliman/ketjak.htm">http://www.english.illinois.edu/maps/poets/s_z/silliman/ketjak.htm</a>, <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Times, Times New Roman, serif;">The term was coined by Ron
Silliman....A new sentence is more or less ordinary itself, but gains its
effect by being placed next to another sentence to which it has tangential
relevance: new sentences are not subordinated to a larger narrative frame nor
are they thrown together at random. Parataxis is crucial: the autonomous
meaning of a sentence is heightened, questioned, and changed by the degree of
separation or connection that the reader perceives with regard to the
surrounding sentences. This is on the immediate formal level. From a larger
perspective, the new sentence arises out of an attempt to redefine genres; the
tension between parataxis and narrative is basic.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">So, yes and no. There is a definite “tension between
parataxis and narrative” in these sonnets. And yet there’s not, I think it’s
the tension that <i style="mso-bidi-font-style: normal;">creates</i> narrative.
And as for whether these sentences are “more or less ordinary”, wellllllllll …
what do you mean by ordinary? Yes and no. It occurs to me as I write that the
new sentence is a concept that is almost as much from a different time and
place as is Spicer’s work. So maybe these are “post new sentences.” I think
that the tensions that were there for some of the language poets [I don’t think
the new sentence is a truly definitive concept for <i style="mso-bidi-font-style: normal;">all</i> that has fallen under the langpo rubric] are no longer tensions
for those of us who get to come after. They are just the way it is. Maybe that
makes us always-already crazy? I learned a new word the other day: solastalgia.
It means something like “the distress caused by environmental change.” Take
environment in the very broadest sense you can imagine … Maybe that means 2014
ain’t 1980 … <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">But of course no one ever invents anything.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">4.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">Anyway, enough maundering. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">Here are a couple “post-new-sentences” I really like: “All
poems / pass Turing.” “The whole universe will go through / the worst starfish <span style="mso-spacerun: yes;"> </span>/ in time.” “That the dead obsess / in their
own fractal post-socialist dream time / is their own / terrain.” “Maybe you
won’t see this before then, but if / the stars panic, tell them about the time
/ I was trying to make a point about omnipotence / but tired out.” I could go
on, but instead I’ll type out one whole sonnet to give you a better taste:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>8.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>The temple
told her it was a good idea to fly him to Hong Kong. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>The
lightnings pour now.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>Rhinestone
venusaur submarine autobot hellebore, to some<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>fixed
furniture of objects; the same causes<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>freight
idles in the blocked ports for. Night then<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>beguiles
evening of its early lead<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>and wide
base. Waves are each other’s<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>toys for
drowning. Deals done in love<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>make
light of a lot of things<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>like
plumage. They are Beijing’s otherworldly.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>But it is
hard not to be oppressed by what doesn’t matter.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>This would
seem to be a wasted thread. The all-terrain<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 1;"> </span>vehicle
mentored in even snow. Even as the donor’s heartbeat<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-tab-count: 2;"> </span>is
cut out.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;">If this is what it means to be tired of poetry, I’m all for
being tired of poetry. And, seriously, if it were up to me, you’d all write Ian
Heames <a href="mailto:ijaheames@gmail.com">ijaheames@gmail.com</a>. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><span style="mso-spacerun: yes;"> </span> </span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><o:p></o:p></span></div>
</div>
<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">***** <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Times, Times New Roman, serif;">John Bloomberg-Rissman has maybe six months left on <i>In the House of the Hangman</i>, the third section of his maybe life mashup called <i>Zeitgeist Spam</i>. The first two volumes have been published: <i>No Sounds of My Own Making</i> (Leafe Press, 2007), and <i>Flux, Clot & Froth</i> (Meritage Press 2010). His tentative title for the fourth section, which he is already planning, is <i>The Giant Notebook of Harsh Noise Wall Bejeweled Barrettes Anything Sumak Kawsay OK The Orphaned Zag Kledonomancy Tome</i>. In addition to his Zeitgeist Spam project, the main other things on his plate right now are reading proofs for an anthology which he is editing with Jerome Rothenberg, titled <i>Barbaric Vast & Wild: An Anthology of Outside & Subterranean Poetry</i>, due out from Black Widow Press sometime early in 2015, and a collab with the visual collages of Lynn Behrendt, which will hopefully be published by the end of this year. He's also learning to play the viola and he blogs at <a href="http://www.johnbr.com/"><span style="color: windowtext; text-decoration: none;">www.johnbr.com</span></a> (Zeitgeist Spam). </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-90868039337291975852014-12-07T23:15:00.000-08:002014-12-07T23:15:00.054-08:00BEYOND THE OHLALA MOUNTAINS by ALAN BRUNTON<div class="MsoNormal">
<span lang="EN-AU" style="font-family: Arial; font-size: 12pt;">MARK YOUNG Engages<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Beyond The Ohlala Mountains:
Poems 1968-2002 </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">by<i style="mso-bidi-font-style: normal;"> </i>Alan
Brunton, Edited by Michele Leggott & Martin Edmond<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(Titus Books, Pokeno, New Zealand, 2014)<o:p></o:p></span></i></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">I have
written elsewhere—as have others—of the twenty-five years I spent away from
poetry, a period that roughly coincided with the last quarter of last century.
I touch on it only to point out that one outcome of this absence was that I had
an essentially non-existent knowledge of Alan Brunton & his work until the
anthology, <i style="mso-bidi-font-style: normal;">Big Smoke: New Zealand Poems
1960-1975</i>, of which Alan was one of the three editors, began its
compilative stage in the late<span style="mso-spacerun: yes;"> </span>1990s. <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">It
transpires Alan & I had overlapped since the late 1960s. We had friends
& acquaintances in common. But since I didn’t know about him, I was unaware
of the commonalities. Six degrees of separation had been postulated 40 years
before, but unlike the Beatles, it hadn’t yet reached the shores we both walked
along. I never met Alan though in, was it?, 1969, he directed a production of Picasso’s
<i style="mso-bidi-font-style: normal;">Desire Caught By The Tail</i> & I was
one of the actors. I must have met him. I never met him. I never did meet him,
& his premature death in 2002 meant that I never would, at least this side
of The Ohlala Mountains.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">We corresponded.
I showed him more of the poems I had written during the period <i style="mso-bidi-font-style: normal;">Big Smoke</i> covered. He liked them, &,
subsequently, his Bumper Books brought those poems out as my first collection, <i style="mso-bidi-font-style: normal;">The right foot of the giant</i>, in 2000. For
me, it was an outside affirmation of my work. My gratitude to Alan is infinite.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">But,
regret piled upon regret, I never heard him read, never saw him perform, never
saw Red Mole, the peripatetic theater company he was a principal of—if not the
principal principal—& on which so much praise has been heaped. & it is
that not knowing the accompanying voice that may minimize my appreciation of <i style="mso-bidi-font-style: normal;">Beyond The Ohlala Mountains</i>. Am I
missing something? Or are extraneous things—the insertion of a personal
knowledge, the impact of an obvious charisma, the import of intimate ghost
movies that track over & under & through the words—the critical factors
embellishing Alan Brunton’s reputation as a poet.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">At a
distance—& it has always been that way even when there was no geographical
distance—I have found New Zealand poetry to be defined & inflated by
hagiographies of certain poets. James K. Baxter, Kendrick Smithyman, Brunton, Hone
Tuwhare, &, more recently, David Mitchell, have all, to me, been elevated
by the process of their death beyond the level their poetry deserves. <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Brunton
obviously had a way with words: <i style="mso-bidi-font-style: normal;">Ohlala</i>
is proof of that. The launch blurb describes the book as an exemplar of “his trademark
linguistic bravura.” There are many reports, contemporary & retrospective,
that touch on his commanding presence on stage, a presence that embellished the
words he wrote. He seemed to many to be larger than life, a view shared by
himself: <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">“Alan Brunton,<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">life’s supreme uranic poet. . .”<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The
editors write in their introduction: “Alan’s particular cave is the archive
which houses the aftermath of breath, words set down or spoken on magnetic
fragments, attended to in detail as the shows, books and films accumulated and
now preserved at the University of Auckland. This selection of poems is the
first instance of its value, a step into Alan Brunton’s future as a resource
for those who wish to continue the work: encoding strangeness in the quotidian,
tracking the esoteric to and from its home in the words we all use, discovering
a depthless meaning in the ordinary music of our lives.”<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">But take
away the voice, the presence, the hype, the belief in & academic slavering
at the “future . . . resource,” & the sampler of a wide-word-ranging-smith
that <i style="mso-bidi-font-style: normal;">Ohlala</i> is reduces in size,
dehydrates as it were. Sometimes the voice comes through unbidden, adds that
missing dimension, & one realizes what could be. More often though, to this
reader, what is included here remains poetry of a time & place, undoubtedly
given breadth when given breath, but not here, in the vacuum of the printed
page, with Pygmalion gone.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">David
Eggleton, writing in the Landfall Review<b style="mso-bidi-font-weight: normal;">*</b>,
believes <span style="mso-spacerun: yes;"> </span>“Brunton requires readers who,
if not initiates, are at least aware of the context in which he lived and
operated.” It’s an astute comment, a lone considered voice in the plethora of
paeans that have accompanied the launch of <i style="mso-bidi-font-style: normal;">Ohlala</i>,
but, even so, the second part of that sentence is still a little further than I
would go.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-family: Arial;"><span style="font-size: x-small;">*</span></span></b><span lang="EN-AU" style="font-family: Arial;"><span style="font-size: x-small;"> <a href="http://www.landfallreview.com/2014/08/the-weavers-shuttle.html">http://www.landfallreview.com/2014/08/the-weavers-shuttle.html</a></span><span style="font-size: small;"><o:p></o:p></span></span></div>
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<span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">*****<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US;">Born in Hokitika, New Zealand, & now living in North Queensland in
Australia, Mark Young has been publishing poetry for fifty-five years. His work
has been widely anthologized, & his essays & poetry translated into a
number of languages. He is the author of more than twenty-five books, primarily
poetry but also including speculative fiction & art history. His most
recent books are <i>the eclectic world</i> from gradient books of Finland,
& a chapbook of visual poems, <i>Arachnid Nebula</i>, from Luna Bisonte
Prods. A new collection, <i>HOTUS POTUS</i>, will be published by Meritage
Press in 2015.</span><span lang="EN-AU" style="font-family: Arial; font-size: 12.0pt;"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-30229207842690932552014-12-07T23:10:00.000-08:002014-12-12T09:51:21.145-08:00BOOKS by ELIZABETH ARNOLD, BRIAN BLANCHFIELD, JENNIFER MOXLEY and HOA NGUYEN<div class="MsoNormal">
<span style="font-family: "Times New Roman";">PATRICK JAMES
DUNAGAN Reviews<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Life</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> by Elizabeth Arnold<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Flood Editions, Chicago, 2014)<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">A Several World</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";"> by </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Brian
Blanchfield<span style="mso-bidi-font-style: italic;"><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Nightboat Books,
Callicoon, 2014)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The Open Secret</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";"> by </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Jennifer
Moxley<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> (Flood Editions, Chicago, 2014)<span style="mso-bidi-font-style: italic;"> <o:p></o:p></span></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Red Juice: Poems 1998-2008</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";"> b</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">y
Hoa Nguyen<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Wave Books, Seattle, 2014)<o:p></o:p></span></i></div>
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<br />
<br /></div>
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<div style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">WORKING THE WORK: REVIEW AS REMIX <o:p></o:p></span></b></div>
</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Anselm Berrigan’s Introduction to Hoa
Nguyen's <i>Red Juice: Poems 1998-2008</i> looks back at the loose, young
poet-coterie of friends and associates himself and Nguyen were part of in San
Francisco during the late 1990s citing Robert Creeley's admonishment
"to regain authority for the innate coherence of whatever it is that we
propose as life" as a defining proposal. Berrigan sees an engagement with
Creeley's charge an innate piece of their evolving lives as young
poets at the time and key to their work. Indeed Creeley's words may be said to
stand in back of many a poet's work. They are certainly embraced and
expanded upon by all the recent collections remixed for review here: Elizabeth Arnold's <i>Life</i>, Brian Blanchfield's<i> A Several World</i>,
Jennifer Moxley's <i>The Open Secret</i>, and of course Nguyen's <i>Red
Juice.</i> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Creeley's words may be seen to serve as keel for
a shared, insistent need upon which to frame response to large, rather opaque,
if not arguably downright vacuous, yet nevertheless ever relevant questions.
Namely: What is life? Where is meaning to be found in it? How? These are
among the most basic of questions to be confronted by the poet's consciousness
once the needs of shelter and food are met. While the distracting demands
of advancing digital communication technology and subsequent entanglements only
seem to increase daily these basic questions remain the same. A search for
"innate coherence" within the messiness of it all continues
unabated. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"something to go home for<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">and begrudge a little, a gentle<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">but not binding lease on this<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">supposedly commodious freedom<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
(we check messages like addicts)"<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Moxley, "The Longing for Something to
Protect")<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Caught up in the onslaught, the poet checks
her daily experience for a measure of solidity; looking for a spot of physical,
grounded space in which to trust. Allowing for a moment when her preferences might
arise and attract her attention over those outside distractions to which all of
us are increasingly discover ourselves otherwise subservient. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"To find indoors the bell ringing,
ringing still, recommender<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">thereby of bells, answerable man high in his
range.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Where can I submit this preference over
digital?"<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Blanchfield, "Thank You Mood")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In the act of writing the poem the poet
reverts to the physical fact of her body within the surroundings she lives in,
asking herself, on behalf of everybody, what's now left as pertinent. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"What's lost? A possible us<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">growing like new foliage out of stony ground,
emerging?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Last voice, first, a whole world calling---<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">awful, inaudible---into the unstoppable loud
(roaring!)"<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Arnold, "Looking at Maps")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Thankfully, and not for nothing, the pleasures
found in looking remain. Wondrously staring about, the poet lets herself be
consumed by wandering thought: poems of days passing. The daily is always a
dependable context for the poem's occasion.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"grey laundry sky<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">soaked through sun knowing<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">or to name narrows some<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">sense in me wishing fish<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">would swim through air
multicolored <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(orange white red)
going somewhere"<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Nguyen, "Wish")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The poet also often repeatedly turns to
describing a state of loss... of some kind, somehow. The poem is not always any
more assured or assuring than the poet herself. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Moxley, for instance, describes how "the
soaked crow," sacred to many a poet (see Anselm Hollo),<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"has lost his definition. His
smooth <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">bird outline and shiny blue-black<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">feathers---once used by poets<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">to describe the color of<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">their beloved's hair---<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">are dulled and dripping. He seems<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">attired in unkempt fur, wooly.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Like a yak."<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">("Thieves")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Is this not an adequate metaphor for what
might be said of the state of poetry itself? Does it not feel that many a poet
these days is found bleakly scattering lines uselessly aiming for coherence
amidst a confusing swirl of piled up references and historical
note-takings? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Blanchfield's "The City State" sees
us as all in it together. Dragged into the unavoidably drifting nature of
remembrance that is but a continual forgetting, the opening lines of the poem
recall a historical scenario: "Remember in Corinth, walking home from the
piers, wet / in the aftermath of a squall?" While the closing lines return
us to the present day: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
"[...] Remember how
soon <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">we found none of the old options applied.
Talk. Listen. Door.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I do this one thing all day long and so do
you, I know now, first<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Corinthians. I squat on the fire escape for
better connection." <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">We're left by the poem's end in the shared
tatters of our present daily living with our desire for a "better
connection" to the wireless world. A reality in which we're seemingly
always stuck either wanting or waiting. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">However there is in poetry's exploration of
observation record of the possibility for many surprising revelation, visually
imaginative or other.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Look: the palace wall's on fire---no!<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It's made of water."<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Arnold, "Campo San Barnaba")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The poet is tasked with confronting the vast
unheralded mass of history's weight, aware how evident it is what a sagging lot
we're all wading through. Moxley's "The Various Silences Lie in
Shadow" relates the struggle through the lens of the Eurydice/Orpheus
myth. From it's opening:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Your lyre is muffled with silk, a column
of darkness,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">A sheltered self, some kind of hell. It
follows and dampens<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The harkening, <i>who is singing in the
distance</i>?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I can hear nothing from this shore." <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">To the third and final section:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> “[...] Those
faces in the darkness<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Are not an illusion. Sparagmos: and he will
rejoin Eurydice<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In pieces. The notes come free of the staff,
the song scatters<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">As leaves from the branch. Yet these songs
cannot be<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Lost or depleted. Open your lyre to the sky
and catch them." <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Moxley lays out the charge that comes with the
picking up of this "lyre." Why bother to give one's life to this art
at all? Whereas Nguyen sees it as part of the same struggle of a continual
self-doubt, questioning: Why be this "Maker-of-useless-things / write
poems" ("Calm-lived") where's the payoff to this activity? Again:
"Why try / to revive the lyric" ("Up Nursing”)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">With every poem the search is constant. A
search for<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Something<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">green.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Alive, or only<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">seeming to be living?"<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Arnold, "Gone")<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Along the way poets echo other poets, combing
through each other's salient tropes and associated images, attempting to master
form; possessed by the unassailable desire to figure a means out for capturing
the elusive qualities behind the work itself. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Blanchfield, perhaps unwittingly, echoes
Wallace Stevens: <o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
"[...] John<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">always has a jar, this one, too, large<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">enough to contain much more"<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
"[....]Was anything<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">chemical happening when he<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">made the sound in the jar sound?"<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">("Littlest Illeity")<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Container for the nothing that equals
everything: a poet's assumption of order. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"So I can be anything but empty doll<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">all jammed body doll a pregnancy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">to be 'natural'"<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Nguyen, "[I'm almost your cat's
pajamas]")<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Moxley’s "Gray-eyed Athena" describes
it as "This language I stumble over, that language I long for," yet
despite all the unavoidable longing there's still the assertion of the poem’s absolute
relevancy:<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Words are not the compromise <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I made because I could not sing. Writing is
not a failure. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Reading does help." <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The meaning of the poem arrives bound within
its making: the creation of a shared sense of reality.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Him I found in the dative case<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">thrown concussive on the very air, west
expectancy:<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">he said I sat close enough to notice if I wanted<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">his black eyes burgeon at cruising altitude<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">and before descent he could, he believed, if I
wanted,<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">taste it rocking back,<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">like dialing a memory."<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Blanchfield, “Nurse Mustn't Rummage")<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Material for poetry is discovered in every
aspect of life, even as despair only seemingly mounts. Broken as things
may be felt to be there's always the business of rebuilding to strengthen the
resolve to continue no matter how bleak the outlook: the poem as sorting house
of dispirited means where myth and history merge with the imagination.
