“[I]t is precisely a special way of writing that realism requires,” writes Lyn Hejinian in her essay, “Two Stein Talks.”Site Cite City is a book of realism, in the sense Hejinian uses it: realism is the product of a method, of a “special way of writing.” The realism of
June 3, 2016
When realism isn’t real, where is a writer to go? Meaning, the sentence is a construction which feels at least as habitable as the bus which carries a poet to an unfamiliar town, and the couch upon which the poet sleeps later that night. When realism isn’t enough, isn’t authenticated or represents a fractional or purely outward series of events, poets turn to the body of the sentence upon which to recline, repose, deconstruct and reject any sort of frame which insists upon the “real” being limited to finite perceptions. A sentence may break, with the force of bodily gesture, something more fluid. When I think of the poet’s novel I think of an oblique truthfulness. The choreography of Pina Bausch comes to mind, as an example of art which echoes the interior and bodily aspects of the real. What is the difference between realism and the real?