Round Vienna is the title of a new chapbook from Vagabond by Kate Lilley, and reminds me that Vienna airport, (my only experience of Vienna) is round. As far as I know, it's the first solo poetry publication from Lilley since her 2002 Salt book, Versary. It is just 4 poems. Yet the elegant production aside - and the splendid (yet understated) sample of images by Melissa Hardie - it does not feel meagre. Titles are important: and if Vienna conjured Freud for you, the first poem title, 'Fraud's Dora' would confirm it. The title is in a sense a balancing of the intellectual weight of the poems: for we are in the realm of psychoanalytic assemblage. There is a similarity here to the poems of Emma Lew in that the lines seem drawn from disparate (if perhaps fictional) sources, yet they present a tonally structured verisimilitude rather than the feel of a field of fragments. Otherwise they are very much their own woman - distinct in terms of rhythm, sensibility and humour:
she did not scruple to appear
in the most frequented streets
she was in fact a feminist
Sidonie was a lesbian patient of Freud's, and there is a homoerotic coupling between the poem on the left and Hardie's image on the left. (These images are not just illustrations but poetically apposite in themselves, encouraging a reading of the book as visual poetry.)
PoemTalk travelled to Bard College, where we gathered with Charles Bernstein, Pierre Joris, and Bard's own Joan Retallack to talk about Jackson Mac Low's Words nd Ends from Ez (1989). The project was composed in ten parts, one part each for sections (sometimes called “decades”) of Ezra Pound's lifework, The Cantos. We chose to discuss the penultimate part of Mac Low's diastic written-through work, a poem based on phrases, words, and letters drawn from — and in some sense about — Pound's near-final cantos, Drafts & Fragments of Cantos CX-CXVII. Mac Low’s constraint, for which he preferred the term “quasi-intentional” to the term “chance,” involved the letters forming the name E Z R A P O U N D. Words, phrases, and letters were extracted from the original cantos based on those letters and on their placement within words. Charles, Pierre, Joan, and Al Filreis explain this in detail, although we cannot quite agree as to whether Mac Low was being absolutely strict in the application of the diastic method. As Bernstein notes several times, this particular procedure is one of the more complex Mac Low used. Nonetheless, it’s the sense of the group that when semantic meaning seems to be created, it has about it, as Pierre Joris happily notes, the special pleasure of serendipity, and means all the more.
sometimes a bee’s just a bee and a sting just a sting and song just a song and sorrow just sorrow sometimes the blue just gets to you and the black an instrument of form’s indelible intransigence
October 28, 2011- January 3, 2012 Opening reception, October 28, 5:30 – 7:00 PM Screening of Pinky’s Rule, Bernstein and Sillman’s 7-minute animated drawing, at 6:15 pm sharp Bowery Poetry Club 310 Bowery, New York, NY