<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"The statue was said to make the sound<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">of a lyre string snapping at dawn<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">---some called it singing---<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">until the emperor ordered repairs<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">and Memnon never sang again.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
Two millennia
later<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">we broke. We'd<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">become too seated,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">lounging around the big house in our<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">separate rooms, in the same room<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">breaking<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">---the pieces of us<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">ever to be regathered by the god?<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Regathered apart in separate cities<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">a thousand miles between<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">we are reborn."<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Arnold, "Osiris in Pieces")<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Poems must be made from what's at hand. The
poet is to be found delighting in the poem’s advancing discovery of its own
means.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"I think I've found my building blocks. I
know how now." <o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Blanchfield, "Brownie's Motel Plus”)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">As the poet learns from what's worked before.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"Mix up your human parts with animals'<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Ibis head and neck<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Bird staff (carved)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">A letter-scramble carried in a shallow dish:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Gate wheel
speaks and entreats</span></i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Goddess of Darkness Egyptian Venus</span></i><span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">(Nguyen, "Dying Light")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Moxley's "R.I.P." performs a benedictory
prayer of after-the-fact re-envisioning life for predecessor poets gone
before. Presenting a careening journey, from Hart Crane<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"put on a jacket and sailed to Mexico,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">calmly came up on deck, folded<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">the jacket over the rail, and then---<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">arrested by a vision of spread-eagled sailors<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">descending like angels through<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">the turquoise sky---"<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">to John Wieners, or perhaps its James
Schuyler, maybe both<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
"....decided not<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">to swallow the sea, freed from Payne Whitney,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">walked right on through the psychiatric<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">state hospital and out the other side,"<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">onwards to freely meshing Charles Olson and
Frank O'Hara references <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"the dead liver tissue miraculously
mended,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">smoker's cough silenced, cured by sea air<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">of old gray Gloucester, jumped into<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">the beach taxi and drove down the beach<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">gesticulating gaily toward the setting
sun,"<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Moxley would have these poets (all notably
male) <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"not undone, unloved, forgotten, nor<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">filled with despair, not punished for
talking <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">with angels, not unhappy or alone,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">not misrepresented nor misunderstood<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">nor nauseous from drink or drugs or
depression,"<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">reversing tragic circumstances of their lives,
to have them <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">"loved respected and read<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">long-lived healthy and happy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">celebrated by all in life before<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">dying contented in a comfortable
bed." (34)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Scattered to varying degrees on the edges of
society, tossing their selves to the wind, as it were, for poetry's sake,
Moxley returns these poets to the body: i.e., the earth. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">As Allen Ginsberg's closes his 1954
"Song":<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">yes, yes, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> that's what <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I wanted, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> I always wanted, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">I always wanted, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> to return <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">to the body <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> where I was born. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The words crunched out in the earth under the
feet. Poets dig in. Letting the poems bear witness. The trick, as Creeley’s
words ever remind, is for the poet to "regain authority" by way of
aligning her bearings with the pursuit of whatever she has decided upon to
"propose as life." Looking about the expansive scene(s) found within
poetry world today, there's a deluge of possibilities continually thrown out by
innumerable poets yet few hit the high marks reached by Moxley, Arnold,
Blanchfield, and Nguyen. The poet confronted by the chaotic nature of the
world erects the poem to gain a foothold against the torrent. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">*****<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<span style="font-family: Times, Times New Roman, serif;">Patrick James Dunagan lives in San Francisco and works at Gleeson Library for the University of San Francisco. Other recent book reviews by him appear at American Book Review, Bookslut, Entropy, New Pages, Rain Taxi, and The Rumpus. <i>Das Gedichtete</i> (Ugly Duckling) appeared in 2013. </span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-24270531346511686532014-12-07T23:05:00.000-08:002014-12-08T00:04:55.716-08:00MALANGA CHASING VALLEJO: SELECTED POEMS BY CESAR VALLEJO, NEW TRANSLATIONS AND NOTES BY GERARD MALANGA<div class="MsoNormal">
<span style="font-family: Palatino; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Arial;">DJELLOUL
MARBROOK Reviews</span></div>
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<b><span style="color: #262626; font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-language: JA;">Malanga Chasing Vallejo: Selected Poems
by César Vallejo, New Translations and Notes by Gerard Malanga</span></b><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">(</span></span><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Three Rooms Press, New York,
2014)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">A Poet for This Moment in
History<o:p></o:p></span></b></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">The
plaintive refrain of the very first poem, “The Black Heralds,” <span style="mso-spacerun: yes;"> </span>instills in us a profound trust in the subject
of the chase—<i style="mso-bidi-font-style: normal;">I don’t know! I don’t know!</i>
Neither do we, as much as we profess to know.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">No
better antidote to an era whose decision-making is poisoned by too much
ignorant conviction exists than this humble plaint, I don’t know! <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">The
authority of these translations from the Spanish, its thrall, is in Gerard Malanga’s
selection of the poems, a selection which at once gives us the essence of
Malanga’s affinity with César Abraham Vallejo Mendoza (1982-1938) and Vallejo’s
humble knack of addressing the world.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">There
are times when Vallejo’s apostrophic language is Christ-like in its intimacy, a
son reporting, questioning, remonstrating even.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">One
poem especially, “The Good Sense,” is stupefying in its simplicity:<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">There is, Mother, a place
in the world they call Paris.<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">It’s a huge place and far
away, and again very big. <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">My mother adjusts the
collars of my coat, not because<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">it will snow, but in order
that it may start.<o:p></o:p></span></i></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">This
mother, then, is surely Mary, mother of God. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">It
is in Paris where Malanga leaves Vallejo in a 1971 closing poem of his own to
which we will return.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">But
these two couplets invite inquiry. The second couplet offers up one of the most
powerful voltas in poetry. In four lines the poem moves from a mundane recital
of fact to a cosmic speculation. The snow will wait on this mother. And because
it’s said so casually it’s breathtakingly effective. The snow does not wait on
the entitled bankers and generalissimos, it waits on a mother adjusting the
collar of a child’s coat. Where have you ever read an opinion page that
expresses the current predicament of humanity so well, so austerely?<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">That,
in fact, is key to Vallejo’s exquisite compact with us. We trust that he will
not lay anything on us, will not foist an idea off as more than it is, will not
con us. He’s talking to us as he would a cornice, a favorite plaza, a familiar
vendor. This is his mood of the moment, not some monument built on commission,
not a grand proposal. He is the least pretentious of poets, a peasant poet.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">And
this brings us to Malanga’s particular affinity with Vallejo. Malanga himself lives
and breathes in what he sees. He is as observant as a spy from Sirius. He
misses nothing, not a tic, not a wince, not a quaver. I believe he sees in
Vallejo a fellow undercover agent for a better world. But there’s more to this
historic connection, as Malanga tells us in his preface. He and Vallejo were
outsiders looking in, men who experienced dire poverty, experienced it in fact
in cold, rainy, wind-blown Paris. Malanga, because of his early successes and
relationship with The Factory, Andy Warhol’s artistic collider, is typically
taken as an insider, but when you read his poems you recognize no insider could
have viewed the inside so dispassionately. He may have been an insider, but his
photographer’s empathy is always with the outsider. I’ve watched and listened
to him read, and he’s more interested in his audience than in reading to it. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">I’m
not fluent in Spanish, but it’s clear Malanga has wisely chosen not to use
rhyme where it might distract the reader from Vallejo’s lyricism. In the
original, of course, it works, but in English it might seem a conceit or an
artifact. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Vallejo’s
prosody is manifold, but even in his free verse there is a pronounced
formality. In fact, his free verse supports the case I’ve long argued that free
verse is a misnomer because it seems to suggest ill-disciplined verse, whereas
I contend that when practiced in full conscience it is more intellectually and
artistically demanding than metrical verse. It does not rely on convention. Its
meter and demeanor derive from the immediacy of the poet’s encounter with
recognition and epiphany. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Listen,
for example, to the meter in this stanza from “A Pillar Tolerating Solaces:”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Perhaps, do I ignore the
year of this day,<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">the hate of this love, the
tablets of this forehead?<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Do you ignore that this
afternoon costs days?<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Do you ignore that you
should never say “never” on your knees?<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">There
is something profoundly poignant in Malanga’s long pursuit of Vallejo’s
significance. The more Malanga pursued Vallejo the more relevant Vallejo became
to his pursuer’s time. Malanga is in some ways a quintessential insider. His
photographs of the famously creative are iconic, in some ways more famous than
their subjects. But in his later years, as if he had by hex slipped dimensions,
he has come to stand outside looking in, remembering what it was like to be
inside but holding himself to a passionate and hermetic project of alien
observation. His poems have deepened, broadened, and yet at the same time they
have acquired a colloquial familiarity that might be traced back to Jules
Laforgue. It’s in the short, tragic life of Laforgue that I think Malanga’s
alchemy with Vallejo originates. Laforgue (1860-87) is a parent of modernism,
especially the symbolist movement. Vallejo shares with poets like Arthur
Rimbaud an ability to find the elixir that ennobles plain speech, and in
Vallejo deceptively plain speech often constitutes a kind of hermetic seal.
Jesus himself could be said to be part of the hermetic tradition, and his life
is never far from the Communist Vallejo’s mind. This is not an inconsiderable
opening. We have witnessed the fall of systems that purported to be communistic
but were in fact oligarchic and have been supplanted by overtly oligarchic
states, and this witness has forced us to consider how radical, how threatening
the Christian message is. Churches have come into being to defend the
patriarchal oligarchy from the Christian message by theologizing it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">I’ve
studied Malanga’s photographs almost as much as his poetry, and it has
occasionally led to the clique of famous people so palpably conscious of their
fame they could be called their own claque. But there Malanga often is,
beautiful in both his youth and his old age, but never quite one of them, never
quite part of the group and yet clearly in possession of the appropriate
papers. He’s always looking somewhere else, some place no one else
sees—Vallejo, for example—perhaps the indispensable virtue of a great
photographer and poet. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">He
shares this with Vallejo, and in the closing poem, “Vision 1938 Paris,” written
in 1971, Malanga foresees his own poetic future as a man who studies others as
if his own life depends on it. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">This man</span></i><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;"> <i style="mso-bidi-font-style: normal;">was living in the center between giving and taking, <o:p></o:p></i></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">between distance and nearness,
<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">between old age and youth. </span></i><span style="font-family: Arial; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">I
think Malanga has lived there for a very long time. And Vallejo too.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">César
Abraham Vallejo Mendoza was born in a remote northern Peruvian village,
Santiago de Chuco. His grandmothers were Chimu Indians. His grandfathers were
Spanish priests. Like Malanga, he mingled easily with the intelligentsia, in
his case in Lima, Paris and Madrid, but unlike Malanga, he was hounded by
censorious authorities.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">Like
Sergei Yesenin and other Russian poets he was wounded to the core by the social
and economic injustices he witnessed. In Spain he joined the Community Party.
His life and his poems are redolent of Jesus’s hair-raising scourge of callous privilege.
And it is his lyrical indignation that makes him the poet of this moment in
this book of exquisitely selected and executed translations that would in a
better attuned society, a society not drugged by the media, be front-page news.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-size: 12.0pt;">*****<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Djelloul Marbrook is the author of two poetry books, <i>Far from Algiers</i> (2008, Kent State University Press, winner of the 2007 Stan and Tom Wick Poetry Prize and the 2010 International Book Award in poetry) and <i>Brushstrokes and glances</i> (2010, Deerbrook Editions)—both reviewed in <i>Prairie Schooner. </i>His poems have been published by <i>American Poetry Review, Barrow Street, Taos Poetry Journal, Orbis</i> (UK), From the Fishouse, <i>Oberon, The Same, Reed, Fledgling Rag, Poets Against the War, Poemeleon, Van Gogh's Ear Anthology, Atticus Review</i>, <i>Deep Water Literary Journal,</i> and <i>Daylight Burglary,</i> among others.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> He is also the author of five books of fiction: <i>Mean Bastards Making Nice</i> (Leaky Boot Press, UK, 2014), <i>Guest Boy</i> (2012, Mira Publishing House CLC, Leeds, UK), <i>Saraceno </i>(2012, Bliss Plot Press, NY), <i>Artemisia's Wolf</i> (2011, Prakash Books, India), and <i>Alice Miller's Room</i> (1999, <a href="http://onlineoriginals.com/">OnlineOriginals.com</a>, UK). He won the 2008 <i>Literal Latté</i> fiction prize (<a href="http://www.literal-latte.com/2008/11/artists-hill/">http://www.literal-latte.com/2008/11/artists-hill/</a>), for “Artists Hill,” an excerpt from <i>Crowds of One </i>(forthcoming in 2014 from Mira)<i>,</i> Book 2 in the <i>Guest Boy</i> trilogy. His short fiction publishers include <i>Literal Latté,</i> <i>Orbis</i> (UK), <i>Breakfast All Day</i> (UK), <i>Prima Materia</i> (NY) and <i>Potomac Review </i>(MD).<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> A retired newspaper editor and Navy veteran, he lives in New York’s mid-Hudson Valley with his wife Marilyn. He serves as a poetry peer reviewer for <i>Four Quarters Magazine</i> and maintains a lively Facebook and Twitter presence. Web pages:<o:p></o:p></span></div>
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<span style="color: #0b0b0b;"><span style="font-family: Arial, Helvetica, sans-serif;">• http;//<a href="http://www.djelloulmarbrook.com/">www.djelloulmarbrook.com</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">• <a href="file:///djelloulmarbrook"><span style="color: #1436a5;">https://www.facebook.com/djelloulmarbrook?clk_loc=3</span></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">• <a href="file:///DelMarbrook"><span style="color: #1436a5;">https://twitter.com/DelMarbrook</span></a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">• <a href="http://www.behance.net/djelloulmarbrook"><span style="color: #1436a5;">http://www.behance.net/djelloulmarbrook</span></a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-4991230551978015902014-12-07T23:00:00.000-08:002014-12-08T16:08:18.168-08:00MANUAL and IMAGEMS 1 by RICHARD BERENGARTEN<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">EILEEN
TABIOS Engages<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Manual</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> by Richard
Berengarten<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(Shearsman
Books, Bristol, U.K., 2014)<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Imagems 1</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> by Richard
Berengarten<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(Shearsman
Chapbooks, Bristol, U.K., 2013)<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Simply?<span style="mso-spacerun: yes;"> </span>I <i style="mso-bidi-font-style: normal;">adore</i>
<i style="mso-bidi-font-style: normal;">MANUAL</i>.<span style="mso-spacerun: yes;"> </span>I adore how Richard Berengarten and the book
designers (the cover images and design are attributed respectively to George
Hill and Will Hill) manifest the project’s underlying concepts through poetic
form as well as book design.<span style="mso-spacerun: yes;"> </span>To explain,
I must first show the book’s back and front covers:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5dpSAlu4FArlzmwnWFVvVQOX74ZE8hL7FXiP3f3aeTPI7DUBWlXR_3o1Dp1togLrbfgxtQxgHtNyKV4d1VrQ5a4VD-_4vBbuymsLIj9OQouRIl6wjtKnGkbdIzrXyMPJyLkkdASqk6CY/s1600/Berengarten.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5dpSAlu4FArlzmwnWFVvVQOX74ZE8hL7FXiP3f3aeTPI7DUBWlXR_3o1Dp1togLrbfgxtQxgHtNyKV4d1VrQ5a4VD-_4vBbuymsLIj9OQouRIl6wjtKnGkbdIzrXyMPJyLkkdASqk6CY/s1600/Berengarten.JPG" height="400" width="300" /></a></div>
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<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">As
you can see, the covers present images of hands.<span style="mso-spacerun: yes;"> </span>To quote from the author’s Notes section,
“When the book is closed, the hands on the covers are in the gestures of
submission or prayer. When they are open, their gesture is of offering and
receiving.”<span style="mso-spacerun: yes;"> </span>That’s Poetics 101 if one
believes the reader completes the poetry experience offered by a poem—the poet
begins the poetry experience and the reader (or viewer or recipient) completes
it—such that the poem itself is a possibility and then an offer.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
images, of course, also relate to the theme as hearkened by the book title, <i style="mso-bidi-font-style: normal;">Manual</i>.<span style="mso-spacerun: yes;">
</span>About this, it’s useful to quote one of the blurbers, Paul Scott
Derrick: “Hands turned to words. Words turned to hands. We usually take it for
granted how our hands touch almost everything that touches our lives. Like all
of Richard Berengarten’s work, the marvelously flowing, yet deftly controlled
poems of <i style="mso-bidi-font-style: normal;">Manual</i> communicate a wealth
of recognitions about how we manage to live, and to die, in the world—the kind
of recognitions that we cannot easily afford to forget.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“Deft,
controlled poems,” indeed, leading me now to note the other aspect I adore
about the poems: how Berengarten uses numerology to create (or constrain?) the
poems’ formal structure.<span style="mso-spacerun: yes;"> </span>That is, “ten
lines, ten fingers; two stanzas, two hands.”<span style="mso-spacerun: yes;">
</span>Such a constraint is useful for the 100 poems presented in this
collection have a large expanse—to paraphrase another blurber Josephine Balmer,
the poems “move through the breadth of human experience—birth, death,
parenthood, childhood, joy, grief, passion, oppression and, above all,
creativity.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">But
the poems benefit from the poet’s marvelous control not only due to their form
but also through impeccable diction.<span style="mso-spacerun: yes;">
</span>Here’s a sample where the words so elegantly portray the energetic
possibilities of the sea:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">8<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The sea’s fists lunged at him, collared
him<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and held him in a loose, careless
embrace<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">until he numbed and swelled. Then the
sea’s<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">thorough fingers, examining and
probing,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">pulled him down into her primeval
world.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">As if with elegant fins and sails, he
flew<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">among choral chambers and corridors<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">of rock, ascending and descending each<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">of their levels and spirals, until the
sea’s fingers<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">brushed and rolled him back on her
briny beach.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
book’s structure also strengthen the way the poems become a group, or
collection. The book’s hundred poems are divided into five sequences and the
book begins and ends with a “frame piece.”<span style="mso-spacerun: yes;">
</span>It’s an effective way to weave all the poems together.<span style="mso-spacerun: yes;"> </span>For instance, the second sequence is
introduced by this epigraph:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>Poetry will make use of her voice in
order to<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>show herself to us. The poet will be
swayed by<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>her. He will no longer be surprised
when this<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>voice, confiding, takes on for him the
form of a<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>hand: he will stretch out his own hands
to her.<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="margin-left: 2.0in; text-indent: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><i>Edmond Jabes</i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
theme resounds in the subsequent poems even as they continue to explore the
terrain of hands.<span style="mso-spacerun: yes;"> </span>Here’s the first poem
in the second sequence:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">1<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The woman sees the hunter approaching<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">She smiles and asks him to anoint her<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">to rub a little of the creature’s fat
into the nape<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">of her neck and also just above the
collarbone<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">He smiles and rubs her and he clutches
her tight<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">She clutches the hunter so tight<span style="mso-spacerun: yes;"> </span>his hands<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">disintegrate and decompose as they
touch her<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">his hands melt into her<span style="mso-spacerun: yes;"> </span>and his whole body<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">all his skins and organs and blood<span style="mso-spacerun: yes;"> </span>everything<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">except his bones and teeth and nails
and hair<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">But
even as the poems are clearly interconnected, each individual poem also offers
