Commentaries - March 2012
Jeff Preiss & Charles Bernstein
Filmed in Hollywood, November 14, 1998
conceived and directed by Jeff Preiss
PennSound has now made these video recordings avaiable in full screen version.
Yellow Pages ads PennSound page
The Critic (0:31):
A discussion of the literary significance of Jon Lovitz's great contemporary epic, The Yellow Pages.
Outtake 3: The Ordinary
11 minutes, 10 seconds:
Outtake: (11:33): Charles Bernstein interviews Yellow Pages author Jon Lovitz:
I didn’t need any reminding of the deep richness and capaciousness of UbuWeb, Kenneth Goldsmith's archive of texts, sound art, films, audio recordings, and concrete poetry, most of which is unavailable elsewhere. Yet this depth amazed me yet again, when (with thanks to Kristen Martin) we located all of the materials in UbuWeb dated 1960. The list and links are below. Today, too, Goldsmith features this selection on UbuWeb itself.
Iannis Xenakis, NEG-ALE (1960)
Cioni Carpi, Punto e contrapunto (1960)
Joseph Cornell, Gnir Rednow (1960)
Ed van der Eisken, Handen (1960)
Stan VanDerBeek, Achooo Mr. Kerrooschev (1960)
Stan VanDerBeek, The Smiling Workman (1960)
Stan VanDerBeek, Blacks and Whites, Days and Nights (1960)
Stan VanDerBeek, Skullduggery Part II (1960-1961)
Harry Smith, Heaven and Earth Magic (1950-1960)
Alexander Kluge, Brutality in Stone (1960)
Norman McLaren and Evelyn Lambart, Lines: Vertical (1960)
Richard Myers, The Path (1960)
Nobuhiko Obayashi, Dandanko (1960)
Nobuhiko Obayashi, E no Naka no Shouja (1960)
Ken Jacobs, Little Stabs at Happiness (1960)
Gustav Metzger, Auto-Destructive Art Manifesto (1960)
Jose Lino Grunewald, aromamora; falo; sempre ceder (all 1960)
Friedrich Achleitner, o-i-study; ouch; alas! (all 1960)
John Cage, Tacet (1960)
Louis Zukofsky, Julia's Wild (1960)
Eugen Gomringer, The Poem as Functional Object (1960)
Luis Bunuel, A Statement (1960)
Berio, Luciano - "Momenti" (1960)
Clementi, Aldo - "Collage II" (1960)
Kagel, Maurizio - "Transicion I" (1958-1960)
Maderna, Bruno - "Dimensioni II (Invenzione su una Voce)" (1960)
Mathews, Max - "Numerology" (1960)
Nono, Luigi - "Omaggio a Emilio Vedova" (1960)
Pousseur, Henri - "Electre" (1960)
Xenakis, Iannis - "Orient-Occident" (1960)
Stockhausen, Karlheinz - "Kontakte" (1958-1960)
Brion Gysin, Mektoub: Recordings (1960-1981)
Salvador Dali, Salvador Dali Speaks (1960)
Richard Maxfield, Pastoral Symphony and Amazing Grace (1960)
William Carlos Williams, Interviews with Walter Sutton, Recorded October 11 & 20; November 3 & 15, 1960
A conference on 20th and 21st century poetry and poetics
Friday, April 13
Introductory Remarks (by the organizers) (11:00 – 11:30)
Revising Historical Trajectories (11:30 – 1:00)
Moderator: Michael Golston
Kathy Lou Schultz, “The Chicago School, Langston Hughes, and the Early Poetry of Melvin Tolson”
Andrea Actis, “‘Can it be that all poems have been anthologized?’: On Laura Riding and the Antinomies of American Poetry”
Rebecca Gaydos, “The Technology of Expression: Revisiting Charles Olson’s ‘Projective Verse’”
Lunch Break (1:00 – 2:30)
Theory and Practice of Community (2:30 – 4:00)
Moderator: Josephine Park
Adeena Karasick, “Exile and Nomadicism: The Immunity of Community”
Al Filreis, “Academic Politics: Clearing a Space for Communities”
Jacob Edmond, “Conceptual Writing: Community and Anti-Community”
Coffee Break (4:00- 5:00)
Keynote Panel: On Poetry Communities (5:00 – 7:00)
Moderators: Jonathan Fedors and Katie Price
Maria Damon, “TBA”
Craig Dworkin, “Scapegoat: Community, Influence, and Exclusion”
Brian Reed, “TBA”
Steven Yao, “Some Contradictions of Poetry and Community”
Saturday, April 14
Resisting Communities (9:20 – 10:50)
Moderator: Charles Bernstein
Jessyka Finley, “‘How I Got Ovah’: Humor and Discontent in Women’s Poetry of the Black Arts Movement”
Tom Fisher, “Literary Communism and Language Poetry”
Joshua Kotin, “J. H. Prynne and the Cambridge School”
Coffee Break (10:50 – 11:00)
Othering Self-Construction (11:00 – 12:30)
Moderator: Max Cavitch
Juliana Leslie, “A Prayer for Modernism: Gertrude Stein’s Portraits and Prayers“
John Paetsch, “Comparative Serial Poetics: Jack Spicer and Robert Duncan”
Maude Emerson, “‘Improbable Selves: Jamesian Psychology in Schuyler and O’Hara”
Lunch Break (12:30 – 2:00)
Complicating Post-War Reputations (2:00 – 3:30)
Hannah Baker, “Thom Gunn’s Transatlantic Response to Confessional Poetry”
Piotr Gwiazda, “‘A naked singularity’: James Merrill and Identify Politics”
Stefania Heim, “Trespass and Presumption: Susan Howe and Muriel Rukeyser”
Coffee Break (3:30 – 3:40)
Communities of Print Culture (3:40 – 5:10)
Moderator: Alan Golding
Sarah Stone, “The Plain Edition: Gertrude Stein and Modernist Book History”
Josh Scheiderman, “The Republic of Postcards: The New York School and Lyric Obscurity”
Kaplan Harris, “Vampire Editing: Dodie Bellamy and Mirage”
Closing Remarks (5:10 – 5:30)
Reception (5:30 – 7:00)
Open to all participants and attendees.
