Just months before his death late in 2009, this video of Dennis Brutus reading "Longing" was posted to YouTube. Seated before brilliant orange flowers , Brutus opens his book, A Simple Lust—first published in 1963—to “Longing,” and reads the poem built of four tercets. He is reading on a patio, and midway through his reading, rain falls briefly, eerily rhyming with the closing phrase of the poem, “rains of poison.”
“Longing” is not a new poem. Rather, he explains in the video, he was recasting a poem from 1960. Had he not framed it otherwise, I might have read “Longing” as addressing anti-apartheid struggles, as some of Brutus’s other poems did during that period. But in this video, Brutus describes how the initial subject of the poem was lost love, and now, he wishes us to read it through the context of unmitigated climate disruption.
In my commentary “Recasting Poetry” I wondered how a poet might take an active role in recasting work, so that a poem might bend, alter, accrue in new contexts. Brutus’s decision to recast “Longing” is a fine example of a poet doing just that.
"I wrote it at the end of a sad love affair, a long time ago," he said, explaining that like this experience of lost love, climate change "seems simple but is actually very complex."
Program 2: (37:13) MP3 recorded Sept. 12, 2011 Greenwald talks to Charles Bernstein about being a young poet from Queens in the 1960s, how the mind takes orders from the brain, the relation of the art world to the poetry world, and about revisions, form, style, and vernacular practice.
I had the good fortune to spend three days in the field, last week, with a wildlife biologist and her field crew, in their study area in the Southern Canadian Rockies, observing and helping the team “pull transects,” inventory tree growth, and track for wolf and other predator sign. They were compiling data for evidence of “trophic cascades,” in the ecosystems at the mountain-prairie interface. Trophic cascades are the energy that ripples out from the presence of a top predator, or a “keystone species,” in an ecosystem—not necessarily through direct predation so much as through an “ecology of fear,” which keeps herbivores vigilant and on the move, balancing browsing with scanning for predators. Removal of the predator can result in a collapse of the number and complexity of the energy cascades; presence of a predator amplifies and expands the energy ripples. Through such “cascade” effects, we ultimately might establish links between, say, wolf presence and songbird diversity. (For some ecosystems, a “mesopredator” like the coyote fulfills the function of the wolf.) Or so the theory goes.
Theoretical or not, I like to call it the wolf-songbird complex.
Culminating in an all-Flarf twelfth issue, Combo is known to have been the first print publication to gather a full collection of Flarf poems. Published in the same year as K. Silem Mohammad’s Deer Head Nation (poems from which were also first published in Combo) the magazine stands as the original print vehicle for the listserv-generated poetry movement. Magee’s Flarf manifesto “Mainstream Poetry” is first published here, and the editor’s and contributor’s notes are ideally suited to the collection (see Combo no. 12). As Jordan Davis writes in his 2004 Village Voice article “O, You Cosh-Boned Posers!”:
Magee's small-press magazine Combo broke the flarf story first, in early 2003. A significant finding in that issue, currently required reading for Charles Bernstein’s literature students at the University of Pennsylvania, is that Google searches on the phrase "aw yeah" yield more socially acceptable results as the number of w's in "aw" increases.
Accompanied by editors Kenneth Burke, John Brooks Wheelwright, and Matthew Josephson (often operating under the nom de plume Will Bray), Secession moved in upredictable directions over the eight installments of its premeditated two-year run. Munson writes:
Beyond a two year span, observation shows, the vitality of most reviews is lowered and their contribution, accomplished, becomes repetitious and unnecessary. Secession will take care to avoid moribundity. (Secession no. 1, 25)