its own strength.<span style="mso-spacerun: yes;"> </span>I was moved to tears,
for instance, by the 4<sup>th</sup> poem in the fifth sequence:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In this house you have been before<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">many times<span style="mso-spacerun: yes;"> </span>you know it as soon as<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">your fingers push open the garden gate<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and you find yourself in a place that
belongs<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">to memory<span style="mso-spacerun: yes;"> </span>or memory of memory<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and you walk from room to room<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and a wind blows through<span style="mso-spacerun: yes;"> </span>and through you<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">all windows being open<span style="mso-spacerun: yes;"> </span>but there’s no<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">scent of the sea that’s been calling
you<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">even though you can hear her voice<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">My
mother moved into our house after my father died.<span style="mso-spacerun: yes;"> </span>My mother lived with us for six years and had
her own bedroom.<span style="mso-spacerun: yes;"> </span>We used to call her
bedroom the “Yellow Room” because of its wall colors.<span style="mso-spacerun: yes;"> </span>Now, even after her death, we still refer to
that room as “Mom’s Room” or, for my son, “Abuelita’s Room.”<span style="mso-spacerun: yes;"> </span>When I read the above poem hearken “a place
that belongs / to memory … or memory of memory” and so on into the rest of the
second stanza, I am reminded of how strongly love and desire can linger and how
a memory can be so palpable.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">And
perhaps that’s one of <i>Manual’s</i> concerns: how a touch can be forever, not in a
sentimental sense but more the indigenous point of view that collapses time and
place to a point where all things are interconnected.<span style="mso-spacerun: yes;"> </span>Thus, it’s appropriate that the book includes
“a grainy photograph of the ‘Venus of Dolni Vestonice,’ which [Berengarten]
took in the office of the director of the Museum of<span style="mso-spacerun: yes;"> </span>Moravia, Brno… in the late 1970s.”<span style="mso-spacerun: yes;"> </span>Berengarten would write the following poem
after the image:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Here is the paleolithic Venus of Lower
Vestonice<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">in her padded box placed on the
concrete windowsill<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">of the 4<sup>th</sup> floor office of
the Director of the Museum<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">of Moravia<span style="mso-spacerun: yes;"> </span>Brno<span style="mso-spacerun: yes;">
</span>Czechoslovakia<span style="mso-spacerun: yes;"> </span>March 1977<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">her left leg broken off<span style="mso-spacerun: yes;"> </span>estimated<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">the oldest clay-fired ceramic in the
world<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">moulded between 27,000 and 31,000 years
ago<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">before Mnajdra<span style="mso-spacerun: yes;"> </span>before Lepenski Vir<span style="mso-spacerun: yes;"> </span>before Atlantis<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and the living left hand next to her is
mine<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Note
the last line—how marvelous that history can be cupped—held, considered,
caressed—by the mental hand.<span style="mso-spacerun: yes;"> </span>The book
ends with this last poem:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Your hands play this film backwards.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">They plough time down to its marrow.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Seeds they sow now will be harvested
yesterday<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">where, hungry and thirsty for news,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">the loved ones stretch out hands.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Everything your hands do makes sense.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Now that you have finished making this,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">under their mountains the loved ones<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">who have been listening and watching
attentively<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">clap hands in unison.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I,
too, clap hands: RECOMMENDED.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">**<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I
read <i style="mso-bidi-font-style: normal;">MANUAL</i> before reading Richard
Berengarten’s chap, <i style="mso-bidi-font-style: normal;">Imagems 1</i>.<span style="mso-spacerun: yes;"> </span>In the above engagement with <i style="mso-bidi-font-style: normal;">MANUAL</i>, I referenced something I’m
exploring with Filipino indigenous scholars—the notion of interconnection that
transcends/collapses, among other things, time and place.<span style="mso-spacerun: yes;"> </span>Since <i>Imagens 1 </i>presents six statements that
also act as poetics, I can say that the poet successfully manifested his
theories in his poems, given that I was moved to reference the indigenous.<span style="mso-spacerun: yes;"> </span>Here is the first of “Twelve Propositions” in
the chap’s first statement, “A Little Further?”:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">1.<span style="mso-spacerun: yes;">
</span>There are no temporal or spatial centres. Everywhere/Everywhen is both
centre and periphery. Octavio Paz answered Yeats’ complaint that “the centre
cannot hold” (1919), with the assertion that “for the first time in our
history, we are contemporaries of all humanity” (1950).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">It
goes on further to<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">4.<span style="mso-spacerun: yes;">
</span>A poet has responsibilities: social as well as subjective, communal as
well as individual. Any emphasis on ‘spirituality’ in poetry, if it is not to
caricature or betray itself, needs to involve critical commitment within, to
and for both the past and future history of “all humanity”, and all nature.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">5.<span style="mso-spacerun: yes;">
</span>Languages have gaps and holes and render reality imperfectly. To make a
poem, a poet needs to travel through them into silence and to return through
them from silence back into language: to test (tear) the boundaries between
language and silence. This two-way movement between language and silence means
that every poetic journey is a Heraclitean return, not a one-way flight.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">And
the chap ends with this last statement from the last statement, “On Poetry and
Magnanimity.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">A poem is polysemous: it presents (manifests)
multiple meanings latent in a single, singular truth. These meanings are <i style="mso-bidi-font-style: normal;">here</i>, are <i style="mso-bidi-font-style: normal;">there</i>, are for the giving and the taking. A poem’s central meanings
radiate from its central core. They spread radially, at once possessed and
dispossessed by the magnanimity of the light source.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">By
the coincidence of reading <i style="mso-bidi-font-style: normal;">MANUAL</i> and
<i style="mso-bidi-font-style: normal;">Imagems 1</i> together, one can
see—admire and respect—the harmony between the poet’s theories and poems.<span style="mso-spacerun: yes;"> </span>It’s a lovely synchronicity to witness.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">*****<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span><br />
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
</div>
<div class="MsoNoSpacing">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-28299575578218942602014-12-07T22:55:00.000-08:002014-12-08T00:03:57.015-08:00INDIRECT OBJECTS by LOUIS ARMAND<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">PAM BROWN Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Indirect Objects</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> by Louis Armand<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(<a href="http://vagabondpress.net/products/louis-armand-indirect-objects">VagabondPress</a>, Sydney, Australia, 2014)</span></i></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Louis Armand is one of the most productive writers I know.
He's seemingly irrepressible. He has, so far,<span style="mso-spacerun: yes;">
</span>published eleven collections of poetry,<span style="mso-spacerun: yes;">
</span>sixteen critical books and four novels. He is also the publisher of
Litteraria Pragensia and founding editor of the extraordinary <i>VLAK</i> magazine,
which is a big fat international omnibus of incisive articles on happening
culture, wonderful post-punk graphics and terrific poetry. Louis, although born
and growing up in Australia, has lived in Prague in the Czech Republic for
twenty years. He works there at Charles University. He has also been a James
Joyce scholar<i style="mso-bidi-font-style: normal;">.</i> Louis is also a visual
artist, and this is reflected in many of the poems in <i style="mso-bidi-font-style: normal;">Indirect Objects.<o:p></o:p></i></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Louis' ekphrasis is not made from any critical distance - it's an immersion - he gets <i style="mso-bidi-font-style: normal;">in to</i> a
painting like an all-night drug tripper gets <i style="mso-bidi-font-style: normal;">in to</i> the dawn. For instance, the bluesy punk impressionism of the
opening poem 'Acid Comedown & John Olsen's Five Bells'<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">Call it topographic, eyeball to eyeball with invisible fidget wheels, the
whole blueprint in acid-dissolve.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">Intelligence reports arrive from remote space colonies dot-dash-dot on
tree-branch telegraph wires,<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">meteorites and pool hall metaphysics. <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">This is John Olsen's painting 'Five Bells' - a tribute to
Sydney Harbour and the famous Kenneth Slessor poem. The poem's associated with
venues around the inner harbour <span style="mso-spacerun: yes;"> </span>- the
Opera House and the NSW Art Gallery make their appearance. Jorn Utzon's Opera
House is seen as 'cranes/stooping/over the quays' - where, for me anyway, the
cranes can be both the birds as the so-called<span style="mso-spacerun: yes;">
</span>'Opera House sails' and literal construction cranes about to alter
another tiny bit of Harbour. And the party's over, coming down in the
tickertape detritus, like a starry New Years Eve under the fig trees, Louis
offers a televisual, possibly-empathetic, political gesture to what's happened
to cities in this country<span style="mso-spacerun: yes;"> </span>-<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>Slow-motion videos of a city<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>in
mid-construct - Wandjina Man drunk under a wall<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>dreaming of
blonde missionary ancestor spirits<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>turned to
coruscated glass and steel<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">then everything goes grey and rainy and a little grim as
dawn arrives.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">So from the start, this is an atmospheric, moody set of
poems. And that's just the beginning.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">This book is loaded with attempts to build something
different out of a kind of destruction or destroyed world (this one) and it
shares with the reader the proposition that some new thing can be made. But not
without regard for the past.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Snake Bay is a bay in the Tiwi Islands, up north, past
Darwin. Fifty-five years ago Russell Drysdale painted indigenous figures in his
'Snake Bay at Night.' In Louis' poem about this painting<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>...occasionally memory
creeps in,<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>like an irrational return to a point we
started from.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and the 'great
montage' in the painting might have been made by<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>...some demon of
history like a mind gone astray<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>in the night, mad with visions of sexual
punishment.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">There's a fabulous aggregate of extraordinary, iconic
Australianisms in this book—a northern river meeting a night sea in a kind of
dreamy humid methadone metaphor, the tropical erotic-exotica of Donald Friend's
Balinese pen drawings, Richard Lowenstein's classic-80s rock film Dogs in Space
alongside a junkie Darlinghurst Gauguin selling his drawings to get money to
score in a poem for John Kinsella that proceeds by a seedy Sydney-urban
philosophising and aspires to a better life, 'Patrick White as a Headland',<span style="color: red;"><span style="mso-spacerun: yes;"> </span></span>Charles
Blackman, Francis Webb, and in Melbourne - a monologue from an Aboriginal boxer
in Fitzroy,<span style="mso-spacerun: yes;"> </span>freeze frames at St Kilda
Beach, Swanston Street, Brunswick Street and so on. <span style="color: red;"><o:p></o:p></span></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">A critic * speaking about Louis' novel 'Canicule' recently,
said </span><span lang="EN-AU" style="background: white; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">"Armand
uses language to paint a picture just as vividly as if we were watching this
unfold on screen...." which is a good way of putting it.</span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span></span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Some of these paintings-in-poems are in the first section of
the book called 'Realism', </span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">which,
in my view, is an odd heading for a collection of poems definitely located in
Australia. 'Realism' in some ways seems a sombre tag to the book's title
'Indirect Objects'.<o:p></o:p></span></div>
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<span lang="EN-AU" style="background: white; color: black; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Indirect objects can be rare. You can sometimes read for
pages before you encounter one.<span class="apple-converted-space"> </span></span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Everyone
can recognize a direct object when they see one, but</span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">an 'indirect object' is an odd grammatical concept. I'm not
an expert but the term seems stretched enough here to mingle with the melange
of allusions, similes, descriptions and metaphors that contribute to these
vivid, image-rich, hyper-real poems.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">One poem here, 'Realism', had an especially powerful effect
for me. It's the extraordinary title poem that ends the first section - a poem
comprising four preludes three in couplets, and one in quintets (or five line
stanzas). It begins with a quote from William Carlos Williams that says in part
- 'The only realism in art is of the imagination'. I'd say, in Louis' case that
it's also art's relationship to emancipation that registers strongly. This
remarkable poem moves in its preludes through an initial anxious energy as an
exhausted persona/the poet travels through harsh sheep country where alcohol
and over the-counter-drugs smother the numbness and anomie a young jackeroo or
farmhand, say, might feel in the face of slaughter yards and endless plains'
horizons broken by occasional silos and surreal sunsets that eventually seem
conventional,<span style="mso-spacerun: yes;"> </span>leading to a sense of
desperation –<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>A hundred pages on<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>through plotless
outcountry<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">There's a turn in this road trip in arriving at the east
coast's 'flat edge of pacific breakers'. Then the collision of the ocean and urbanity
reminds the jetlagged-yet still-thinking prodigal of lost political causes <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>We could've
been the children<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>of Whitlam
and Coca-Cola.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">which is an Aussie remark on Jean Luc Godard's intertitle
between chapters in<span style="mso-spacerun: yes;"> </span>his 1960s film 'Masculin-Feminin'
-</span><span lang="EN-AU" style="background: white; color: #252525; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
"The Children of<span class="apple-converted-space"> </span></span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><a href="http://en.wikipedia.org/wiki/Karl_Marx" title="Karl Marx"><span style="background: white; color: windowtext; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Marx</span></a></span><span class="apple-converted-space"><span lang="EN-AU" style="background: white; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></span><span lang="EN-AU" style="background: white; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">and<span class="apple-converted-space"> </span></span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><a href="http://en.wikipedia.org/wiki/Coca-Cola" title="Coca-Cola"><span style="background: white; color: windowtext; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Coca-Cola</span></a></span><span lang="EN-AU" style="background: white; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">"</span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">One of the challenges of minimalism is finding a way to gouge
relatable<span style="color: red;"> </span>connotation from simplicity<span style="color: red;"> </span>and<span style="color: red;"> </span>Louis is <u>really</u>
good at doing that.<span style="mso-spacerun: yes;"> </span>The poem traverses
grinding hard yakka and the tedium of distance - hauling along through the dead
of night between outback mining towns and salt flats pushing past 'a punchline
without a joke' until daybreak reveals 'barbiturate cloud patterns' and
'unfamiliar / regions of cross-sectional debris'. Attempting to get a grip on
this place, he asks the question - is 'the scene ironic or insincere?'<span style="mso-spacerun: yes;"> </span>The reply<span style="mso-spacerun: yes;">
</span>- <o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>An ambiguous
terrain, its objectivity<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>is a thing of the
mind, una cosa mentale.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In the second prelude the prodigal poet returns to, in a
way, the foci of his journey. In a kind of monumental segment of five stanzas
of five lines each, he is in Sydney, addressing the </span><span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Road
Builders’ Obelisk and colonial history, or mis-history<b>.</b></span><span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> It's
the oldest true obelisk in Sydney, built in 1818. It's located in tiny
Macquarie Place on Bridge Street and was designed by Francis Greenaway.
This elongated sandstone pyramid's purpose was as the geographical milestone
for the measurement of road lengths in New South Wales. Especially apposite to
this circuitous road poem. <o:p></o:p></span></div>
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<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">As you might expect, soon enough, yet cautiously, the poem
heads out again and the third prelude recounts 'The Effect of Travelling in
Distant Places' where some experiential resolution or 'answer' is sought and<o:p></o:p></span></div>
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<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>the sick man
groans,<o:p></o:p></span></div>
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<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>dragging his sack
of instruments<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>on into the
immeasurable -<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>beckoned by its
fool's glimmer<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">the problems of religion, greed, capital, false gods are all
encountered in eight couplets then<span style="mso-spacerun: yes;"> </span>'the
eye too, is a product/of history'. Or you could say 'seeing isn't believing' as
the poems' slightly abstracted ecological </span><span lang="EN-AU" style="background: white; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">predicaments<span style="color: #333333;">,
like brackish bore water contaminated by alkaline salinity, are reduced --
'Being/ so much dreck and signage'. The body suffers in parallel with the land
and, finally, there's a 'Reprise' –<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>we reached the
next turning point<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>and came to a
standstill:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>from centre dead
up against periphery<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="background: white; color: #333333; font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>(<i style="mso-bidi-font-style: normal;">no things but in relations</i>).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The reprise is of the times - briefly.<span style="mso-spacerun: yes;"> </span>It's a sleaze reprise, back in Sydney, a
place once nicknamed 'Tinsel Town', - at the harbour –<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>A
bridge to the<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">promised land
in perpetual<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">strip-tease
slung above the 100,000<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">expiring light
bulbs of LUNA P RK.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">undressing the
blacked out scar of<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">decommissioned
navy yards, dry<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">docks ... Our
hungers for elsewhere<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">were free to
enlarge, conscripted<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">to the Big
Idea - not by ballot but by<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">lottery -<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In the final twenty-or-so couplets the poem briefly laments
American influence in Australia, revisits the outback journey, remembers
earlier times - 'the halo formed/around the analogue dial/ wandjina like, and
electric as/spirit medium shot at high speed.' There is no actual conclusion to
'Realism' but<span style="mso-spacerun: yes;"> </span>'Escape was a sad parody
of a film/ that's been running for a century' and the prodigal, back on the
western highway, checks out the rearview mirror - 'testing the stringency/of
what it means to be invisible - /though drawing no conclusion from it.'<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">There's a big complicated mind driving the imaginary in
these poems. Louis' analytical and motile thinking upsets conventional
expectations. He arranges a kind of sur-or hyper-reality and fashions something
new as images and metaphors tumble over each other and extensive transcultural
classical and popular cultures combine to make poems that are often reminiscent
of large colourful, layered, goopy oil paintings or stacked banks of video screens
simultaneously playing different images.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I've only talked about a small part of this book and it
might seem a bit exiguous after the time I spent on the great poem 'Realism'.
So I'll end by offering a couple of sets of lists to give clues to what extraordinary
congeries of ideas and things are to be found here: the poems embrace
innumerable literary, philosophical, mythological and artistic figures like
Arcimboldo, Rachmaninov, Aristotle, De Kooning, Blaise Cendrars, Charles Mingus
and many others and they roam through many places, considering them as both
actual and imagined -- a sample includes Las Vegas, Cittavecchia, Manhattan,
Paris, Bolzano, Rapallo, Ravenna and, of course, Prague.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The dedicatees in this collection are as various as the poems'
influences, themes and associations comprising a transnational ars poeisis -
some of them are Gwendolyn Albert, Anselm Berrigan, Ali Alizadeh, the late
Amiri Baraka, Karen Mac Cormack, David Vichnar, Kenneth Koch, Howard Barker,
the late Mahmoud Darwish, David Malouf, John Kinsella, Charles Bernstein, Bruce
Andrews, the late Cy Twombly and many others. This book pays its dues to a
veritable pantheon of cultural figures -- poetically, it's totally in the
black.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="font-size: x-small;">* Kristen Valentin</span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">*****<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: JA;">Pam Brown, poet and editor,
has published many books, chapbooks and an e-book. Most recently, <i>Home by
Dark</i> was published by Shearsman Books in 2013 and <i>Alibis</i>, a
bilingual selection of her poems<i> </i>translated into French by Jane Zemiro,<i>
</i>was published by Société Jamais Jamais in early 2014. Pam lives in
Alexandria, Sydney and blogs intermittently at <a href="http://thedeletions.blogspot.com/"><span style="color: #386eff;">thedeletions.blogspot.com</span></a></span><span lang="EN-AU" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-22326839323437395662014-12-07T22:50:00.000-08:002014-12-08T00:02:24.283-08:00HOME AMONG THE SWINGING STARS: COLLECTED POEMS OFJAIME DE ANGULO<div class="MsoTitleCxSpFirst">
<span style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi;"><span style="font-family: Times, Times New Roman, serif;">ALLEN
BRAMHALL Reviews</span><o:p></o:p></span></div>
<div class="MsoTitleCxSpLast">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i><span style="font-family: Times, Times New Roman, serif;">HOME AMONG THE SWINGING STARS: COLLECTED POEMS OF
JAIME DE ANGULO</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Times, Times New Roman, serif;">, Editor Stefan Hyner, with an essay by Andrew
Schelling </span><o:p></o:p></b></div>
<div class="MsoSubtitle">
<span style="color: windowtext; font-family: Arial; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><span style="font-family: Times, Times New Roman, serif;"><i>(La Alameda Press, Albuquerque, NM, 2006)</i></span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">If
you have never read Jaime de Angulo’s work, start now. This volume will give
you plenty to admire. This iconoclastic poet brings a revivifying breeze.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">If
you have read anything about de Angulo, you recognize him as <i style="mso-bidi-font-style: normal;">sui generis</i>, weird ass, boho wild man.