From Jacket #17 (2002)
Edited by John Tranter, introduced by David Lehman.
1. Ethel Malley — Letter to Max Harris, 28 October 1943
2. David Lehman — The Ern Malley Hoax — Introduction
3. Max Harris — Introduction [his original Introduction to the Ern Malley poems in Angry Penguins magazine, Autumn 1944]
4. Ern Malley — The Complete Poems
5. Ern Malley’s recently discovered Last Will and Testament
6. Max Harris — Two pieces [immediately following the Ern Malley poems in Angry Penguins magazine, Autumn 1944]
7. David Lehman — A Note on Harold Stewart [written after a visit with ‘Uncle Harold’ Stewart in Kyoto in 1990]
8. John Thompson — The Ern Malley Story: audio — the 1-hour radio documentary in RealAudio, with the voices of all those involved in the hoax, made by the Australian Broadcasting Commission in 1959. [You can download the free basic model of the RealAudio plug-in for your browser here: http://www.real.com/]
9. John Thompson — The Ern Malley Story: transcript — the full transcript of the radio documentary above; first published as an Appendix to Clement Semmler, For the Uncanny Man — Essays, Mainly Literary, 1963.
Poetic meditations on place in Hawai`i
an architecture of choice.
clutched to bone.
— Aiko Yamashiro
This past Thursday, March 1, 2012, I attended two poetry events in Honolulu. The first was an English department colloquium presented by four University of Hawai`i at Mānoa graduate students, Lyz Soto, No`u Revilla, Aiko Yamashiro, and Jaimie Gusman, entitled “Place, Space, and Performance in Poetry.” The second was “A Conversation with W.S. Merwin” at Kennedy Theater on the UHM campus. As luck would have it, Merwin also wanted to talk about place. After receiving an honorary doctorate and the gift of a poi pounder, he noted that the honor was especially meaningful to him because it came from the place he'd “adopted as [his] homeland.” Throughout both presentations, the conflict between home as a chosen place and home as a place “clutched to bone” resonated; it resonated very close to that bone.
Jaimie Gusman opened the afternoon colloquium by reading part of an essay on “white space” in poetry. She began a meditation with the word “open,” which is one meaning of white space. But another meaning of “white space” came quickly after in Aiko Yamashiro's singing of the hapa haole song “Haole Hula,” which you can listen to here. “Haole” is the word for “white person” in Hawai`i; it can describe someone (“he's the haole guy in class”) or it can be an insult (with profane prefix). Haole are people who came from elsewhere, and hapa haole music emerged in the early 20th century, as a kind of Hawaiian music sung in English. Harry B. Soria, an expert on pre-statehood music, describes hapa haole music this way: "It was the outgrowth of the professional arm of tourism . . . It was danced to, in the Western style, seen as a means to promote visitors to Hawai'i; at the same time, it first appeared in the early 1900s as an outgrowth of the suppression of the Hawaiian language, when a generation of Hawaiian youth was being discouraged to speak Hawaiian to their children. In fact, there was a statute that made it illegal to school your children at home in Hawaiian to perpetuate the language." When the Hawaiian ‘ōlelo came back in the late 20th century, along with traditional hula, hapa haole music went into decline (though my daughter learned to dance “Little Grass Shack” recently in her hula class).
