What is a pebble? Is it an object or a thing? A weapon or a tool? Is it naïve or is it sentimental? Is it a token of the real, or a fragment of ideology? Can you do more than skip it or hurl it or mark a grave with it? What is the pebble to poetry? Of what might the poem make it speak?
In the first poem of Sina Queyras’s poetry collection My Ariel, an I-speaker testifies that “A love procedure set me going like a big fat lie.” This line directly overwrites one of Plath’s most famous lines — “Love set you going like a fat gold watch” — often quoted to portray Sylvia’s personal experience of new motherhood on the occasion of her daughter Frieda’s birth.
In compliance with the request Stein had received from Masson via de Rochemont, “La langue française” is “non political” insofar as it makes no direct mention of any overtly political issues, events, or specific persons. In approaching her requested subject — “the importance or prestige of the French language” — Stein in “La langue française”applies a vocabulary that has a long history in the autodiscourse of the French language (clarity, truth, profundity, etc.).
Editorial note: This piece is intended to be a companion to Logan Esdale’s contribution to this dossier, which can be found here.
After my first encounter with Cecil Taylor’s work in November 1986, I never would have imagined having a series of extraordinary experiences with him across the decades that followed. Seeing him that first time, a two-hour solo concert during a thunderstorm, I didn’t realize music could exist in such a different aesthetic universe: concert as poem.
After my first firsthand encounter with Cecil Taylor’s work in Charlottesville in November 1986, I never would have imagined having a series of extraordinary experiences with him across the decades that followed.