That sounds like the television version, but, gosh, it’s for real. Born in
France of well-to-do Spanish parents, he came to the States to be, yep, a
cowboy. In time, he became a startling good and respected linguist in Indian
and Mexican languages (self-taught) and shamanistic poet. Ezra Pound and
William Carlos Williams were early admirers. Jack Spicer and Robert Duncan were
students of his. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I
used the word <i style="mso-bidi-font-style: normal;">shamanistic</i>, and that
is cause for trouble. I better clarify.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Jaime
de Angulo had an unusual sensitivity to what a shaman does and is. I do not say
he was a shaman and I do not think de Angulo would have said so either. De
Angulo was indeed a scholar, yet a poet too. Mircea Eliade writes knowledgeably
of shamanism but I don’t see him capable of writing the illuminating poetry
that de Angulo writes. De Angulo brings a much more local—I might also say
loco—understanding. Crazy like a fox. The cover illustration, a simple sketch
by de Angulo, shows Trickster his own self, walking with a walking stick. The
simplicity of Trickster is no simplicity at all.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Young Shaman’s
Song IV<o:p></o:p></span></i><br />
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I am talking to the lake.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I am talking to all in the lake.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I am not a human being.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In
a letter, Keats speaks of poets as listeners, absorbing the world around them. De
Angulo did just that. He learned not just the words of the old languages but
the essences thereof. He learned the power of the words. When he speaks of fox
or redwood, he means their essential energies, not mere repositories of
adjectives.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">To A.J.</span></i><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span><br />
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">A dragon fly came to me<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">With news from my home.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I lie in the afternoon,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Looking toward the hills.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">That’s
what shakes me. He’s not just describing, which too many poets do. Poetry is
not a grand concourse where we detail the fallen and the swung. Poetry is a violent
energy and release giving footing for our actual life. I see exactly that in de
Angulo’s poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Archetype</span></i><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span><br />
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Sky of late afternoon in the fall.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Mountain darkling blue.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Calm ocean forever to the west.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">A hawk soaring.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Far away and long ago.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I remember in
a class with Robert Grenier when the song “Home of the Range” came up. Who
hasn’t sung it in school? It’s a chestnut. Grenier poked us to look at the
lyrics:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Oh, give me a home where the Buffalo roam<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Where the Deer and the Antelope play;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Where seldom is heard a discouraging word,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">And the sky is not cloudy all day. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">One doesn’t
immediately notice the iffiness of the last two lines. The song asserts more of
mystery than of an encomium of western delights. De Angulo’s poetry plays the
same way. While he often writes in first person, it often seems like First
Person, the essential human boundary. And as he looks at fox, junco, redwood,
horse, there exists a becoming. Spicer’s real lemons.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Stefan Hyner
edited <i style="mso-bidi-font-style: normal;">Home Among the Swinging Stars.</i>
He worked with unpublished manuscripts given to him by de Angulo’s daughter Gui
Mayo. Hyner supplies a brief bio and Andrew Schelling adds an extensive
appreciation. This is a lovely, vital book.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">*****<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Allen Bramhall maintains two blogs: his dither blog (<a href="http://tribute-airy-blogspot.com/">tribute-airy-blogspot.com</a>) and his poetry blog (<a href="http://simpletheories.blogspot.com/">simpletheories.blogspot.com</a>). Both are ratified by angels. Likewise his two volume poem, <i>Days Poem</i>(<a href="http://meritagepress.blogspot.com/2012/09/days-poem-by-allen-bramhall.html">http://meritagepress.blogspot.com/2012/09/days-poem-by-allen-bramhall.html</a>). Further details available upon request.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica; font-size: 12px;"><br /></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-73671643593102564382014-12-07T22:20:00.000-08:002014-12-08T16:04:20.029-08:00"THE WAY IN" by LINDA HOGAN<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">EILEEN
TABIOS Engages<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“The
Way In,” a poem in<o:p></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">DARK.
SWEET. NEW& SELECTED POEMS</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">
by Linda Hogan<o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(Coffee House
Press, Minneapolis, Minn., 2014)<o:p></o:p></span></i></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Linda
Hogan’s <i style="mso-bidi-font-style: normal;">DARK. SWEET.</i> is a thick
book—422 pages—befitting its “New & Selected” status.<span style="mso-spacerun: yes;"> </span>But “The Way In” swiftly became my favorite
poem (at least for now).<span style="mso-spacerun: yes;"> </span>It is lovely,
wise and loving:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
Way In<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Sometimes the way to milk and honey is
through the body.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Sometimes the way in is a song.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">But there are three ways in the world:
dangerous, wounding, and beauty.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">To enter stone, be water.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">To rise through hard earth, be plant<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">desiring sunlight, believing in water.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">To enter fire, be dry.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">To enter life, be food.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“The Way In” captured my attention for clarifying
an issue I’d been thinking about for a few months.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>That
is, a few months earlier I attended dinner at a restaurant (“First Restaurant”)
that’s been hailed for its innovative approaches to cuisine.<span style="mso-spacerun: yes;"> </span>And, yep, the food was yummy.<span style="mso-spacerun: yes;"> </span>But one of the courses was a kale appetizer served
atop an open book. There was a transparent layer beneath the food and the page
that didn’t intrude from the visual focus on the book-platter (so to
speak).<span style="mso-spacerun: yes;"> </span>Here’s a pic:<o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDaj2wmGFet9395DCWklaBd26OU6MENTv-3v-YLyBuBxQxhMNzkjvg09o-JdCt0p90ovIknDIPm_QK1CZ0cFfs29366iC1npxq-rwbmjVhdk93cJD6KLw80fNLmiMg5uQyyHC_om1w2ks/s1600/eatword1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDaj2wmGFet9395DCWklaBd26OU6MENTv-3v-YLyBuBxQxhMNzkjvg09o-JdCt0p90ovIknDIPm_QK1CZ0cFfs29366iC1npxq-rwbmjVhdk93cJD6KLw80fNLmiMg5uQyyHC_om1w2ks/s1600/eatword1.JPG" height="240" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">As
soon as the waiter placed the course in front of me, I felt a slight recoil—I
didn’t know what the chef was thinking when he conceived of the presentation
(he was a philosophy major in college if that reveals anything), but couldn’t
help but think that using the book as a platter was just … disrespectful to the
book.<span style="mso-spacerun: yes;"> </span>I took a closer look at the
book-platter—and, Reader, do Take a closer look as well at the above
picture—and noticed that the book was used upside-down so that one can’t read
the text.<span style="mso-spacerun: yes;"> </span>A dismissal of the text—isn’t
that a disrespectful dismissal of a book’s purpose?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">On
the other hand, one could argue that the book is presenting something—in this
case food instead of an idea.<span style="mso-spacerun: yes;"> </span>When I
turned the image around, I noticed that the book is actually a cookbook.<span style="mso-spacerun: yes;"> </span>So maybe the chef—or philosopher-chef—thought
to cut to the chase and use the book to present food rather than just a
description of food…?<span style="mso-spacerun: yes;"> </span>The first time my
thoughts meandered along this line, I thought I was making too much of it …
until I read Hogan’s “The Way In.”<span style="mso-spacerun: yes;"> </span>But
before I go there with this First Restaurant, let me share a dining experience
at another restaurant, el club Allard (“Second Restaurant”) in Madrid that I think
offers a more effective way to integrate text into the eating experience.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Here
was a card greeting diners when they first sat down at the table to present
menu options (since we were in Spain, you see Spanish, not English text):<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmJyDAwAxv9f3O0hqbJQNFw20Awh8FjZ48NExA1tcq06fSSjrqydQGqpk7ddtzWeYMJQrz5vW62Du_9i1yyhWIc3JdgrzMH1A5w7uJepYdRguFp_VcrtRKeMkTikpDHu1H64tNJiddWs0/s1600/eatword2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmJyDAwAxv9f3O0hqbJQNFw20Awh8FjZ48NExA1tcq06fSSjrqydQGqpk7ddtzWeYMJQrz5vW62Du_9i1yyhWIc3JdgrzMH1A5w7uJepYdRguFp_VcrtRKeMkTikpDHu1H64tNJiddWs0/s1600/eatword2.JPG" height="320" width="240" /></a></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Whereas
the First Restaurant used the book to present food and not just ideas (recipes)
on food, Second Restaurant actually offered the page and words to be
eaten!<span style="mso-spacerun: yes;"> </span>Literally and not
metaphorically.<span style="mso-spacerun: yes;"> </span>(Literally, pun
intended.)<span style="mso-spacerun: yes;"> </span>As it turns out, the card was
not fashioned from paper but from some edible material (perhaps rice flour):<o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuS5SvVmzZMNErNh4AgHagZvchnsUscPjqtnBeOwnwnGe3j3gCEQpn7EE482TjGWs4_3neg4-CACUbp1pmdK1M5sO21qdZhw8weEhf6LRDcvwIEcEkYPzBXThZcjNGwZlQKJW3PHdBk5g/s1600/eatword3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuS5SvVmzZMNErNh4AgHagZvchnsUscPjqtnBeOwnwnGe3j3gCEQpn7EE482TjGWs4_3neg4-CACUbp1pmdK1M5sO21qdZhw8weEhf6LRDcvwIEcEkYPzBXThZcjNGwZlQKJW3PHdBk5g/s1600/eatword3.JPG" height="320" width="240" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">After
we chose our menu option, we were invited to taste the card along with some
dipping sauce<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Hogan’s
poem “The Way In” can be read to be a discourse on commitment and what it takes
to really experience something.<span style="mso-spacerun: yes;"> </span>The body
must be involved: <i style="mso-bidi-font-style: normal;">you can’t just talk the
talk, you gotta walk the talk, </i>if you will (“To enter fire, be dry. / To
enter life, be food.”)<span style="mso-spacerun: yes;"> </span>Thus, the First
Restaurant was not innovative enough by just presenting food on a book.<span style="mso-spacerun: yes;"> </span>The Second Restaurant was more effective for
actually making the diner take in the whole concept: taste, bite, chew, <i style="mso-bidi-font-style: normal;">swallow</i>…<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Obviously,
the matter isn’t just about food.<span style="mso-spacerun: yes;">
</span>There’s a lot of armchair whatevers in today’s world, perhaps as
facilitated by the e-separation viz the internet which is so much a part of
contemporary life.<span style="mso-spacerun: yes;"> </span>To involve the
body—to risk the body—is a more all-encompassing commitment.<span style="mso-spacerun: yes;"> </span>The great thing about such a commitment is
that while such risk exposes the individual to what are “dangerous, [and]
wounding” it also allows the individual to experience “beauty”:<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Sometimes the way to milk and honey is
through the body.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Sometimes the way in is a song.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">*****<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-84652427424590274482014-12-07T22:14:00.000-08:002014-12-08T00:02:06.818-08:00GOING WITH THE FLOW by PETER SIEDLECKI<div class="MsoNormal">
<span style="font-family: Arial;">JENNIFER CAMPBELL Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Going with the Flow</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Peter
Siedlecki<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(BlazeVOX Books, New York, 2014)<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Going with the Flow</span></i><span style="font-family: Arial;"> is a book addressed to anyone who has concern over his own “going.” A
poet-philosopher studying aging from the inside-out, Peter Siedlecki explores
the concept of old age in a vein similar to Plato’s dialectical method.
Standout poems such as “Deciding to Retire,” “Child’s Play: A Retirement Poem,”
and “On Receiving a Mailing from Forest Lawn” represent various iterations of
the theme. There are moments of great humor, along with expressions of
frustration and resignation. As in Plato’s <i style="mso-bidi-font-style: normal;">Theory
of Forms</i>, the poems reveal the temporal in an attempt to understand the
immutable archetypes that provide order and structure to the world. In the title
poem, which is the first poem in the collection, Siedlecki offers the reader
the first of many contradictions: is aging “a sad death of summer” that happens
in gorgeous “blazes of color”? Inconsistencies are brought to light by the
poet; the aging man wants “to connect to antiquity” yet concedes “I will die,
and you will wail / and misremember me as perfect.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Even as the poet leads the
reader through his study with logic, he grants in “More Theology”:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> We
have reasoned god out,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> with
our “Thees” and “Thous”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> only
because reason is what we have <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> to
turn into whatever we need,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> the
bricks and mortar<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> of
which we build<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> the
most absurd structures.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In fact, some poems are
structured primarily from questions, in a modern Socratic method—“Untimely
Death” is an effective example of this technique:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>When is death timely?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span>when it comes like a chemical<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>to kill the hideous worm<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>devouring the victim from within?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>Or when, in the midst of dark storms<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>and hideous worms, it comes to stifle<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>the dear memory of lilacs?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">“The Dangers of Poetry” also
concerns itself with the issue of a single poem being treated as The Truth.
Though a great majority of the pieces in the book deal with aging or a
breakdown of the physical body, Siedlecki’s treatment of the issue echoes the
famous teachings of Heraclitus; the same idea does not appear twice. The realm
of the earthly body is ever in flux, and treated with care in every situation
and scene. Poems about birds, artwork, music, and sports stand out in this
context. “The Over-Fifty Skate and Shoot” is the longest poem in the
collection, and this whimsical journey about what the body wants versus what
the body is capable of ends in homage to the literary illuminati of the poet’s
generation.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One can read, and reread,
the poems, finding new insights and fine-tunings each time. The calm, tender
pieces about fatherhood ground the book in reality even while they speak to the
universal </span><span style="font-family: Arial;">notion of changing
generations:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>The perfect son has donned the scholar’s robes<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>and taken to that road,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>leaving his father<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>to store away the outgrown things.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Old age a sort of music
unavailable to a young ear, the natural world curls around the poet’s pen like
a pet—redefining and repositioning the concepts of aging and dying until they
become much more than an eager exercise in semantics. “Swallow your made
meanings,” the poet insists. Dying is an art Peter Siedlecki doesn’t want to
master, yet such an exhilarating set of dialogues should be embraced, again and
again:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>now, let us rise as one,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> as
when the ball<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> just
clears the fence,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Arial;"> and
voice our rejoicing.<o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Jennifer Campbell is an English professor in Buffalo, NY, and a co-editor of </span><i><span style="font-size: small;">Earth’s Daughters</span></i><span style="font-size: small;">.</span><span style="font-size: small;"> </span><span style="font-size: small;">Her second book of poetry, </span><i><span style="font-size: small;">Supposed to Love</span></i><span style="font-size: small;">, was published by Saddle Road Press in 2013. Recent work appears in </span><i><span style="font-size: small;">Saranac Review, Off the Coast, The Prompt, Oyez Review,</span></i><span style="font-size: small;"> </span><i><span style="font-size: small;">Common Ground Review, Sow’s Ear, Fugue, The Healing Muse, The Pedestal, </span></i><span style="font-size: small;">and</span><i><span style="font-size: small;"> Slipstream</span></i><span style="font-size: small;">,</span><i><span style="font-size: small;"> </span></i><span style="font-size: small;">and is forthcoming in </span><i><span style="font-size: small;">Comstock Review </span></i><span style="font-size: small;">and </span><i><span style="font-size: small;">Seems</span></i><span style="font-size: small;">.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><br /></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-6920619763809799922014-12-07T22:00:00.000-08:002014-12-08T17:10:29.631-08:00TO KEEP TIME by JOSEPH MASSEY<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">EILEEN TABIOS Engages<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">TO KEEP TIME</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> by Joseph Massey<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(Omnidawn, Richmond, CA, 2014)<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">I once lived with a painting by <b><a href="http://www.brooklynmuseum.org/opencollection/objects/1823/Gowanus_Canal_from_2nd_Street">Randy Dudley</a></b>—a
painting of polluted terrain in the foreground and fog in the background.<span style="mso-spacerun: yes;"> </span>I mostly remember and cannot forget the
fog.<span style="mso-spacerun: yes;"> </span>How, on a flat surface, the artist
painted the fog by also painting depth.<span style="mso-spacerun: yes;">
</span>The fog, therefore, seemed to come towards the foreground from an
impressively long distance back in the background.<span style="mso-spacerun: yes;"> </span>I don’t
have the painting anymore, but it was/is a fabulous work and its memory was welcome, a gift offered by the
poems in Joseph Massey’s <i>TO KEEP TIME</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">For Massey’s poems are lovely: nuanced and
resonant such that one of its overall effects is the evocation of an
atmospheric world.<span style="mso-spacerun: yes;"> </span>These are poems which
I don’t feel are particularly short and yet are minimalistic relative to the
emotions and thoughts they move a reader to feel/think. For instance, consider
this—and I open the book at random for this excerpt (I open the book at random
because I want to prove the effectiveness of all the poems):<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The near
silence<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">rattles
me<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">to
attention.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Nest of
stone<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">foam
slaps.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Something<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">lifts,
settles<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">on the
water:<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">a name,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">a
nonsense syllable.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">I find it interesting how the above excerpt
offers the sense of something that’s somehow very familiar.<span style="mso-spacerun: yes;"> </span>I feel I’ve been in this situation before—pausing
to listen for something.<span style="mso-spacerun: yes;"> </span>And, sure, the
ending lines “a name / a nonsense syllable.” can refer to what may arise.<span style="mso-spacerun: yes;"> </span>But it’s not something I would have
thought—until I read the poem—as an example of what would come to mind, and
thus makes me pause in attention a second time.<span style="mso-spacerun: yes;">
</span>That’s clever diction.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The diction elevates.<span style="mso-spacerun: yes;"> </span>When combined with unexpected imagery, the
poem compels the reader to stay longer with it, rather than rush the read on to
the next page, e.g.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">light<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">bleeding<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">various<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">invasives<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">As someone suffering at the time of this
review-writing from allergies that make the eyes tear up, I really felt the
truth of that “invasive” light…<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Anyway, I feel I can’t really talk about these
poems as anything I say feels short of the effects they create so delicately
but also so powerfully.<span style="mso-spacerun: yes;"> </span>The poems speak
for themselves.<span style="mso-spacerun: yes;"> </span>Let me manifest my
recommendation of this book simply by opening the book yet at random once more
to let you enjoy the resulting poetry:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">+<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Low
clouds shear the hills in half.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">+<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Not
quite a false spring.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">A glow<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">gnaws
the boundaries—<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial, Helvetica, sans-serif;">There. I told you so.</span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">*****<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-50219651541691646902014-12-07T21:55:00.000-08:002014-12-08T20:12:47.201-08:00#! by NICK MONTFORT (1)<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">JOHN
BLOOMBERG-RISSMAN Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">#!</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> by Nick
Montfort <o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(Counterpath, Denver,
2014)<o:p></o:p></span></i></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">1.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I
knew the definition of “shebang” as in “the whole shebang”, where shebang means
“a matter, operation, or set of circumstances.” While its etymology is
obscure,<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
surprising thing is that we do have a fairly good map of the history of “the
whole shebang.” We know that it first appeared in print during the American
Civil War (1862, to be precise) meaning “a hut or shed, one’s living quarters,”
at first a temporary shelter for soldiers in the field, but later meaning any
sort of crude, makeshift dwelling (“We’ve got a shebang fixed up for you to
stand behind, in No. I’s house,” Mark Twain, Roughing It, 1872). Oddly enough
(and this is pretty odd under the circumstances), at roughly the same time
“shebang” started being used to mean “a vehicle, especially a rented coach.”
