In an apartment studio performance from 1986, Russian conceptualist writer and artist Dmitri Prigov greets the prominent Moscow artists and writers in attendance: “Here we have gathered again. There’s Tarasov, and here I stand. Kabakov is somewhere there, and there’s Chuikov. […] And there are other people sitting and standing — they are my heroes! Heroes of Pushkin! Of Lermontov, of Tchaikovsky!”[1]
Brian Reed and Craig Dworkin at Kelly Writers House, April 2013.
Author’s note: The following was written as the preface to the Danish edition of Notes on Conceptualisms by Robert Fitterman and Vanessa Place, which was published as Notater om konceptualismer by Editions After Hand (Århus, 2012). The chronology sketched out in the preface served as the basis for my talk at the Poetry Communities conference. — Craig Dworkin
“Poetry Communities and THE Individual Talent” — if THE individual talent is that of T. S. Eliot, then why am I here? If including the definite article is not intended by the conference organizers to actually describe anyone or anything, I can be more comfortable, but in general the antonymic is my preferred mode: isolation instead of community, collectivity instead of individuality, and clumsiness instead of talent. But “collectivity” doesn’t quite do it; it’s too purposeful and suggests focused endeavor. It might be more interesting to consider a surround of creativity, or uncreative, haphazard, epiphenomenal creativity, an environmental aura of spasmodic restlessness without clear agency, as a model for a poetics that erodes any lingering traces of Eliotic attachment to talented individualism. Although, it must be conceded that his wistfulness for disappearance into a personality-less tradition — albeit because of his overwhelming sense of personality — resonates with Michel Foucault’s (and John Keats’s and Jack Spicer’s) observation that the writer disappears into writing.
There are three things I want to tell you about publishing and community.
First.
Increasingly, I see publishing as the act of making language public. That action may result in a book, a broadside, a postcard, a wall installation, or an audio tour. In any case, it results in something that can be experienced away from the body of the “writer.” Publishing includes curation and framing. Always. If I print 100 copies of my beautiful new poem, and pass these poems out to you, then I am publishing within a frame. There is the size of the paper, the color, the font, the layout. The method of delivery. I pass a single sheet of paper out to you at an academic conference. I may send several sheets of paper in the mail, paper that is perfect bound, trimmed, covered, and called a book. I may sell that book to you at the AWP book fair, at LitFest Pasadena, or at a reading. I may put a postcard in that book, a postcard printed with a line from a poem by Jennifer Karmin, and when you send that postcard in the mail, you help me publish too.
Of the many recognitions that rush to mind as I read NourbeSe Philip’s thirst-quenching essay, the boldest is the memory of a woman who, at a gathering of writers and scholars not many years ago asked me, in a hotly confidential tone, “but, Mecca, do black people really read?” She was a white woman much older than me, one who I knew, and who was very comfortable with her own relationship to words.
