All the Whiskey in Heaven

Todd Swift on All the Whiskey in Heaven in Poetry London, Summer 2013

Wildly Light on his Feet: Todd Swift on  a poet's bracingly flamboyant disregard for lyric proprieties.

PDF of review

UK Edition from Salt Publishing

Breaking Through: TV interview show with Charles Bernstein & Ian Probstein

host: WJ. O'Reilly

These excerpts are from a 50-minute interview with Charles Bernstein and Ian Probstein on Breaking Through, with W.J. O'Reilly, on eGarage.TV, June 17, 2011.

Full episode here

From Attack of the Difficult Poems: Essays and Inventions


"The Difficult Poem" (excerpt)

Through fogged and fumbling shallows

Stephen Ross on All the Whiskey in Heaven in "The Wolf"

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'Don't use such an expression as "dim lands of peace". It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the adequate symbol. Go in fear of abstractions.' - Ezra Pound, 'A Few Don'ts' (1913)

'Go in search of abstractions', Pound might have written had he really had his finger on the American pulse. For over a century now, a major strain of American poetry has flourished precisely by ignoring Pound's directive; in fact, by doing its opposite. Turning to specific practitioners, one thinks of John Ashbery, who throughout his career has found his 'dim land of peace' in places like 'the mooring of starting out' and 'the delta of living into everything'. Or T.S. Eliot, who wrote so stirringly in his youth of 'the conscience of a blackened street/ Impatient to assume the world'. Or Wallace Stevens, with his 'complacencies of the peignoir’ and ‘green freedom of a cockatoo'. One could play this sort of trick with almost any American poet. The apparition of these faces?

Which is not to sell short the clinching astuteness of Pound's avant-guerre pronouncements on the dos and don’ts of modern poetry. After all, every student of modernism knows why the disgraced phrase 'dim lands of peace' is weak. But how many know where it comes from? In fact, it comes from the pen of Pound's sometime mentor, Ford Madox Ford:

Past all the windings of these grey, forgotten valleys,
To west, past clouds that close on one dim rift
The golden plains; the infinite, glimpsing distances,
The eternal silences; dim lands of peace.

Like all true doggerel, these lines from ‘On a Marsh Road (Winter Nightfall)’ might be forgotten but their spirit lingers on. Charles Bernstein, for one, has made a career of mining the experimental potential embedded in this kind of bad writing. Indeed, Ford’s much-maligned ‘dim lands of peace’ offer a handy organizing conceit for a study of Bernstein, the undisputed master of atmospheric doggerel. . . .

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The Wolf 24, March 2009

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