In January 2000, Lingua Franca asked me to write very, very briefly in praise of a then-recent book. I chose Marjorie Perloff's Poetry On & Off the Page and here is what I wrote:
This fine collection of occasional essays is concerned with the way supposedly ordinary language becomes poetic. From The Poetics of Indeterminacy (1981) forward, Perloff has confidently, helpfully mapped contemporary poetics during a period of almost constant change. (She herself is one of the few constant features on that landscape.) Wary, as always, of holistic paradigms for the literary history of poetry, in POETRY ON & OFF THE PAGE she describes not the replacement of hip canon for square canon, "political" for "formal" poetries. Rather she shows shifts within (usually coinciding with the growth of) aesthetic movements that range across interests, forms and social formulations. Although a number of the essays have less to say about poetry per se than about, for example, Johanna Ducker's bookworks, the video art of Bill Viola, the photographs of Eugene Atget, and Christian Boltanski's simulated documentaries, I cannot think of a better introduction to contemporary poetry and poetics. Such commendation tells much about the special mode of Perloff's writings as well as the dynamic, interactive condition of experimental poetry today.
I’m interested in poetry of the ‘other tradition,’ as spoken about by Jerome Rothenberg or Marjorie Perloff or blogged by Al Filreis or Lemon Hound. It’s not simply contemporary work. It’s a way of reading poetry through types of restlessness of being in the world. It could be Pound translating “The Seafarer” or it could be Linh Dinh’s photo blog; the poet is engaging with the ‘soul of the world’ which he or she finds to be fucked up in some way or another. The stance of being against the zeitgeist. Saying that, I definitely am not a fan of all types of ‘rebellious’ / ‘disruptive’ poetry, whether abstruse or ‘slam’, just because it speaks out. Nor do I dislike the haiku of Basho or the ‘everydayness’ of Berrigan and the New Yorkers. I suppose the way I read these writers is that their voices are implicitly rejecting of what society-at-large was pimping at the time. I feel like the times are hurtful, solipsistic to a new level and cruel and ignorant to staggering degrees. Poetry is a way to make vision clear. What’s my fucked up version of Shelley? “Poets are the true legislators of the unacknowledged world.”
Andrew Whiteman is a Canadian musician and songwriter. Forming the Bourbon Tabernacle Choir in Toronto out of high school, he eventually left the band in 1993 after eight years and went on to produce a solo effort, Fear of Zen, in 1995, as well as an album with the band Que Vida in 1998. Leslie Feist subsequently invited Whiteman to collaborate with herself and what was then essentially the core of Broken Social Scene—Brendan Canning, Kevin Drew and Justin Peroff. The chemistry was successful and Whiteman became one of the band's four members to consistently appear in every tour. Whiteman also fronts the band Apostle of Hustle with bassist Julian Brown and drummer Dean Stone.
Here is a draft excerpt from Charles Bernstein's "Close Listening" discussion with Marjorie Perloff - which was recorded in November of 2009. Of course these are candid, drafty remarks and we'll need to edit them for Jacket when and if we publish "Close Listening" transcripts there. And here are some remarks Marjorie sent after seeing the excerpt below: "I’m just back from London from the TS Eliot Summer School and it was WONDERFUL and restored my faith in poetry. The students were exceptional—from all over including Beijing—and knew their Eliot inside out and so I was kept on my toes. And when all is said and done, Eliot is a GREAT and amazing poet; the students this time convinced me (almost) even to admire THE FOUR QUARTETS. Do I like E’s poetry better than Stevens’s? I’m afraid yes I do. But that should be neither here nor there."
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BERNSTEIN: How about, let me shift it to Stein/Pound, who are so different, and yet you’ve obviously written a lot about and are a champion of both.
PERLOFF: Yeah, they are very different, and both wonderful in different ways. It’s certainly a different concept of what modernism is, but I do think, actually, modernism can cover them both very well, as opposed to other people, you know, for instance, now there’s this kind of Marianne Moore cult afoot. My feelings about Marianne Moore are she’s a, yes, of course, she’s a delightful poet. She always was admired, you know, it isn’t that she was neglected. Eliot loved her, Pound loved her, Williams loved her, et cetera. But she’s just, for me, not very interesting. So there are always two things. One is a kind of broad view that one can try to have and be objective, and another is, as one gets older and gets more subjective. You sort of feel that you don’t have to like everybody anymore, and, I mean, I’ve taught Marianne Moore, for instance, but—
BERNSTEIN: Was there some time in your life where you did feel like you had to like everybody. I can’t imagine that.
PERLOFF: Well, yes. Yes, certainly I did when I was a student. You had to write about whatever you were assigned to write about.
(1) I introduced Marjorie Perloff in 1999 by bringing together a number of things o(1) I introduced Marjorie Perloff in 1999 by bringing together a number of things others have said about her. I solicited these comments from others in the weeks preceding Marjorie's talk at the Writers House.
Susan Stewart: Marjorie, unlike other American intellectuals, thinks constantly about the future. This is why she is one of my favorite European intellectuals.
Bob Perelman: Didn't someone in some universe once say, "May the Force be with you"? Poets in the innovative universe say it this way when any new project is being launched: "May Marjorie be with you."
(2) And speaking of Marjorie, or speaking of Marjorie speaking: PennSound has just now added a recording of the 1989 "off-site" reading at the Modern Language Association conference that year. Marjorie read from her then-in-progress book, Radical Artifice. It was '89 and she was advocating that we get away from the term "language writing." Have a listen. And check out PennSound's off-site MLA reading page.
As in his long poems Ketjak and Tjanting, both written a few years earlier, “Albany” relies on parataxis, dislocation, and ellipsis (the very first sentence, for example, is a conditional clause, whose result clause is missing), as well as pun, paragram, and sound play to construct its larger paragraph unit. But it is not just a matter of missing pieces. The poet also avoids conventional “expressivity” by refusing to present us with a consistent “I,” not specifying, for that matter, who the subject of a given sentence might be.
At the same time — and this has always been a Silliman trademark — indeterminacy of agent and referent does not preclude an obsessive attention to particular “realistic” detail. Despite repeated time and space shifts, the world of Albany, CA is wholly recognizable. It is, to begin with, not the Bay Area of the affluent — the Marin County suburbanites, Russian Hill aesthetes, or Berkeley middle-class go-getters. The working-class motif is immediately established with the reference to “My father withheld child support, forcing my mother to live with her parents, my brother and I to be raised together in a small room.” And this is the white working class: “Grandfather called them niggers.” Later, when the narrator is living in a part of San Francisco where, on the contrary, many ethnicities are represented, we read that “They speak in Farsi at the corner store.” The poet is a political activist: he participates in demonstrations and teach-ins, is briefly jailed, avoids the draft, and so on. There are many explanations of everyday things the activist must deal with: “The cops wear shields that serve as masks.” But the paragraph is also filled with references to sexual love: couplings and uncouplings, rape, miscarriage, and abortion. And finally, there is the motif of poetry: “If it demonstrates form they can’t read it.” And readings: “It’s not easy if your audience doesn’t identify as readers.” Writing poetry is always a subtext but one makes one’s living elsewhere: “The want-ads,” as the last sentence reminds us, “lie strewn on the table.”
From her essay, “Language Poetry and the Lyric Subject.” Here’s the entire section of the essay devoted to “Albany.”