The “fair haunting” of Hawai`i invoked by Aiko Yamashiro's singing led the others in many directions, from Lyz Soto's description of a bank line in which a woman clutched a romance novel and a man was sweating with what the speaker feared was “credit causality.” The themes began to pile up: womanhood, daughterhood, motherhood, meditation (as a way of dealing with these anxieties?), tourism, art. Then there was the male gaze on Hawaiian women in No`u Revilla's Powerpoint (irony upon irony): "To really see me, to (go)ogle me. The search box beckons you. Enter those keywords...Hawaiian Woman in Bikini." Where the afternoon had begun with an invocation to silence and white space, that space was soon filled, both aurally and actually, as the four performers walked around the room, making us into a theater of the nearly round. Central to all of this intellectual and emotional activity was the performance of Aiko Yamashiro as a photographer at "Long-Back Ranch" north of Kāne`ohe. Photography, like hula, is an art, but it's also imbricated with tourism; at one point her speaker heard tourists wondering why they should pay $15 for photographs of themselves. At best, such photographs memorialize vacations. At worst, they record the destruction of beautiful places.
The old woman takes a picture of those subarashii mountains.
The teenage girl takes a picture of the cats who follow my boss around and meow for the chicken bones he throws them.
I take a picture of a cross-eyed goat on a hill, with Chinaman's Hat in the background.
The tourists take pictures of white horses, black horses, mottled horses, spotted horses, all with big horse nostrils. They remark on how big they are.
My boss takes pictures of tourists wilting on tired horses.
The mother takes a picture of buffet food: a slab of barbeque ribs wider than her daughter's smile.
And so on. A local audience knows that “Chinaman's Hat” is a contested name; the Hawaiian name is Mokoli`i. And that same local audience knows that goats, like pigs, ravage the landscape of these islands. So the lovely photographs (and they would be lovely, because the Ko`olau are gorgeous) contain the seeds of destruction within them.
Later that evening, W.S. Merwin talked at length about very different seeds. He has grown rare indigenous palms on land in Haiku, Maui since 1976. He began his extemporaneous talk by citing Henry David Thoreau's “faith in a seed.” The seed carries the 90 million year history of its palm, Merwin said, and trees are places in themselves. He talked of making his Maui land fertile after it had been ravaged by “rats, goats, pigs, and humans.” He knew that Hawaiians who had been occupying Kahoolawe in protest of the military's 40 year bombing run had taken shelter on that land for a few days. (Kahoolawe's other enemy has been goats.) And he spoke of the destruction of native lowland birds by the mosquitos brought in on English whaling ships. He left no wiggle room for humans, saying that to “have dominion over all” is suicidal. After quoting Wittgenstein, another writer who had changed homelands (moving to England from Austria), Merwin read a series of poems around the idea of homecoming, noting that Rainer Maria Rilke (also Austrian) had written that every true poet at maturity has one basic theme, homecoming.” According to Merwin, "our society is in danger of losing its sense of place and homecoming."
Merwin has been criticized in Hawai`i for his epic poem The Folding Cliffs, based as it is on Pi`ilani's account of Ko`olau's flight from authorities after he contracted Hansen's disease in 1892, just a year before the overthrow of the Hawaiian Kingdom by American businessmen. Issues of history, truthfulness, representation, citation, and — above all — appropriation and colonialism, were raised in regard to this book, the one full-length book he has written about Hawai`i. He recorded his own thinking on these issues in the poem “Chord,” originally published in The Rain in the Trees (1988), ten years before The Folding Cliffs came out. This poem poses the excruciating problems of place in Hawai`i by making contrasts between the English poet, John Keats, and the ravages of colonialism in the Pacific. Let me quote the first and last lines of this poem. You can find the entire piece here:
While Keats wrote they were cutting down the sandalwood forests
while he listened to the nightingale they heard their own axes echoing through
while he sat in the walled garden on the hill outside the city they thought of their gardens
their gardens dying far away on the mountain
while the sound of the words clawed at him they thought of their wives
while the tip of his pen travelled the iron they had coveted was hateful to themselves
while he thought of the Grecian woods they bled under red flowers
when he lay with the odes behind him the wood was sold for cannons
when he lay watching the window they came home and lay down
and an age arrived when everything was explained in another language
Aiko Yamashiro's photographer isn't so far from W.S. Merwin's poet. Both make beauty, often oblivious to the destruction of the earth and the imposition of new languages on places where people already spoke them. In my graduate class the next day, Merwin talked about how poetry is the “precise expression of mixed feelings — a point of indecision.” Notably, seeming almost to echo Jaimie Gusman’s instructions to her audience to meditate, to “open” spaces, he talked at length about Buddhist traditions and practice. There are so many possibilities for closing down. It was a delight to hear all these talented writers working to clear space — not by destroying life, but by unsettling it — “hammocked between ideologies that resemble family members,” as Lyz Soto aptly put it.