The first use of this sense in print found so far comes, in fact, from the same
1872 Twain book “Roughing It” where “shebang” has first been found meaning
“shed” (“You’re welcome to ride here as long as you please, but this shebang’s
chartered”). It may be that in both instances Twain meant simply “shambles” or
“rattletrap,” but “shebang” went on to be used by other writers as well to mean
“vehicle.” It’s also possible that this particular sense of “shebang” is
related to, or influenced by, the French “char-à-banc” (literally “benched
carriage”), meaning a bus or coach with benches. Closer to the end of the 19th century,
we come upon yet another use of “shebang,” this time to mean a tavern or hotel
of low repute and dubious legality, i.e., a “dive” (“There was a sort of
sheebang — you couldn’t call it a hotel if you had any regard for the truth —
on the outskirts of Walsh for the accommodation of wayfarers without a
camp-outfit,” 1908). This sense seems logically connected to the “hut” or
“shed” sense. Almost since its first appearance in print in the 1860s,
“shebang” had also been used in a persistently vague general sense of “the
thing” or “the matter,” and it was this sense that evolved into the idiom “the
whole shebang,” first appearing in that form in the 1870s, but becoming truly
popular only in the 20th century. While the verifiable origin of “shebang” may
be, as the OED says, “obscure,” there is one source considered likely by many
authorities. The Irish term “shebeen” (from the Irish “seibin,” small mug),
which first appeared in print in the late 18th century, means an unlicensed
tavern in a shed or even a run-down private house where liquor is illegally
dispensed. Given that a popular use of “shebang” in 19th century America was to
mean “dive,” it seems highly likely that our “shebang” began life as the Irish
“shebeen.” (“The Whole Shebang”, at (<a href="http://www.word-detective.com/2011/07/the-whole-shebang/">http://www.word-detective.com/2011/07/the-whole-shebang/</a>
Word Detective)<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">It
seems that usage remained more or less constant until quite recently, when
shebang took on a new meaning, in programming. I am not a programmer, but as Wikipedia
tells me, shebang (in this case, “spelled” #!) <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In
computing, a shebang (also called a sha-bang, hashbang, pound-bang,
hash-exclam, or hash-pling), is the character sequence consisting of the
characters number sign and exclamation mark (that is, “#!”) at the beginning of
a script. Under Unix-like operating systems, when a script with a shebang is
run as a program, the program loader parses the rest of the script's initial
line as an interpreter directive; the specified interpreter program is run
instead, passing to it as an argument the path that was initially used when
attempting to run the script. For example, if a script is named with the path
"path/to/script", and it starts with the following line:<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">#!/bin/sh<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">then
the program loader is instructed to run the program "/bin/sh" instead
(usually this is the Bourne shell or a compatible shell), passing
"path/to/script" as the first argument. The shebang line is usually
ignored by the interpreter because the "#" character is a comment
marker in many scripting languages; some language interpreters that do not use
the hash mark to begin comments (such as Scheme) still may ignore the shebang
line in recognition of its purpose.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">What
I take from all this are two things 1) Montfort could have called his book
sha-bang, hashbang, pound-bang, hash-exclam, or hash-pling, but chose shebang;
and 2) that he did so because it recalls the non-programming meaning, the
“persistently vague general sense of ‘the thing’ or ‘the matter’. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Thus,
it is an apt title for a book of program-generated poems, one which <i style="mso-bidi-font-style: normal;">includes the programs</i>, because it
encompasses both that which sets the ball rolling, so to speak, the very first
bit of the program’s language (“In the beginning was the word (logos)”, the
logos that wasn’t light but “let there be light”), AND the resulting creation,
the poems that the programs generate (“the whole shebang”). <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">It
is therefore functionally equivalent to the Kabballah’s concept Ein Sof.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">As
Ein-Sof evolves it is progressively revealed as "nothing whatsoever"
(Ayin), the totality of being, the Infinite Will (Ratzon), Thought and Wisdom,
the embodiment of all value and significance (the Sefirot), the wedding of male
and female, and ultimately the union of all contradictions. Ein-Sof is both the
totality of this dialectic and each of the points along the way. Ein-Sof must
be constantly redefined, as by its very nature, it is in a constant process of
self-creation and redefinition. (Sanford L Drob, “Ein Sof”, at <a href="http://www.newkabbalah.com/einsof.html">http://www.newkabbalah.com/einsof.html</a>
New Kaballah)<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">2.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Now
that we have more or less set the stage, one might wonder what kind of poems
Montfort’s programs generate. If you are looking for lyrics about how sad it is
that I can remember how when I was a boy I rode my bike thru orange groves that
are now housing projects, you won’t find them here. If you are looking for
uncreative typing, you won’t find it here. What you will find is a kind of
language set free and not free at the same time. I consider these poems a kind
of magic, in which the program is a spell, and the poem is that which both
fulfills and exceeds the spell-caster’s expectation. Think of the Sorcerer’s
Apprentice scene in <i style="mso-bidi-font-style: normal;">Fantasia</i>. It is
possible to say that these poems are abstract uses of language, but I don’t
believe language is ever abstract (at the very least it sings), tho sometimes
it is more or less referentially “clean”. More or less is key here for me. You
know how, famously, modernity is characterized by the reader having to do some
work in order to get anything from poetry? That’s definitely true in this case.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">OK.
Example time. The book opens with “Round”, which I take in the sense of a
musical round, tho it isn’t one exactly:<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">form intends intense verse crease to
tense form tense vent verse tone<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">verse form crease form vent tends to
crease to tends form form vent<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">form crease tone verse tense<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">crease vent vent tends inverse tone
into verse form verse verse form<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">tone tense in<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">tone vent crease<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">verse tone tends verse tends tends
tense verse crease form<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and
so on for another 6 pages. This sings. It can also be parsed, e.g. I believe
everyone who reads this will be able to parse “form intends intense verse”, and
at least some readers will be able to see how this is indeed the case for
“Round”. [In some ways this poem reminds me of a kind of softened gentled Harsh
Noise Wall in effect]<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Repeating
that I’m not a programmer I find the program that precedes and generates this
poem, as well as all the others, worth reading. Personally, I consider the
programs poems in themselves. <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Given
that the programs are all short, <i style="mso-bidi-font-style: normal;">#!
(shebang)</i> manages to generate a remarkable range of effects. “I Am That I
Am” (I didn’t mention Ein Sof without prompting!) takes all the vowels and
permutes them into what I assume are all possible combinations:<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">AEIOU EAIOU EIAOU … <o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">One
can think of the “I” in the title being either language or God or both at the
same time. Again, I also think of music, and how many variations are possible
given the few notes of the western scale (we haven’t exhausted them yet!), and
this leads me to think of how, with so few letters at our command, “there is no
end to the writing of books”, to quote Ecclesiastes. Or, if we are to think in
terms of big C creation, how many substances have been created by a finite and
not large number of elements …<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“Through
the Park” almost tells a story, by rearranging a set number of phrases. Here’s
the program (I believe you will see why I think of the programs as poetry):<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">#!/usr/bin/python<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"># Through the Park<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"># A 1k story generator (excluding
comments) that uses only elision<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"># Nick Montfort, 2008-2009<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"># Thanks to Michael Mateas & Beth
Cardier<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"># JavaScript version:
http://nickm.com/poems/through_the_park.html<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">import random, textwrap<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">text = ["The girl grins and grabs
a granola bar",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The girl puts on a slutty
dress",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The girl sets off through the
park",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A wolf whistle sounds",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The girl turns to smile and
wink",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The muscular man paces the
girl",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"Chatter and compliments
cajole",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The man makes a fist behind his
back",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A wildflower nods, tightly
gripped",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A snatch of song reminds the girl
of her grandmother",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The man and girl exchange a
knowing glance",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The two circle",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"Laughter booms",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A giggle weaves through the
air",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The man's breathing
quickens",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A lamp above fails to come
on",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The man dashes, leaving pretense
behind",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"Pigeons scatter",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The girl runs",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The man's there first",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"Things are forgotten in
carelessness",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The girl's bag lies open",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"Pairs of people relax after
journeys and work",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"The park's green is gray",<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">"A patrol car's siren
chirps"]<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">while len(text) > 8:<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>text.remove(random.choice(text))<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">print "\nThrough the
Park\n\n" + \<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>textwrap.fill(". ... ".join(text) + ".", 80)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">This
should give some sense of the range, the types of poems Montfort generates in <i style="mso-bidi-font-style: normal;">#! (shebang)</i>, and how they are
generated. I think this is a lovely book, with as much imagination etc etc (all
those “attributes” of “poetry” that we might still expect no matter the “kind”
of “poetry”) that can be found in more traditionally written books. Good stuff.
<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="MsoNormal">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">John Bloomberg-Rissman has maybe six months left on <i>In the House of the Hangman</i>, the third section of his maybe life mashup called <i>Zeitgeist Spam</i>. The first two volumes have been published: <i>No Sounds of My Own Making</i> (Leafe Press, 2007), and <i>Flux, Clot & Froth</i> (Meritage Press 2010). His tentative title for the fourth section, which he is already planning, is <i>The Giant Notebook of Harsh Noise Wall Bejeweled Barrettes Anything Sumak Kawsay OK The Orphaned Zag Kledonomancy Tome</i>. In addition to his Zeitgeist Spam project, the main other things on his plate right now are reading proofs for an anthology which he is editing with Jerome Rothenberg, titled <i>Barbaric Vast & Wild: An Anthology of Outside & Subterranean Poetry</i>, due out from Black Widow Press sometime early in 2015, and a collab with the visual collages of Lynn Behrendt, which will hopefully be published by the end of this year. He's also learning to play the viola and he blogs at <a href="http://www.johnbr.com/"><span style="color: #0000e9;">www.johnbr.com</span></a> (Zeitgeist Spam). </span><o:p></o:p></div>
</div>
<br />
<div class="MsoNormal">
</div>
<br />
<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="font-family: Arial;"><o:p><br /></o:p></span></div>
<div style="margin: 0px;">
<span style="font-family: Arial;"><o:p><br /></o:p></span></div>
<div style="margin: 0px;">
<span style="font-family: Arial;"><o:p><br /></o:p></span></div>
</div>
</div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-72435307419459378522014-12-07T21:50:00.000-08:002014-12-08T20:17:56.262-08:00#! by NICK MONTFORT (2)<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">EILEEN
TABIOS Engages<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">#!</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> by Nick
Montfort<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">(Counterpath,
Denver, 2014)<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
poems in Nick Montort’s <i>#!</i> (apparently pronounced as “shebang”—how cool is that!)
are, to quote the poet, “of computer programs followed by output from running
these programs. Some of them use randomness (strictly speaking,
pseudorandomness) and in one case a program’s output depends on the current
time. In these cases, running the program yourself will very likely produce
different results. The programs are in Python (Guido van Rossum, 1991), Ruby
(Yukihiro Matsumoto, 1995), and Perl (Larry Wall, 1987).”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">First,
one must praise the design of the book (no book designer is identified but,
nonetheless, kudos to that Anonymous).<span style="mso-spacerun: yes;">
</span>The programs are presented on black pages.<span style="mso-spacerun: yes;"> </span>The poems are presented (as usual) as black
text against white pages.<span style="mso-spacerun: yes;"> </span>It’s effective
in delineation and exemplifies an inviting format.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Nonetheless,
how does one “review” such a project?<span style="mso-spacerun: yes;"> </span>As
it turns out, easier than I anticipated.<span style="mso-spacerun: yes;">
</span>An ease facilitated by the poet’s underlying wit. Montfort’s wit,
indeed, is a strong undergirding for the project.<span style="mso-spacerun: yes;"> </span>For example, here is the poem “I AM THAT I
AM” <i><span style="font-size: x-small;">(Click on all images to enlarge)</span></i>:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7vTVhl50w1jBFtVPBICfk7rwS8SYgQoyrQ9yLWgd3NAXiuo7stpeZga4rus2RYMak6tclaXUcABcmmnEKd0LBeK1QPf3SwZkcItK-AVP7Lv0XT0CRjhBIJY42smu_ByCam3P3RzRjDw/s1600/I+AM.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7vTVhl50w1jBFtVPBICfk7rwS8SYgQoyrQ9yLWgd3NAXiuo7stpeZga4rus2RYMak6tclaXUcABcmmnEKd0LBeK1QPf3SwZkcItK-AVP7Lv0XT0CRjhBIJY42smu_ByCam3P3RzRjDw/s1600/I+AM.JPG" height="320" width="240" /></a></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I
assume that the result presents all possible permutations of the order of the
five vowels a, e, i, o, u.<span style="mso-spacerun: yes;"> </span>The
combination with title that presents a narrative context and the manifested
permutations serves to present an effective koan.<span style="mso-spacerun: yes;"> </span>And it is also a visual koan in that the result
is presented into a rectangular block (rather than, say, a list); such evokes a
body (and not just a thought), which is certainly relevant to the am-ness of an
“I.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The
wit, as you can see, is often manifested in the titling of the poems (and I
wish there was more information about how the poems came to be titled).<span style="mso-spacerun: yes;"> </span>In addition to “I AM THAT I AM,” there is
also the poem “All the names of God.”<span style="mso-spacerun: yes;">
</span>Here’s the beginning page featuring this poem before it goes on in
similar vein for another 12 pages in the book:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRZ2DCPHxZOgGV4U8k8cXg9noO_B1Q9T7IBLgl_k31-U9WeWXHFbHpfv2HTKxD7S3PMbL72OwSbawRMLrVa3Nb8au2k-uyNyym9R38srt1575rhCuvLY5NocxGud-hbFniFjaZ29-B5s/s1600/ALL+NAMES+OF+GOD.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRZ2DCPHxZOgGV4U8k8cXg9noO_B1Q9T7IBLgl_k31-U9WeWXHFbHpfv2HTKxD7S3PMbL72OwSbawRMLrVa3Nb8au2k-uyNyym9R38srt1575rhCuvLY5NocxGud-hbFniFjaZ29-B5s/s1600/ALL+NAMES+OF+GOD.JPG" height="320" width="240" /></a></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">But
though the poem required 13 pages to present, the poem is not presented in its
entirety; it ends with an ellipsis to hearken continuation.<span style="mso-spacerun: yes;"> </span>I confess I would not have appreciated (as
much) “All the names of God” were it not for Craig Dworkin’s very useful
Foreword.<span style="mso-spacerun: yes;"> </span>He wrote, in part,<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“From a new twist on nature poetry to
austerely patterned visual poetry to a hilarious riff on conceptual writing
(Claude Closky’s <i style="mso-bidi-font-style: normal;">First Thousand Numbers
Classified in Alphabetical Order</i> remediated for Roman numerals), Nick
Montfort’s<i style="mso-bidi-font-style: normal;"> #!</i> leverages elegantly
minimal code into expansive literary creations. With rules and constrains
informed by the OuLiPo, <i style="mso-bidi-font-style: normal;">#! </i>presents the
linguistic potential and its literary permutations enface, but this instant
classic of creative computing sets itself apart from most soi-distant “digital
poetry” by the degree to which it implicitly interrogates the processor
capabilities, memory limits, and computational specifics of the machines
required to move from its abstract engines to their particular outputs.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Moreover, Montfort folds these
technical contingencies back into the thematics of his poems with brilliant
wit. In the environment of the console, for example, “All the Names of God”
will crash long before completing its task—with unavoidable </span>theological implications.”</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">“RUBY
YACHT,” on the other hand, seems to be an occasional poem—a poem created for
some collection entitled “The Ill-Tempered Rubyist.”<span style="mso-spacerun: yes;"> </span>No need to comprehend the references
here.<span style="mso-spacerun: yes;"> </span>Go directly to the poem which
begins<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">amid the care<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and lose your air<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">better be wing<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">another there<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">a distant care<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">a loaf of ne’er<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">by logic dust<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and by the dare<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">a ruby there<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">an empty air<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">blaspheme the cup<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">and out of hair<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">In
