My son Ben and I saw Neil Young here in Philly at the Spectrum last Friday night. Wilco, warming up, was terrific. Jeff Tweedy astounds, is downright experimental with lightning-fast register and genre shifts. But Young: he was really young. "Heart of Gold," "Old Man," etc., but also some raw new political (economic) anthems, such songs seeming to us rusty even though weeks or even days since written and scored. My former student and former Writers House regular and staffer Nate Chinen reviews Young in concert at Madison Square Garden in today's New York Times, page 1 of the Arts section.
More about Nate: here's a link to Nate-only entries in the NYT Arts blog.
One of my favorite early poems of Jack Spicer is "Psychnoanalysis: An Elegy." Check it out in Peter Gizzi's and Kevin Killian's edition of the The Collected Poetry of Jack Spicer (subtitled "my vocabulary did this to me"), on pages 31-33. (Wesleyan published this fine book. Get thyself a copy soon.)
After reading around in the Collected, I decided to go back to our PennSound Spicer page, and listened again to this remarkably confident, resonant and yet slightly weird baritone voice. A radio voice, was the phrase we used to use for such a person. Yes, Jack Spicer had a radio voice. Which is unrelated--or, then again, perhaps entirely related--to the poet's penchant for using the radio as a conceit in his digressive commentary. See, at the bottom of this entry, my favorite Spicerian comment the wanders into radio.
So I listened to Spicer again. I noticed that we at PennSound have made available an undated 4 minute, 52 second recording of his reading of "The Song of the Bird in the Loins." Nearly 5 minutes to read that short poem. Hmm, too much time for that piece. Perhaps, I thought, he reads the poem and then offers some commentary. So I listened, eager to hear more than that one poem. Lo and behold: the recording is not just that poem but three early works. The other two are "The Dancing Ape" and..."Psychoanalysis: An Elegy." So there's my poem! Now we've unpacked the three, made separate mp3 recordings for each, and now I'll recommend that everyone reading this blog have a listen to this "elegy," a smart, luminous, and slightly unhinged rejoinder to the triumph of the therapeutic.
Q: Are you actually going through a transition in your writing?
Jack Spicer: I'm going through a transition. In fact, I don't have no job, and I...
Q: No, I mean in your actual writing.
Jack Spicer: Well, if the radio set has three batteries which are gone and one that's still left, that isn't a transition in the radio broadcast. It's a transition in the radio set, namely that you don't have very much power. And these things that happen to you in life are like that. If you're only going on one transistor and you're a four-transistor radio, you're not going to be able to get in the outlying stations very easy. KFI doesn't come in.
I spent three days with Susan Sontag in 2003--utterly memorable days. She had just published Regarding the Pain of Others, which I had just read. As we drove in my little old Toyota from the train station to the Writers House we talked about the book and in effect she quizzed me on what she had written. I breathlessly dove into the most nuanced distinction she makes in the last part of the book and got an "A" for my paraphrase. Susan then warmed up considerably, having decided that I could hold my own with ideas. Once we got settled and I had a chance to tell her what we were trying to do at the Writers House (create a salon for writers of all kinds, maintaining a good deal of independence while using university resources) she really started to get into it. During the three-hour session with the students (who were very nervous at first) we talked about her novels primarily, which they had read and discussed carefully in the month prior to her arrival. While she was dismissive of some students' responses and questions, there was always a baseline of gratitude that we were talking about her fiction, about which she cared a great deal, to the point of frustration sometimes with folks who kept asking her about her essays on radical styles and postmodern art theories of the 1960s. That night she read from her fiction and took questions. Then we had a home-cooked dinner, with about ten people, in the dining room of the Writers House. The next morning I walked her from her hotel back to the House and she and I talked for an hour or so, taking audience questions.
The recording of that discussion is now available as a downloadable mp3. I haven't listened to it myself--ever. But I'm sure I'll hear it in the coming days.
After the interview we had a few hours before her train back to New York. She wanted to go to the PMA to look at a huge surreal-yet-realist photograph by Jeff Wall - a staged psuedo-documentary of dead Russian soldiers scattered in a trench in Afghanastan shortly after a rocket attack had hit them. She had written about this photograph, called "Dead Troops Talk," in her new book but had either never seen it in the original or had only seen it once (I think the former). She knew this huge gruesome fantasy picture was on display at PMA and was bound to see it, but not alone. She did not like to see art alone, so in a very social, upbeat, can-do sort of way convened a bunch of us to drive over to the museum to have a look. We went in two cars. Problem, though: there was a blockbuster show and (if I'm remembering this rightly) part of the museum was closed, the part where the big photo hung. This wasn't going to stop Susan Sontag. It happened to Blake Martin, my assistant and coordinator of the Writers House Fellows program, had a friend who worked at the PMA. Blake called her and said that Susan Sontag wanted to be admitted to a closed section of the building. Somehow special entry was all arranged. Susan Sontag is coming! Susan Sontag is coming! A museum comes to attention. So, after some VIP handling, the skirting of long lines awaiting the blockbuster (was it Degas?), there we were, maybe 8 or 10 of us, standing in a huge otherwise empty half-lit gallery--we and several curators who had come out of the woodwork--looking at this devastatingly fine photograph about pain, watching Sontag watch it, hearing her talk about representations of suffering, about war, about the cold war and art, and we stood there for what seems to me, as I remember it, a long long time. Mostly standing in silence. Learning again to look at art with an intensity modeled by one of the most intense people of the late twentieth century.