Barbara Guest

'Back of'

Index, bibliography, catalog, list

Image by Noah Saterstrom
Image by Noah Saterstrom

This post explores the poem as index, bibliography, catalog, or otherwise arranged list. I want to consider the ways each piece overflows, suggesting threads that the listener might follow or complicating the idea of order under the guise of an ordering structure. I want to pay attention to the ways these recordings open up into the works of other writers and artists in addition to reflecting back upon the concerns of their respective authors.

Breathing a fire of risk

Kunitz and Guest in the KWH 1960 symposium

The 1960s Symposium at the Kelly Writers House happened last December and featured a varied list of speakers. Each one addressed the 1960s moment in American literary history, which could best be summed up by the books published around that time. It seemed like a fabulous event and I could certainly comment on every last minute of it. Below are just some of my thoughts on two parts: Al Filreis’s introduction and Erica Kaufman’s discussion of Barbara Guest’s book, The Location of Things.

On Barbara Guest, 'The Location of Things'

Barbara Guest’s remarkable first book, The Location of Things (Tibor de Nagy Gallery, 1960), establishes that it is possible to reclaim gendered space, and this possibility is manifest in language itself.

Tribute to Barbara Guest

We at PennSound have now segmented the entire audio recording made of the Barbara Guest Praise Day Tribute at The Bowery Poetry Club, October 21, 2006. These people performed selections of Guest's poems, offered interpretations of them along with reminiscences: Lewis Warsh, Marcella Durand, Charles Bernstein, Africa Wayne, Charles North and Erica Kaufman. The event was hosted by Kristin Prevallet. Anna Zalokostas has nicely arranged all the readings on our Barbara Guest author page. Lewis Warsh, for instance, remembered Guest in connection with The New American Poetry of 1960. Africa Wayne read "Negative Possibility." Charles North read "Roses." Lytle Shaw read "Sante Fe Trail." And much more.

Oh, Yes, Subject Matter

Barbara Guest

Barbara Guest in reply to a question about subject matter:

"Oh, yes. The subject matter. The subject matter. I know I was talking to some students in Santa Fe and they were very worried about when I said well what have you been writing, and they said, well, not very much. I realized that they were disturbed more by what they thought was in front of them that they didn’t want to write about, so I told them that the subject matter wasn’t important. And this released them. They were thrilled. They went around for days saying she said the subject doesn’t matter. Because the idea is that sometimes you find the subject as you proceed with the poem. It’s a good rule. It doesn’t always work, but it’s a good rule."

Air for roses (PoemTalk #24)

Barbara Guest, 'Roses'

LISTEN TO THE SHOW

Listening to this show, this discussion of Barbara Guest’s casually and yet densely allusive poem “Roses,” you will hear about Juan Gris-style cubism circa 1912 (in his own “Roses”), about William Carlos Williams’ famous celebration in “The rose is obsolete” of a new kind of rose – the metal rose, the sharp-edged rose, the lovely unlovely rose – and also about a memory from the age of eight that Gertrude Stein often retold as a way of explaining her views on the difference between art and nature. Is that difference a problem – an anxiety, a cause for reluctance - for the modernism-conscious poet who comes after modernism, such as indeed Guest, who has an instinct to make room in her writing for the ill person requiring real air to breathe?

Al and sometimes the other PoemTalkers felt that this is a rebuke of modernist airlessness. Natalie Gerber (at right) and sometimes the others felt that this is more likely an expression of skepticism about postmodern art and perhaps a fresh return to the moment of 1912 – the thrilling New Era of collage-y paintings such as Gris’ “Roses,” which is (arguably) dated 1912 and which was a canvas Gertrude Stein herself owned. Randall Couch points out that the poem looks at a fork or divergence in the modernist evolution or modernist family tree, a turning point Guest feels is worth going back to. Michelle Taransky (at left) notes that the art in the poem is an art already encountered even as the poem itself imagines the possibilities of a fresh encounter.

As Natalie aptly puts it, we are discussing a poem that is testing out its stance in response to the modernist approach to representation.

Here’s one version of Gertrude Stein's telling of her early encounter with painting:

It was an oil painting a continuous oil painting, one was surrounded by an oil painting and I how lived continuously out of doors and felt air and sunshine and things to see felt that this was all different and very exciting. There it all was the things to see but there was no air just was an oil painting. I remember standing on the little platform in the center and almost consciously knowing that there was no air. There was no air, there was no feeling of air, it just was an oil painting and it had a life of its own.

Air for roses (PoemTalk #24)

Barbara Guest, "Roses"

LISTEN TO THE SHOW

Listening to this show, this discussion of Barbara Guest’s casually and yet densely allusive poem “Roses,” you will hear about Juan Gris-style cubism circa 1912 (in his own “Roses”), about William Carlos Williams’ famous celebration in “The rose is obsolete” of a new kind of rose – the metal rose, the sharp-edged rose, the lovely unlovely rose – and also about a memory from the age of 8 that Gertrude Stein often retold as a way of explaining her views on the difference between art and nature. Is that difference a problem – an anxiety, a cause for reluctance - for the modernism-conscious poet who comes after modernism, such as indeed Guest, who has an instinct to make room in her writing for the ill person requiring real air to breathe?

Al and sometimes the other PoemTalkers felt that this is a rebuke of modernist airlessness. Natalie Gerber (at right) and sometimes the others felt that this is more likely an expression of skepticism about postmodern art and perhaps a fresh return to the moment of 1912 – the thrilling New Era of collage-y paintings such as Gris' “Roses,” which is (arguably) dated 1912 and which was a canvas Gertrude Stein herself owned. Randall Couch points out that the poem looks at a fork or divergence in the modernist evolution or modernist family tree, a turning point Guest feels is worth going back to. Michelle Taransky (at left) notes that the art in the poem is an art already encountered even as the poem itself imagines the possibilities of a fresh encounter.

As Natalie aptly puts it, we are discussing a poem that is testing out its stance in response to the modernist approach to representation.

Here's one version of Gertrude Stein's telling of her early encounter with painting:

It was an oil painting a continuous oil painting, one was surrounded by an oil painting and I how lived continuously out of doors and felt air and sunshine and things to see felt that this was all different and very exciting. There it all was the things to see but there was no air just was an oil painting. I remember standing on the little platform in the center and almost consciously knowing that there was no air. There was no air, there was no feeling of air, it just was an oil painting and it had a life of its own.

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