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review.<span style="mso-spacerun: yes;"> </span>The poem “THROUGH THE PARK” initially grabbed me more than any of the other poems because the computer
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<span style="font-family: Times, Times New Roman, serif;">A wolf whistle
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The girl grins and grabs a granola
bar…. The girl turns to smile and wink…. A giggle weaves through the air…. The
man’s breathing quickens…. Pigeons scatter…. The man’s there first…. Things are
forgotten in carelessness…. The park’s green is gray…. A patrol car’s siren
chirps.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">By
coincidence or synchronicity, what I read as the approach in “THROUGH THE PARK”
is similar to one of my ongoing projects and a manuscript-in-progress <i>AMNESIA: Somebody’s
Memoir</i>.<span style="mso-spacerun: yes;"> </span><i>AMNESIA</i> is a book generated by
my “MURDER, DEATH AND RESURRECTION” project which is comprised of 1,146 lines;
its claim is that any combination of these lines, beginning with couplets to a
poem with the maximum 1,146 lines, is an effective poem.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">For
Montfort’s “THROUGH THE PARK,” I could conceive any combination of its 25 lines
to work in creating an effective poem.<span style="mso-spacerun: yes;">
</span>But that’s because the narrative in all 25 lines discernibly can be
related to the poem’s idea of “through the park.”<span style="mso-spacerun: yes;"> </span>(Ironically, I would
consider the overt narratives’ links to the theme to be its weakness.<span style="mso-spacerun: yes;"> </span>The challenge of randomness as applies to the
25 lines would seem to be bigger—if not more interesting—if some of the lines
didn’t actually <i style="mso-bidi-font-style: normal;">relate</i> (from an overt narrative standpoint) to the topic
as identified in the title.<span style="mso-spacerun: yes;"> </span>Nonetheless,
the poem is effective for the basis it presents.)<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Because
of the approach of “THROUGH THE PARK”, I thought to go my <i style="mso-bidi-font-style: normal;">AMNESIA</i> manuscript to see if there happens to be a poem with 25
lines.<span style="mso-spacerun: yes;"> </span>If such existed, I thought to
recombine those lines in the same way as was combined by Montfort’s poem.<span style="mso-spacerun: yes;"> </span>As it turned out, I found such a 25-line poem,
my “I Forgot the Language of Scars.”<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">So,
first, I decoded Montfort’s poem by numbering the raw material of 25 lines, and
then determining the order for each of the poem’s eight sections.<span style="mso-spacerun: yes;"> </span>The resulting constraint looks like this:<o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I
taped the page against the lamp post next to my desk, like so:<o:p></o:p></span></div>
</div>
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN04HZ-Uq4xXJYqYA3-UWGRHBnZcVMQyV6z_E51Ki3SrEDhzHgQCpJY40BrrIkeO1Bq_VC71uKe7WS_LAI0HK0hVTJHwxCb-X90ImWNhW2TxQ4_YyJWmE42AciYfc5562z4YShB0NBdTo/s1600/3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN04HZ-Uq4xXJYqYA3-UWGRHBnZcVMQyV6z_E51Ki3SrEDhzHgQCpJY40BrrIkeO1Bq_VC71uKe7WS_LAI0HK0hVTJHwxCb-X90ImWNhW2TxQ4_YyJWmE42AciYfc5562z4YShB0NBdTo/s1600/3.JPG" height="240" width="320" /></a></div>
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">At
this point, I should note that I am chortling to myself, loving the comparison
of my handwritten make-shift code on scratch paper with the more
impressive-looking code created by Montfort:</span><span style="font-family: Arial;"> </span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gqQaTjSNurXFpzYUIwhyphenhyphenJ-7IWVw1cv237RF_ZT4PpQUzhcbcUoEf6OKB529nEd3JpfLWas9yDFBuZmFa3RyOR-uA2jU5MQ2-i7ItHiEjafnsuyjamYWa-EKHIgDjIxApnDBjMcpfSDk/s1600/1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gqQaTjSNurXFpzYUIwhyphenhyphenJ-7IWVw1cv237RF_ZT4PpQUzhcbcUoEf6OKB529nEd3JpfLWas9yDFBuZmFa3RyOR-uA2jU5MQ2-i7ItHiEjafnsuyjamYWa-EKHIgDjIxApnDBjMcpfSDk/s1600/1.JPG" height="240" width="320" /></a></div>
<br />
<div>
</div>
<br />
<div style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
</div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Anyway,
I re-ordered my poem along the order of Montfort’s poem and the result is this
new poem I would title “THROUGH THE LANGUAGE OF SCARS.” The title obviously
heakens—and pays homage to—Montfort’s poem.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">My
original poem had utilized the format of each line being its own stanza.<span style="mso-spacerun: yes;"> </span>Thus, my “THROUGH THE LANGUAGE OF SCARS” is
as follows below.<span style="mso-spacerun: yes;"> </span>But what I also
noticed in Montfort’s poem is its use of the prose poem paragraph and the
ellipsis to divide between phrases (see above excerpt).<span style="mso-spacerun: yes;"> </span>Thus, I decided to see what happens if I
reconfigured my poem from single-line stanzas to the prose poem format (<b><a href="http://marshhawkpress.org/Tabios4.htm">a format which I happen to love</a></b>). <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">I ended up preferring the prose poem format to the
single-line stanzas. <span style="mso-spacerun: yes;"> </span>I
preferred the prose poem because, among other things, (1) I thought the
elongated spacing of the single-line stanza format slowed down the read of the
poem to a pace I’d rather was more quick, and (2) visually, I found the
compressed prose poem paragraph more immediate in grabbing my attention as
reader. You, dear Reader, can decide for yourself which format you prefer as I
present both versions below.<span style="mso-spacerun: yes;"> </span>What I can also share is that going through this process made me reconsider the entirety of the <i style="mso-bidi-font-style: normal;">AMNESIA</i> manuscript—specifically, how not
all of its poems may best be suited by the single-line stanza format.<span style="mso-spacerun: yes;"> </span>For this result, I deeply thank Nick
Montfort.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Among
the many good reasons for a poem is to spur engaged, creative thought.<span style="mso-spacerun: yes;"> </span>By that high standard, <i style="mso-bidi-font-style: normal;">#!</i> deserves mucho shebangs! But what's going on here, of course, is more than linguistic creativity. That Montfort can create a poem the way he does, and that I can create the poems below as I do, interrogate the very soul of language: <i><strike>What</strike> Who is meaning?</i></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">**********<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Helvetica;">THROUGH THE LANGUAGE
OF SCARS<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: Helvetica;">—for Nick Montfort who
generated the root inspiration, “THROUGH THE PARK”<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[1]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot part of mortality’s significance is that wars end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the damp eyes were mine.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the tea leaves I brought back from a tiny stall in Kathmandu.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the starving Arab boy who wove a rug now hanging above the Spanish
Queen’s bed.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot lurking forever in a red telephone booth to look up at rain and your
window.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my son flinging his leather jacket over a puddle intersecting with my
path across Bluemner Street.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot losing the language of scars—we shook lanterns to bestow frankincense
and myrrh.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[2]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot part of mortality’s significance is that wars end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot that, sometimes, the world should be veiled.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot lurking forever in a red telephone booth to look up at rain and your
window.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the neighbor hiding behind a curtain as he wrote a haiku about a thief
tangoing with his shadow when the moon appeared.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the Jessamine wafting over the paddock.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the joy of eliding the vocabulary found in margins.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[3]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot to be human is to be forgiven.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the pillow still shielding a stray tooth because someone believed in a
fairy tale.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the damp eyes were mine.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the charm bracelet that required only one charm.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the boy grinning as he folded silver foil into an eagle.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the neighbor hiding behind a curtain as he wrote a haiku about a thief
tangoing with his shadow when the moon appeared.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot losing the language of scars—we shook lanterns to bestow frankincense
and myrrh.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the Jessamine wafting over the paddock.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[4]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the charm bracelet that required only one charm.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the boy grinning as he folded silver foil into an eagle.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot dew lingering on a carnation corsage left on a bench.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the “Ideal Violet” whose petals blush during the lemonade days of
summer.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot lurking forever in a red telephone booth to look up at rain and your
window.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my son flinging his leather jacket over a puddle intersecting with my
path across Bluemner Street.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot losing the language of scars—we shook lanterns to bestow frankincense
and myrrh.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the Jessamine wafting over the paddock.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[5]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot to be human is to be forgiven.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot part of mortality’s significance is that wars end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot that if you call an island “Isla Mujeres,” half of the population will
be anguished.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the damp eyes were mine.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the tea leaves I brought back from a tiny stall in Kathmandu.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot saying things I’d never said before.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the starving Arab boy who wove a rug now hanging above the Spanish
Queen’s bed.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[6]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot a snowfall of daisies whose mottles under moonlight twinkled like a
saddhu’s eyes.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot to be human is to be forgiven.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot part of mortality’s significance is that wars end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the pillow still shielding a stray tooth because someone believed in a
fairy tale.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the charm bracelet that required only one charm.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot saying things I’d never said before.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the starving Arab boy who wove a rug now hanging above the Spanish
Queen’s bed.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot that, sometimes, the world should be veiled.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the “Ideal Violet” whose petals blush during the lemonade days of
summer.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot lurking forever in a red telephone booth to look up at rain and your
window.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[7]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot to be human is to be forgiven.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the pillow still shielding a stray tooth because someone believed in a
fairy tale.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot that if you call an island “Isla Mujeres,” half of the population will
be anguished.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the tea leaves I brought back from a tiny stall in Kathmandu.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the starving Arab boy who wove a rug now hanging above the Spanish
Queen’s bed.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the “Ideal Violet” whose petals blush during the lemonade days of
summer.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the neighbor hiding behind a curtain as he wrote a haiku about a thief
tangoing with his shadow when the moon appeared.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot you spilling vermouth on the sky.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[8]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the charm bracelet that required only one charm.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the tea leaves I brought back from a tiny stall in Kathmandu.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot saying things I’d never said before.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot that, sometimes, the world should be veiled.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my son flinging his leather jacket over a puddle intersecting with my
path across Bluemner Street.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot my sympathy for tender hours.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">**********<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"><o:p>Here is the prose poem version, which I prefer:</o:p></span><span style="font-family: Arial;"> </span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Helvetica;">THROUGH THE LANGUAGE
OF SCARS<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-bidi-font-family: Helvetica;">—for Nick Montfort who
generated the root inspiration, “THROUGH THE PARK”<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[1]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent…. I forgot
the taste of your mouth was song of licorice…. I forgot part of mortality’s
significance is that wars end…. I forgot the damp eyes were mine…. I forgot the
tea leaves I brought back from a tiny stall in Kathmandu…. I forgot the
starving Arab boy who wove a rug now hanging above the Spanish Queen’s bed…. I
forgot popcorn spilt on the floor of a darkened movie theater—when butter
gleamed, the dispensable became nuggets of gold…. I forgot lurking forever in a
red telephone booth to look up at rain and your window…. I forgot my son
flinging his leather jacket over a puddle intersecting with my path across
Bluemner Street…. I forgot my sympathy for tender hours…. I forgot losing the
language of scars—we shook lanterns to bestow frankincense and myrrh.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[2]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent…. I forgot
part of mortality’s significance is that wars end…. I forgot that, sometimes,
the world should be veiled…. I forgot popcorn spilt on the floor of a darkened
movie theater—when butter gleamed, the dispensable became nuggets of gold…. I
forgot lurking forever in a red telephone booth to look up at rain and your
window…. I forgot the neighbor hiding behind a curtain as he wrote a haiku
about a thief tangoing with his shadow when the moon appeared…. I forgot my
sympathy for tender hours…. I forgot the Jessamine wafting over the paddock…. I
forgot the joy of eliding the vocabulary found in margins.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[3]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot to be human is to be forgiven…. I forgot the pillow still shielding a
stray tooth because someone believed in a fairy tale…. I forgot the damp eyes
were mine…. I forgot the charm bracelet that required only one charm…. I forgot
the boy grinning as he folded silver foil into an eagle…. I forgot the neighbor
hiding behind a curtain as he wrote a haiku about a thief tangoing with his
shadow when the moon appeared…. I forgot my sympathy for tender hours…. I
forgot losing the language of scars—we shook lanterns to bestow frankincense
and myrrh…. I forgot the Jessamine wafting over the paddock.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[4]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the charm bracelet that required only one charm…. I forgot the boy
grinning as he folded silver foil into an eagle…. I forgot popcorn spilt on the
floor of a darkened movie theater—when butter gleamed, the dispensable became
nuggets of gold…. I forgot dew lingering on a carnation corsage left on a
bench…. I forgot the “Ideal Violet” whose petals blush during the lemonade days
of summer…. I forgot lurking forever in a red telephone booth to look up at
rain and your window…. I forgot my son flinging his leather jacket over a
puddle intersecting with my path across Bluemner Street…. I forgot losing the
language of scars—we shook lanterns to bestow frankincense and myrrh…. I forgot
the Jessamine wafting over the paddock.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[5]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot releasing breath to describe milk transformed by your scent…. I forgot
the taste of your mouth was song of licorice…. I forgot to be human is to be
forgiven…. I forgot part of mortality’s significance is that wars end…. I
forgot that if you call an island “Isla Mujeres,” half of the population will
be anguished…. I forgot the damp eyes were mine…. I forgot the tea leaves I
brought back from a tiny stall in Kathmandu…. I forgot saying things I’d never
said before…. I forgot the starving Arab boy who wove a rug now hanging above
the Spanish Queen’s bed…. I forgot popcorn spilt on the floor of a darkened
movie theater—when butter gleamed, the dispensable became nuggets of gold.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[6]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot a snowfall of daisies whose mottles under moonlight twinkled like a
saddhu’s eyes…. I forgot to be human is to be forgiven…. I forgot part of
mortality’s significance is that wars end…. I forgot the pillow still shielding
a stray tooth because someone believed in a fairy tale…. I forgot the charm
bracelet that required only one charm…. I forgot saying things I’d never said
before…. I forgot the starving Arab boy who wove a rug now hanging above the
Spanish Queen’s bed…. I forgot that, sometimes, the world should be veiled…. I
forgot the “Ideal Violet” whose petals blush during the lemonade days of
summer…. I forgot lurking forever in a red telephone booth to look up at rain
and your window…. I forgot my sympathy for tender hours.<o:p></o:p></span></div>
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<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[7]<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice…. I forgot to be human is
to be forgiven…. I forgot the pillow still shielding a stray tooth because
someone believed in a fairy tale…. I forgot that if you call an island “Isla
Mujeres,” half of the population will be anguished…. I forgot the tea leaves I
brought back from a tiny stall in Kathmandu…. I forgot the starving Arab boy
who wove a rug now hanging above the Spanish Queen’s bed…. I forgot the “Ideal
Violet” whose petals blush during the lemonade days of summer…. I forgot the
neighbor hiding behind a curtain as he wrote a haiku about a thief tangoing
with his shadow when the moon appeared…. I forgot my sympathy for tender
hours…. I forgot you spilling vermouth on the sky.<o:p></o:p></span></div>
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<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">[8]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-family: Helvetica;">I
forgot the taste of your mouth was song of licorice…. I forgot the charm
bracelet that required only one charm…. I forgot the tea leaves I brought back
from a tiny stall in Kathmandu…. I forgot saying things I’d never said before….
I forgot that, sometimes, the world should be veiled…. I forgot popcorn spilt
on the floor of a darkened movie theater—when butter gleamed, the dispensable
became nuggets of gold…. I forgot my son flinging his leather jacket over a
puddle intersecting with my path across Bluemner Street…. I forgot my sympathy
for tender hours.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">*****</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-90914022677430033882014-12-07T21:45:00.000-08:002014-12-08T00:00:25.078-08:00GEMOLOGY by MEGAN KAMINSKI<div class="MsoNoSpacing">
<span style="font-family: Arial;">BILL SCALIA Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Gemology</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Megan
Kaminski<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(Little Red Leaves Textile Editions, Houston, TX, 2012)<o:p></o:p></span></i></div>
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<span style="font-family: Arial;">The allegorical framework
of Megan Kaminski’s wonderful chapbook <i style="mso-bidi-font-style: normal;">Gemology</i>
is the theme of an informed guide leading a mortal through a kind of
labyrinth.<span style="mso-spacerun: yes;"> </span>In this case the guide is a
cab driver who maintains his silence; the mortal is the poet in the back seat,
watching the world go past.<span style="mso-spacerun: yes;"> </span>The tension
in this structure is clear in the first poem, as the poet seeks to communicate
with the driver:<o:p></o:p></span></div>
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<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">we’ll
wrangle sweet nothings through that<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">window
if you like it’s only plexiglass<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">my
dear plastic really that keeps us apart<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">just
split the avenue open vivisect districts<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Throughout the book we
see Kaminski’s skill in making dual utilization of her images: the cab is
opening avenues and vivisecting districts, just as she wishes the plexiglass
window to open an “avenue” between herself and her guide, and vivisect (a
pitch-perfect and tone-perfect word; the world of Kaminski’s vision is a living
being) the district between them.<span style="mso-spacerun: yes;"> </span>Thus
the tension is established from the start: the lack of communication between
guide and passenger in the context of the moving world as seen from the point
of view of the (isolated) back seat of the taxi.<span style="mso-spacerun: yes;"> </span>Kaminski’s participle usage makes it clear
that the city is moving past the poet.<span style="mso-spacerun: yes;">
</span>The poems in the book work to describe not only that movement, but the
friction, the tension between the poet and the city, effects.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Kaminski makes this
tension work by defining the poet in couplets that open five of the book’s thirteen
poems:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>Name me perception / name me economy (poem #2)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">Name
me modesty / name me vexation (poem #6)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">Name
me transient / name me obligatory (poem #8)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">Name
me hindsight / name me plenty (poem #9)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
<span style="font-family: Arial;">Name
me princess / or lost wages (poem #12)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">I render these couplets
out of context to make a point about the relation between the terms by which
the poet names herself:<span style="mso-spacerun: yes;"> </span>the terms of
each couplet are not oppositional, nor are they strictly unrelated; rather,
they are cognate in the sense of their touching at the borders of connotation
in the context of the poems they introduce.<span style="mso-spacerun: yes;">
</span>For example, poem #2 highlights the poet’s perception of the city
through which she passes; also, these perceptions are rendered in brief, but
precise, visual images (“ink-soaked walls erase each night / cobalt blue bone
white gold leaf / dissolved on tongues”); the economy of the poet’s vision is a
necessary characteristic of her perception.<span style="mso-spacerun: yes;">
</span>Likewise, poem #6 utilizes a perception of the city as body (“neon gilds
faces”; “asphalt eyes knee deep”), a cognate of the poet’s body (“my lips spell
treason / carry seed longings”); the physical city, and the physical body, is
the ground of semantic transference of these “naming” terms.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">The naming couplets set
up the twofold movement of the work, through the city and throughout the body
and mind.<span style="mso-spacerun: yes;"> </span>The poet thus occupies two
positions: inside the city, a part of the neighborhoods through which she is
guided, and outside the experience of the city.<span style="mso-spacerun: yes;">
</span>But for Kaminski this is no dichotomy of spirit or mind; the two
perspectives are connected, interwoven, to the point that in poem #5 the city
becomes a second skin (“silk feathers curling horns / gold chains old rags
smelling of animal / I put on my city / buildings cafes shops / soft text keening”).<span style="mso-spacerun: yes;"> </span>This “soft text” is the <i style="mso-bidi-font-style: normal;">langue</i> that underlies the city (in a very real sense, in poem #5:
“alphabet buried beneath city / concrete-riverbed-city”), the <i style="mso-bidi-font-style: normal;">langue</i> underneath the poet’s interest in
<i style="mso-bidi-font-style: normal;">parole</i> (literally, <i style="mso-bidi-font-style: normal;">speaking</i>: “tether words to concerns,” in
poem #8).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Perhaps the most
evocative aspect of the naming couplets is the elision of the subject.<span style="mso-spacerun: yes;"> </span>Who is being asked to do the naming?<span style="mso-spacerun: yes;"> </span>While obvious these statements are aimed for
the reader, I suspect they are, within the context of the whole work, aimed at
the driver / guide (again, suggestive of the inward / outward movement of the
text).<span style="mso-spacerun: yes;"> </span>One thinks of Virgil guiding
Dante through the Inferno, or of Anchises guiding Aeneas through the
Underworld.<span style="mso-spacerun: yes;"> </span>In both those texts, the
poet / hero sees only what he is shown by his knowing guide, who always knows
more than the poet and is therefore in a position to offer a vision of the
afterlife that is both authentic (it isn’t an exploration of discovery for the
guide; he knows the territory well) as well as instructive.<span style="mso-spacerun: yes;"> </span>Such is the effect of Kaminski’s book.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Gemology</i>
is one of the most satisfying books I’ve read in a while, and I am happy to
have been introduced to this poet.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br />
<div class="MsoNoSpacing">
*****<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bill Scalia holds a PhD in American Literature from Louisiana State University.<span style="mso-spacerun: yes;"> </span>His most recent essays include “<span style="mso-bidi-font-weight: bold;">Toward a Semiotics of Poetry and Film: Meaning-Making and Extra-Linguistic Signification” (in <i style="mso-bidi-font-style: normal;">Literature / Film Quarterly</i>) and “Bergman’s Trilogy of Faith and <i style="mso-bidi-font-style: normal;">Persona</i>: Faith and Visual Narrative” in the anthology <i style="mso-bidi-font-style: normal;">Faith</i> <i style="mso-bidi-font-style: normal;">and Spirituality in Masters of World Cinema</i> (Cambridge Scholars Press, 2008).<span style="mso-spacerun: yes;"> </span></span>Bill teaches writing and literature at St Mary’s Seminary and University in Baltimore, MD.</span><br />
<span style="font-family: Arial;"><br /></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-41342521504370835082014-12-07T21:40:00.000-08:002014-12-08T16:09:16.924-08:00BOMBYONDER by REB LIVINGSTON<div class="MsoNoSpacing">
<span style="font-family: Arial;">EILEEN TABIOS Engages<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Bombyonder</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Reb
Livingston<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(Bitter Cherry Books, Atlanta, GA, 2014)<o:p></o:p></span></i></div>
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<span style="font-family: Arial;">I kept thinking of
chapter parataxis as I read through <i style="mso-bidi-font-style: normal;">Bombyonder</i>.<span style="mso-spacerun: yes;"> </span>That, alone, would make me argue this is a
poetry book versus novel.<span style="mso-spacerun: yes;"> </span>Except that
the book transparently offers a narrative frame—e.g., its first paragraph: <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial;">“Some
kind of war happened at one time or another and continued for quite some time
to come.<span style="mso-spacerun: yes;"> </span>There had to be an end to it,
sometime, but when that time would be I couldn’t say.<span style="mso-spacerun: yes;"> </span>What I could say was that historians from
another time, along with the archivists, archaeologists and scuba divers from
that same time discovered some kind of bomb, one of the kinds of bombs invented
by my father, a bomb he slowly worked on for most of his existence to ensure he
maintained an existence after he was long gone.<span style="mso-spacerun: yes;">
</span>Once this discovery was made, my life was never recorded the same.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">I want to say: the above
excerpt (like the rest of the book) strikes me as the kind of stuff that can be
written by someone who doesn’t suffer fools well.</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;">But that’s just me having fun.</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;">What I should note is that my focus in genre stems from hearing stuff about the work's genre</span><span style="font-family: Arial;">—</span><span style="font-family: Arial;">what is it?</span><span style="font-family: Arial;">—</span><span style="font-family: Arial;">prior</span><span style="font-family: Arial;"> to its release and before I came to read it.</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;">One of the blurbers, Lindsay Hill, even says
it is “its own genre.”</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;">But actually, I
easily recognize a genre for this book.</span><span style="font-family: Arial;">
</span><span style="font-family: Arial;">It’s the </span><i style="font-family: Arial;">howl</i><span style="font-family: Arial;">.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I sense the howl because
one of the book’s biggest strengths is voice (yep, <i style="mso-bidi-font-style: normal;">voice</i> the old-fashioned way).<span style="mso-spacerun: yes;">
</span>The strength of the voice is not that it’s a howl but that it stays
strong and consistent from beginning to end—indeed, it’s not just consistent
but ratchets up in intensity as one goes deeper into the book.<span style="mso-spacerun: yes;"> </span>The author was “on”—in that space of the
author being the pen rather than the one wielding the pen for words that
alchemized their own urgency for existence—as she wrote out this project—but
she was on for an entire 343 pages and that’s impressive.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Howl.<span style="mso-spacerun: yes;"> </span>Wilderness.<span style="mso-spacerun: yes;">
</span>More actually, <i style="mso-bidi-font-style: normal;">wild</i>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">I’ve said elsewhere I
think <b><a href="http://www.arduity.com/essays/tabiosinterview.html">the human race is manifesting suicide</a></b>.<span style="mso-spacerun: yes;"> </span>This isn’t to say there’ll be a total
wipe-out of existence.<span style="mso-spacerun: yes;"> </span>But existence as
we know it is doomed and there will be a wipe-out and <i style="mso-bidi-font-style: normal;">Bombyonder</i> can be an example of the aftermath.<o:p></o:p></span></div>
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<span style="font-family: Arial;">As aftermath, the <i style="mso-bidi-font-style: normal;">immediate</i> aftermath.<span style="mso-spacerun: yes;"> </span>There is a future beyond—in the yonder of—<i style="mso-bidi-font-style: normal;">Bombyonder’s</i> particular prediction.<span style="mso-spacerun: yes;"> </span>What <i style="mso-bidi-font-style: normal;">Bombyonder</i>
says about it is the only thing one can say <i style="mso-bidi-font-style: normal;">honestly</i>
(unless one wants to push one’s self forward as a prophet, seer, the Pope et al
and fortunately Reb Livingston shows no desire for such): the future’s<i style="mso-bidi-font-style: normal;"> eyes are bloodshot</i>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Livingston, as author,
earns the adjective “visionary” by citing the “spirals of time” related to what
happens as humanity rejiggers itself into the post of the current path which is
not sustainable.<span style="mso-spacerun: yes;"> </span>Visionary in that the
way forward is not just straight but goes back and forth: memory (not to be
confused with past), is also raw material.<span style="mso-spacerun: yes;">
</span>The future is the future, though, precisely because it’s unknown.<span style="mso-spacerun: yes;"> </span>So I call <i style="mso-bidi-font-style: normal;">Bombyonder
</i>honest for not pretending to predict anything besides that <i style="mso-bidi-font-style: normal;">its eyes are bloodshot</i>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Another critic could do
marvels with reviewing this book by throwing all the European philosophers at
it.<span style="mso-spacerun: yes;"> </span>I won’t go there—I will just say
that I like the book a lot for its unique depiction of what humans have called
“hell” while still offering the possibility for redemption. In this sense, the
book is both (1) experimental, and (2) not “experimental” but rather makes
old-fashioned <i style="mso-bidi-font-style: normal;">fresh</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Maybe I was wrong in the
first paragraph.<span style="mso-spacerun: yes;"> </span>Because the prior
paragraph shows I’m reading the book as a novel—as a story—after all.<span style="mso-spacerun: yes;"> </span>I don’t think I’m revealing a spoiler to say
that Oedipus arises in the book’s last chapter.<span style="mso-spacerun: yes;">
</span>As the canon for human knowledge, <b><a href="http://en.wikipedia.org/wiki/Oedipus">Wikipedia</a></b>, notes:<o:p></o:p></span></div>
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<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="color: #1c1c1c; font-family: Arial;">“Oedipus represents … the flawed nature of humanity and an
individual's role in the course of destiny in a harsh universe.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Or maybe I wasn’t wrong
in the first paragraph.<span style="mso-spacerun: yes;"> </span>Because <i style="mso-bidi-font-style: normal;">Bombyonder</i>, as story, is also about
something else besides its narrative.<span style="mso-spacerun: yes;">
</span>Which is to say, ultimately it’s up to you what this book is and why
not?!<span style="mso-spacerun: yes;"> </span>Oedipus rises again, albeit more
muscled by experience, to remind us all that we all have agency in defining
life post bomb (with “bomb” here not just a bomb but a metaphor for all sorts
of destruction).<span style="mso-spacerun: yes;"> </span>So let’s not close
those bloodshot eyes.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Bombyonder</span></i><span style="font-family: Arial;">—whatever
its genre is, it’s a book that had to be written and we’re fortunate it was
written by a poet attuned to the many marvelous possibilities of language.<span style="mso-spacerun: yes;"> </span>Let me end with this excerpt from a chapter
entitled “Introduction to Terror”—whose carefully crafted sentences show, among
other things, how philosophy need not trump the rhythm of words:</span></div>
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<span style="font-family: Arial;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in; text-indent: .5in;">
<span style="font-family: Arial;"><i>We invented forgetting millions ago because we
thought it was possible, more attainable than flying, turning invisible or
forgiving the ones who wronged us. At least we didn’t go so far as to pretend
we could heal. At least we should be credited with that.<o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<span style="font-family: Arial;"><i><span style="mso-tab-count: 1;"> </span>Forgetting was not disappearing, it
was burial and after enough time passed what was buried again began to
chemically break down, parts disintegrated, what was buried changed, sometimes
melding with its surroundings, sometimes poisoning. Sometimes something new
would sprout up from it and that could very well be anything but it was always
unexpected. The more we buried, the more our forgetting accumulated, the deeper
it went, millions of years deep, perhaps more, we don’t know how many layers it
goes. If we did, we forgot. What we know now is that no matter how decayed,
there are always remnants and the remnants are never just remnants—they’re the
Styrofoam of the soul.</i><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNoSpacing">
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<span style="font-family: Arial, Helvetica, sans-serif;">Eileen Tabios reveals something about herself in <i><b><a href="http://www.arduity.com/essays/tabiosinterview.html">ARDUITY</a></b></i>'S interview about what's hard about her poetry. </span><span style="font-family: Arial, Helvetica, sans-serif;">Her just-released poetry collection, </span><i style="font-family: Arial, Helvetica, sans-serif;"><b><a href="http://marshhawkpress.org/Tabios6.html">SUN STIGMATA (Sculpture Poems)</a></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, received a review by </span><b style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title">Amazon Hall of Famer reviewer Grady Harp</a></b><span style="font-family: Arial, Helvetica, sans-serif;">. Due out in 2015 will be her second "Collected Poems" project; while her first <i><b><a href="http://marshhawkpress.org/Tabios4.htm">THE THORN ROSARY</a></b></i> was focused on the prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or catalog poem form. More information at <b><a href="http://eileenrtabios.com/">http://eileenrtabios.com</a></b> </span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-21792742271322476892014-12-07T21:35:00.000-08:002014-12-08T00:00:05.324-08:00I-FORMATION BOOK 2 by ANNE GORRICK<div class="MsoNoSpacing">
<span style="font-family: Arial;">ALLEN BRAMHALL Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">I-Formation Book
2</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Anne Gorrick<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">(Shearsman Books, Exeter,
U.K, 2012)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">I-Formation by Anne Gorrick, Books 1 and 2<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Or I manage to accept the new and wonder<o:p></o:p></span></b></div>
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<span style="font-family: Arial;">I reviewed Book 1 of <i style="mso-bidi-font-style: normal;">I-Formation</i> on <i><b><a href="http://galatearesurrection15.blogspot.com/2010/12/i-formation-book-1-by-anne-gorrick-1.html">Galatea Resurrects #15</a></b></i>.
I mention this because I have felt the mist of having got it wrong. As I look
at the review for the first time since I dashed it off to ET (sic), it hits
points that I consider valid. No wrong answers anyway, just trying to give my
impressions in real time. I will speak more, then, about Book 2. Book 2 was
published two years after book 1, in 2012.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Book 2 carries on from
Book 1 in terms of format and style. Dense packets of words spread varyingly
across the page. This is non-linear narrative. As such, I find myself invited
to skip about rather than read straight thru. One notes an allusive quality in
the writing, personal references, that I know I am missing on <i style="mso-bidi-font-style: normal;">that </i>level. This doesn’t impede the chime
and clang of word against word, but there’s a level here from which I am kept.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Many poems are dedicated
to specific people. Most of these people are unknown to me but I know some few,
and others I can infer are relations of Anne’s. Furthermore, an evocation of
where Anne lives comes thru. Anne Gorrick’s neighbourhood: physical,
intellectual, emotional.<o:p></o:p></span></div>
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<span style="font-family: Arial;">I do not (yet) understand
the structure of these works, the combined <i style="mso-bidi-font-style: normal;">I-Formations.
</i>I think Robert Duncan’s wind-ranging field plays here, tho the walls of
Gorrick’s sections seem a little less permeable than Duncan’s. Nonetheless,
there is a daily and timely necessity to the writing.<o:p></o:p></span></div>
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<span style="font-family: Arial;">As I read Gorrick’s work,
I have a similar experience as reading some of the modernist classics (oh shit,
I wrote modernist), id est: <i style="mso-bidi-font-style: normal;">The Cantos,
Maximus Poems, Helen in Egypt. </i>It basically goes: What the hell? What the
hell? Wow! Meaning is a pleasant little addition to the reading experience, and
moments when the strange syntax, orthographic anomalies, and reserved allusions
actually tender themselves towards my reception, these are veritable blossoms.
Or I manage to accept the new and wonder.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Oppose
this description<o:p></o:p></span></div>
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<span style="font-family: Arial;">Influence
is blue in the sky<o:p></o:p></span></div>
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<span style="font-family: Arial;">Half
visible thought<o:p></o:p></span></div>
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<span style="font-family: Arial;">is
blue against the grey decrease<o:p></o:p></span></div>
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<span style="font-family: Arial;">My
concurrence the text that you are nothing<o:p></o:p></span></div>
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<span style="font-family: Arial;">I
the bed am completely in China or skin<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I see a local envelopment
here, of a place and time. It feels like Gorrick’s getting her bearings, I mean
compass bearings and all.<o:p></o:p></span></div>
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<span style="font-family: Arial;">And then there are
phrases… Robert Grenier elucidated a path for me that extended the poem as
poem. He could write a poem with three words, almost nothing:<o:p></o:p></span></div>
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<span style="font-family: Arial;">sure
arm today<o:p></o:p></span></div>
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<span style="font-family: Arial;">Not that I could write
such like, but it was one more nail into the head propounding possibility. It was
a revelation for me at the time. And his book <i style="mso-bidi-font-style: normal;">Sentences</i> offered the possibilities of not just these little gems,
but of randomness, published as they were on unbound cards.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Gorrick isolates phrases,
potent word collectives. One could randomly collect phrases.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">“Eyelashes
crossed thyme on the family look”<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">“Her
canine since ice”<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">“Runes
mar the tree like stars”<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">“She
recants both:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Nacre
and nectar”<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">So we have a fascinating
if challenging project ongoing. Density and richness evident on every page.<o:p></o:p></span></div>
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<span style="font-family: Arial;">*****<o:p></o:p></span></div>
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<span style="font-family: Arial;">Allen
Bramhall maintains two blogs: his dither blog (<a href="http://tribute-airy-blogspot.com/"><span style="color: #0000e9;">tribute-airy-blogspot.com</span></a>)
and his poetry blog (<a href="http://simpletheories.blogspot.com/"><span style="color: #0000e9;">simpletheories.blogspot.com</span></a>). Both are
ratified by angels. Likewise his two volume poem, <i>Days Poem</i>(<a href="http://meritagepress.blogspot.com/2012/09/days-poem-by-allen-bramhall.html"><span style="color: #0000e9;">http://meritagepress.blogspot.com/2012/09/days-poem-by-allen-bramhall.html</span></a>).
Further details available upon request.</span><span style="font-family: Times; font-size: 16.0pt; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-48356952240942135182014-12-07T21:30:00.000-08:002014-12-07T23:54:57.845-08:00SLATE VOICES by MAVIS GULLIVER and JAN FORTUNE<div class="MsoNoSpacing">
<span style="font-family: Arial;">NEIL LEADBEATER Reviews<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b><i><span style="font-family: Arial;">Slate Voices:
Islands of Netherlorn by Mavis Gulliver<o:p></o:p></span></i></b></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><i>(Cinnamon Press, Blaenau Ffestiniog, Gwynedd, Wales 2014)</i></span><br />
<span style="font-family: Arial; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><i><br /></i></span></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">and<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<b><i><span style="font-family: Arial;"><br /></span></i></b></div>
<div class="MsoNoSpacing">
<b><i><span style="font-family: Arial;">Slate Voices:
Cwmorthin by Jan Fortune<o:p></o:p></span></i></b></div>
<div class="MsoNoSpacing">
<i><span style="font-family: Arial; mso-bidi-font-weight: bold;">(Cinnamon Press, Blaenau Ffestiniog, Gwynedd, Wales 2014)<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">It is rare that one has
the opportunity to compare and contrast the work of two poets addressing the
same subject, albeit from a slightly different perspective, on such an extended
scale but this is what is offered here. The subject is slate. The slate of Scotland
and the slate of Wales: “two for the price of one.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Mavis Gulliver gives an
account of what was once the slate industry on the Islands of Netherlorn which
are located off the west coast of Scotland. Gulliver has researched her
material well. The poems are meticulously drawn and full of detailed
description. As part of her research she travelled to all the islands that she
writes about, even Belnahua, which has long since been uninhabited. Her
collection is divided into four sections which are named after the islands that
she visited. Each section opens with a short account of the island and is
followed by a series of poems. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">This is poetry that is
very much grounded in the past. It is not, however, nostalgic but rather takes
on the mantle of a place and a time that is seen through the lens of history.
Only descriptions of the weather, abandoned machinery and disused quarries
bring us back to the here and now. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">In <i>Wild Weather</i>
she writes:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">Life on the western edge<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">inures you to gales<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">and in <i>Going to Church</i>
she describes how she walked in the footsteps of the slate-makers:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">skirted shore,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">climbed up and over moor<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">where rain flew in<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>like needles on the
wind…<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Throughout the collection
we are treated to some haunting, memorable images: children swimming in<span style="mso-spacerun: yes;"> </span>quarry water on a bright summer’s day; the
disused quarry at Ardencaple and the abandoned "Ticket Office at Blackmill Bay
on Luing"<span style="mso-spacerun: yes;"> </span>where the last stanza captures
the<span style="mso-spacerun: yes;"> </span>atmosphere of the whole poem:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">The door is padlocked<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">but there’s life inside,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">nestlings call for food,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">keep up a constant chirping<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">that magnifies<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">as swallows swoop,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">flit in - flit out again<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">while butterflies<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">fluttering<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">between curtain and glass,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">find no escape.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">The past is brought back
to life through chronicles of history, especially the poem that recounts the
flood of 1881 and most effectively in the last section of the book that covers
the uninhabited island of Belnahua. In particular, the haunting poem called <i>Census
1921</i>:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">No hand to sign a name.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span>No occupation to
record.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;"><span style="mso-tab-count: 2;"> </span>No wives.
No widows.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;"><span style="mso-tab-count: 3;"> </span>Not
a pauper left.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">In poems such as "<i>The
Night of 21-22 November, 1881"; "Catherine McPhail," "Remembering 1840" </i>and "<i>Leaving
Belnahua, 1914" </i>historical fact is dramatically retold through the voices of
the past and in a style that is immediately effective in its impact.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">An unexpected literary
connection sparks off Gulliver’s poem called "<i>The Last Duchess, 1902."</i>
Slates were given names according to their size and <i>Duchess</i> at 24 inches
x 12 inches was the second largest. The last Duchess, quarried on Easdale in
1902, can be seen in The Scottish Slate Islands Heritage Trust Museum in
Ellenabeich. Gulliver makes a neat reference to Browning’s poem “My Last
Duchess” in her opening lines:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">Not Lucrezia,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">whose smiles stopped altogether<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">at the Duke’s command -<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">but the last slice of slate,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">split from quarried rock<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">trimmed to Duchess size…<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">This is an impressive
first collection from a Scottish writer who has dealt with her subject sympathetically
and has, in the process, crafted poems of great sensitivity and impact.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br />
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Jan Fortune’s collection
is more spare. The poems here are of a darker hue. Set in North Wales, they
inhabit a very different landscape from that which has gone before. In "<i>Year’s
Turn Beneath the Steps"</i> it is a<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">World drained to grey,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">a phosphorous lamp,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">one clod of snow.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">Beyond the fence, mountains,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">wind, the sag of marsh,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">a hiss of steam.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Once again, meticulous
research has paid off. The poems offer an informed account of a past whose
presence continues to dominate the Welsh landscape today. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Stylistically, Fortune’s
poems are the more varied of the two. There are prose poems, poems written as
nursery rhymes and lullabies, poems with Biblical references, a sequence of
poems cast as a litany, poems with “echoes”, a poem carefully crafted out of
the definition of a place-name, a poem conceived as a bilingual alphabet, and
poems re-written as concrete poems where sheepfolds, cartwheels and inclines
are neatly re-defined in visual form.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">In "<i>The Underground
Men, 1936"</i> Fortune brings back to life the men who laboured in the slate
quarries not only by naming them but also by framing them in the guise of “the
school photograph”:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">They stand or sit on slate, rockmen, miners, labourers,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">dust-laden, grinning at the lens, flanked by steward,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">haulier with horse.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">….<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">Their names people this valley still.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">The work has long since gone.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">For all the contemplation
of a people no longer with us, there is a resurrection moment in the final
section of the poem called "<i>A Litany for Cwmorthin":<o:p></o:p></i></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">v. Hallelujah <o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<br /></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">Long past Imbolc,<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">beneath a stick-thin tree:<o:p></o:p></span></i></div>
<div class="MsoNoSpacing" style="margin-left: .5in;">
<i><span style="font-family: Arial;">a single snowdrop.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">This poem, beautifully
wrought with a few well-chosen words, sums up Fortune’s style where everything
is pared down to the bone. It is what makes this such a powerful collection. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">In both sections,
evocative black and white photographs enhance the text.<span style="mso-spacerun: yes;"> </span>The title of each photograph has been taken
from the text itself. In this way the photographs become an integral part of
the book. Close collaboration between the two poets has helped to make this a
seamless collection whose strength and power amounts to more than the sum of
its two parts. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">************<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: Arial;">Neil Leadbeater is an
author, essayist, poet and critic living in Edinburgh, Scotland. His short
stories, essays, articles and poems have been published widely in anthologies
and journals both at home and abroad. His most recent books are <i>Librettos
for the Black Madonna </i>(White Adder Press, Scotland, 2011) <i>The Worcester
Fragments</i> (Original Plus Press, England, 2013) and <i>The Loveliest Vein of
Our Lives </i>(Poetry Space, Bristol, England, 2014).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8642965680280310304.post-20522604299844921802014-12-07T21:25:00.000-08:002014-12-08T16:05:14.094-08:00I ATE THE COSMOS FOR BREAKFAST by MELISSA STUDDARD<div class="MsoNormal">
<span style="font-family: Arial;">EILEEN TABIOS Engages<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">I Ate the Cosmos for Breakfast</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"> by Melissa
Studdard<o:p></o:p></span></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">(Saint Julian Press, Houston, TX, 2014)<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Since I knew Melissa
Studdard’s <i style="mso-bidi-font-style: normal;">I Ate the Cosmos for Breakfast</i>
was a debut poetry collection, I was pleasantly surprised by its maturity and
ambition.<span style="mso-spacerun: yes;"> </span>Indeed, what we have is an
obvious Poet-As-God presentation which arrogance I admire because Studdard so
pulls it off!<span style="mso-spacerun: yes;"> </span>She doesn’t just remake
the world but she eats, chews and swallows the universe—then expels the
experience out through poems that make the universe that much more radiant! To
pull this off usually requires more chops than many poets possess, especially
those just debuting their books.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But after finishing my read
of the poems—and setting forth a symbolic Bow to Studdard for her achievement
by bowing, fittingly, to no less than the sky—I read her bio and discovered
she’d previously written a bestselling novel, written reviews, taught, among
other things.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">I Ate the Cosmos…</i> may be her first poetry book but she’d obviously
trafficked in many many words such that her debut collection benefits from her literary
experience (thus a stellar vocabulary).<span style="mso-spacerun: yes;">
</span>However, I don’t think these poems would have surfaced were it not also
for an attentively-<i style="mso-bidi-font-style: normal;">lived</i> experience.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The thing with what I’ve
called elsewhere “writing as the world” is that the writer can’t manage such
well if she hadn’t first been <i style="mso-bidi-font-style: normal;">in</i> the
world: paying attention, learning, considering, experiencing, and so on in a
variety of ways.<span style="mso-spacerun: yes;"> </span>The universe contains
much, of course, and it’s impossible to experience it all.<span style="mso-spacerun: yes;"> </span>But open-ended attention matters, it seems to
me, to enervate the alchemy that occurs before (and/or as) the poet births her
poems.<span style="mso-spacerun: yes;"> </span>As I may be failing—since how
would I know, after all, as I am not Studdard—in describing what I sense to
have been her process, let one of Studdard’s poems “describe” what I think she
achieved in her poems:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">STARRY NIGHT, WITH SOCKS<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Neruda
eats gates and barbed wire, absorbs the nails<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
exhales a borderless world—language that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">skips
and spins across the ground of flight, syntax<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">that
never learned what it can’t do, so does.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Van
Gogh sees the aura of night. Saw the aura of chair.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Of
desk. Pipe. Saw thick swirls of angst and relief in the sky,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">everything
pulsing and alive, vibrant with being: the skirt<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">swish
of a spiral galaxy, the cypress fingers’ reach,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">space-time
splayed with light and steeple,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">with
neurons firing into the curve of line, a synaptic<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">dance
between canvas and paint, landscape and ode.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">From
the poet’s mouth, by the painter’s hand:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Simple
strokes lead to love.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">And
know now what Neruda saw: A sock can be<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">the
microcosm of all things good, knitted by Mara Mori,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">with
glowing strands of twilight and thread,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">holy
as a sacred text<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">placed
on that great altar, the foot.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Because
things are not things alone. They are also<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">that
which made them. A sock is a little, woolen god.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">It
is a woman stopping by with a gift. It is the warmth of two<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">hands
rubbed together,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">a
fire cradling your heels and soles.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The above poem (with its
hilarious title!) describes both an ars poetica—what I sense may be (part of)
Studdard’s ars poetica—but also presents a resulting poem that is <i style="mso-bidi-font-style: normal;">on</i>, that is vibrantly alive whose
resonance is pleasing to experience.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In many poems, the movements
back and forth between the larger universe and the individual self proceed so
seamlessly.<span style="mso-spacerun: yes;"> </span>So seamlessly that in one
poem, I even unexpectedly discerned <i style="mso-bidi-font-style: normal;">Joy</i>—not
just the joy of the pleasure it provides but the sense that the poem’s maker
was in rapture as she made this poem:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">FOR BAUDELAIRE<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">In
the woods you found a carcass with maggots in its chest,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">with
waterfalls in its eyes, with the buzz of life still<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">hovering
around its skull, and in commemoration, you grabbed<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">your
sweetheart’s hand, with your left, and on your right, you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">snatched
the clasped hand of the world and said: Look here, how<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">we
build skyscrapers in the cavity of death’s groin, how we<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">paint
lilacs on its ribs. We will drive motor cars over its<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">bones
and laugh in the waning perfume of midnight, and, oh my love,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I
will write you a poem, a tribute to your beautiful decay,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">to
your rotting thighs, to the death you will birth with sex<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">because,
truly, this is beauty—this festering carcass in the woods,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">this
putrid nag, truth. And in it, you will live forever.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Her poetic chops are
great—you don’t just read but see the fabulous and marvelous first stanza of “LOOKING
AT A YOUNG WOMAN WITH A WATER JUG”:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Can
you see the way Vermeer<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">twirls
light<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">around
his thumb,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">pulls
it straight again<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
lays it across a vase<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">or
table—<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">And the title poem?<span style="mso-spacerun: yes;"> </span>Everything <b><a href="http://galatearesurrection23.blogspot.com/2014/12/the-way-in-by-linda-hogan.html">I said about Linda Hogan’s “TheWay In”</a></b> I also could say about this poem—for Studdard’s version of eating the
world, though, I do appreciate the deft insertion of the labor of the creators
in addition to their creations.<span style="mso-spacerun: yes;"> </span>The wise
nod to such labor shows the poet did her homework—she was in the world paying
attention—prior to writing about it:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">I ATE THE COSMOS FOR BREAKFAST<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 10.0pt;">-after Thich Nhat Hanh<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">It
looked like a pancake,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">but
it was creation flattened out—<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">the
fist of God on al head of wheat,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">milk,
the unborn child of an unsuspecting<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">chicken—all
beaten to batter<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
drizzled into a pan.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I
brewed some tea and closed my eyes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">While
I ate the sun, the air, the rain,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">photosynthesis
on a plate.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I
ate the time it took that chicken<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">to
bear and lay her egg<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
the energy a cow takes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">to
lactate a cup of milk.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">I
thought of the farmers, the truck drivers,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">the
grocers, the people<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">who
made the bag that stored the wheat,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
my labor over the stove seemed short,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
the pancake tasted good,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
I was thankful.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I could go on and on
praising these poems, but let me just end with one more of Studdard’s that, I
swear, returned me to no less than religion (Atenco refers to a 2006 violent
civil unrest in Mexico):<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">FOR THE WOMEN OF ATENCO<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Take
it now, this metaphor, your bread.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">You’ve
seen God bleeding in the streets,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">but
the militia couldn’t help, sooty faced<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">themselves,
disoriented by the shrapnel<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">lodged
beneath their right to choose<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">a
peaceful life. Take these words flowing<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">like
wine. Let them salve where hands<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">gripped
too tight, where teeth broke the skin,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">where
fists beat your notions of freedom<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
equality flat as powdered dough, flat<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">as
grapes crushed beneath the pointed<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">boots
of war. Let these words recall<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">those
things you meant to be before<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">rage
came storming through your town.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Let
them be your appetizers,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">served
to you with the humility and respect<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">you
were denied four years ago.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Let
these words be your dinners and desserts,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">evidence
you are being heard. Let them<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">sustain
you, as others sip margaritas on the patio,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">as
others go on about their lives<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">oblivious
to what you have endured. Your time<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">will
come. So keep your aprons on, women<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">of
Atenco; keep your eyes on the timer<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">and
your hearts on the cause—because grapes<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">beneath
the feet become wine, and<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">dough
that is set aside will rise. Yes—<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">neglected,
resilient dough will rise.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Bless you, Melissa Studdard,
for writing these poems.<span style="mso-spacerun: yes;"> </span>Bless you, Ron
Starbuck and Saint Julian for publishing these poems.<span style="mso-spacerun: yes;"> </span>You were both unknown to me before I read
this book but I feel blessed to have made your acquaintance.<span style="mso-spacerun: yes;"> </span>Lastly, bless you, Reader, because if you pay
attention to this review and follow up with reading the book, you will be
blessed with the radiance of rupture and rapture.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">*****<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial;">Eileen Tabios reveals
something about herself in <a href="http://www.arduity.com/essays/tabiosinterview.html"><b><i><span style="color: #420178;">ARDUITY</span></i></b></a>'S interview about what's hard
about her poetry. Her just-released poetry collection, <a href="http://marshhawkpress.org/Tabios6.html"><b><i><span style="color: #0000e9;">SUN
STIGMATA (Sculpture Poems)</span></i></b></a>, received a review by <a href="http://www.amazon.com/STIGMATA-Sculpture-Poems-Eileen-Tabios/dp/0988235668/ref=cm_cr-mr-title"><b><span style="color: #0000e9;">Amazon Hall of Famer reviewer Grady Harp</span></b></a>.
Due out in 2015 will be her second "Collected Poems" project;
while her first <a href="http://marshhawkpress.org/Tabios4.htm"><b><i><span style="color: #420178;">THE THORN ROSARY</span></i></b></a> was focused on the
prose poem form, her forthcoming <i>INVEN(S)TORY</i> will focus on the list or
catalog poem form. More information at <a href="http://eileenrtabios.com/"><b><span style="color: #420178;">http://eileenrtabios.com</span></b></a> </span><span style="font-family: Times; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8642965680280310304.post-16022789262508890342014-12-07T21:20:00.000-08:002014-12-07T23:54:10.764-08:00THE ROTTWEILER'S GUIDE TO THE DOG OWNER by SJ FOWLER<div class="MsoNoSpacing">
<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">TOM JENKS Reviews<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">The Rottweiler’s Guide to the Dog Owner</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"> by SJ Fowler<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">(Eyewear Publishing, London, 2014)<o:p></o:p></span></i></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">Poet, artist, martial artist, vanguardist, organiser, instigator, catalyst,
collaborator extraordinaire SJ Fowler’s presence on the British and European avant
poetry scene is large and significant. Given the scope of his activities and
his seemingly inexhaustible energies, if someone told you he had invented a
hydroelectric powered vacuum cleaner or discovered a new type of wallaby in
North Kensington you would believe them. We in Britain, with our innate, rain
soaked suspicion of “showing off”, have a sorry tendency to hold such
multifaceted polymathy at arm’s length. We like to watch our fireworks from
indoors. But ambition, purely founded and directed towards the service of
poetry, art and, to make a singularly un-British bold claim, the enrichment of
the cultural life that makes the world a better, more civilised place, is to be
welcomed, applauded and celebrated. Fowler’s devotion to the cause is impeccable.
His own work – voracious, protean, perpetually in motion – embodies his wide
ranging, interdisciplinary approach, his oeuvre encompassing sound,
performance, and visual poetry to name but a few. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">The Rottweiler’s Guide to the Dog
Owner</span></i><span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">
is, by Fowler’s standards, a relatively straightforward work, comprising
discrete sequences of poems that are, with the odd exception, simply set and
presented. The innovation here comes not from any particular technique or
method, but in how the work carries itself and the spirit it exemplifies. Here
the flavour is not in the menu but in the meal. Most of the pieces presented
were written for commissions, a process which can sometimes yield arid,
formulaic results, but Fowler’s poems deftly transcend their origins and have
the strength to stand alone. Fowler’s work is unquestionably of the now and
ahead of the curve, but in summing up what I like about this collection I find
myself reaching for older, more traditional concepts often dismissed or
disregarded in innovative poetics, such as readability, personality, authorial
charisma and that most unfashionable thing of all, the notion of the unique
voice. The writers namechecked at various points in the book, such as Raworth,
Spicer and Hollo, all have that quality and so too does Fowler. This is a
diverse, disparate collection, catholic and collagic in its aesthetic, but one
that remains coherent precisely because Fowler has the gift of making whatever
he says be said unquestionably by him, whether he is talking about the desert,
the gods or tea. His voice, tough, hard edged and sharp elbowed, at times
confrontational and controversial, but always fundamentally human, weaves
through this book not so much like a silver thread as a glinting, stainless
steel wire. This is a work of brutal beauty, or beautiful brutality. Phrases
glint like quartz:<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>a river in the marble<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>harvest shrapnel<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">or:<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>exhaustion pay is bank
double<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>the forest burns bush
green hair<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">Elsewhere, we find moments of surreal, homespun wisdom:<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>chilean watches are the
best movement<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">and:<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>all those emails
unanswered<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>might be a tiny ear<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>in the palm<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">This is by no means a brief book. It runs to over 100 pages and is, as
all Eyewear books are, a sumptuous, defiantly physical artefact with enough
ontological heft to hurt if you dropped it on your foot. But it is nonetheless
a swift and urgent one. Lines are, in the main, short and uneven, jagged and
fractured. Impression crowds against impression, images jostle and smash into
one another like atoms in the Hadron collider. There is almost no capitalisation
and still less punctuation. The focus switches back and forth between the
internal and external landscapes with delirious rapidity, giving these poems
the feel of memos found in Valhalla or drafts in Zukofsky’s outbox, or as if
Wyndham Lewis left his Dictaphone on the District Line. This is a book not so
much of the I but of the eye, of an open, perceiving intelligence at the centre
of multiple worlds, their circles overlapping as those of a Venn diagram. Fowler’s
antennae scan the frequencies and pick up many signals. Connections and
conjunctions are sometimes oblique, occasionally opaque, often tangential but
always, on an instinctive, subliminal level, tangible. And always there is
discipline. Fowler never loses control of his material. Whilst The Rottweiler’s
Guide to the Dog Owner is an extensive work with its own weather systems and
topography, there is no sprawl. No words are wasted. This is a book of clean
lines and elegant economy.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">Artist, yes; martial artist, yes; vanguardist, yes; organiser, yes;
instigator, yes; catalyst, yes; collaborator extraordinaire, yes. All of these
things are important in gaining an understanding of SJ Fowler’s work and his
uniquely open and communitarian poetics. But what must not be forgotten is that
Fowler is first and foremost a poet and that all else proceeds from this. <i style="mso-bidi-font-style: normal;">The Rottweiler’s Guide to the Dog Owner</i> is
the work of a writer and a writer that should be read.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 12.0pt;">*****<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 18px;">Tom Jenks has published six collections of poetry including </span><i style="line-height: 18px;">Items </i><span style="line-height: 18px;">(if p then q), </span><i style="line-height: 18px;">On Liberty, Repressed </i><span style="line-height: 18px;">(Knives Forks and Spoons) and </span><i style="line-height: 18px;">Crabtree </i><span style="line-height: 18px;">(The Red Ceilings). Other projects include a Twitter re-write of Robert Burton’s </span><i style="line-height: 18px;">The Anatomy of Melancholy</i><span style="line-height: 18px;"> and </span><i style="line-height: 18px;">Ubu Roi, I Boris</i><span style="line-height: 18px;">, a re-write of Jarry’s </span><i style="line-height: 18px;">Ubu Roi </i><span style="line-height: 18px;">with Chris McCabe. He co-organises The Other Room reading series and website, administers the avant objects imprint zimZalla and is a Ph. D. student at Edge Hill University.</span></span><br />
<span style="line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="line-height: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
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