Articles - May 2014

My other country (PoemTalk #77)

Lorine Niedecker, 'Foreclosure' and 'Wilderness'

The cottage where Lorine Niedecker and Al Millen lived on Blackhawk Island. Photo courtesy of Friends of Lorine Niedecker, Inc.


Jessica Lowenthal, Michelle Taransky, and Dee Morris joined Al Filreis to talk about two short poems by Lorine Niedecker, “Foreclosure” and “Wilderness.” The recording of these poems was made by Cid Corman during his visit to Niedecker’s home in Wisconsin in November of 1970. All the poems Corman recorded were posthumously published in Harpsichord & Salt Fish by Pig Press in 1991.

As a house is being foreclosed in “Foreclosure” the speaker resists by turning the bankers’ legal language around and by mocking it (“their parties thereof /and clause of claws”). She then concedes the house but wants to keep the land, demanding that “the land” be “scratch[ed] out” from the agreement, and finally delivers an edgy benediction, cursing property and also prose with elimination. Only then will the speaker of this poem find peace. The ending suggests that prose is to property as poetry is to the concept of land defying ownership. The ratio reminded the group of Dickinson (“I dwell in Possibility” with its house fairer than prose).  The floating wounded doe at the end of “Wilderness” also reminded us of Dickinson (“My Life had stood — a Loaded Gun”) and not surprisingly we read it several ways. Michelle recalls being a student in one of Dee’s classes, where they confronted William Stafford's “Traveling through the Dark” with its own wounded doe seen from a masculine vantage at “the top of the mountain.” Niedecker is not seeing the doe as a metaphor necessarily, notes Michelle. “She's trying to figure out the Other.” Dee observes that the poet is “making this non-formulaic in terms of gender.” Still, “the man” and “my other country” are one, and both make it “hard going” for the speaker. In each poem, as Dee notes, Niedecker shows “incredible tonal nuance.” She begins with toughness (the very word “abutment”!) and then she “gets cute” (puns on the legal language), and finally she becomes quite serious, ending with a kind of lyric prayer. Both of these poems are “incredibly nimble” — indeed, says Dee, “like a deer.”  Jessica described amazement at the smallness of the voice we hear in the Corman recording. “It matches the work and yet it doesn’t, because I think of her as so large.”

This episode of PoemTalk was engineered by Steve McLaughlin and edited by Allison Harris. It was a happy (and, we like to think, very productive) teacher-student reunion: Michelle and Jessica, at different times, had both taken courses with Dee at the University of Iowa.

We are grateful to Linda Falkenstein, who has contributed the following comment: “I was recently listening to the discussion about ‘Wilderness/Wild Man’ on Poem Talk #77 and wanted to comment on the line, ‘you are the prickly pear.’ The discussion seemed to take the direction of this being an indication that Niedecker had to be referring to the desert here, but, prickly pear cactus are native to Wisconsin. You'll find them in sandy soils on south-facing slopes.”

I'm coming up (PoemTalk #76)

Anne Waldman, 'To the Censorious Ones' ('Open Address to Senator Jesse Helms')


Orchid Tierney, Stacy Szymaszek, and Pierre Joris joined Al Filreis to discuss a poem by Anne Waldman sometimes called “To the Censorious Ones” (occasionally with the subtitle “Jesse Helms & Others”) and sometimes in performance called “Open Address to Senator Jesse Helms.” It's been published most prominently in In the Room of Never Grieve: New and Selected Poems 1985-2003 (Coffee House Press; p. 239). The recording available through Anne Waldman’s PennSound page comes to us from the Naropa Audio Archive, a collection of live performances given at the Jack Kerouac School of Disembodied Poetics between 1974 and 2002. From internal and contextual evidence, the PoemTalkers date the performance to around 1990, the time that the Culture Wars, waged by congressional conservatives such as Helms, focused on performance art (among other apparently seditious forms), especially that which had been supported by the National Endowment for the Arts.

Our discussion ranged across many topics. Among them: Waldman's ongoing work as a cultural activist; belief by her, and others, in the “magical efficacies of language as a political act”; poets’ support for alternative art communities; the relationship between the work of curating and institutionally “making” poetry spaces and the poems that arise from such work; the feminist project of “thrusting into [the censor’s] point of view,” a gesture in equal parts writerly and political; and the importance of reasserting myths of the woman rising from below, coming up, coming back, and opening the box. Ultimately, we decide, the very question of “artistic merit” (that vexed — and, as it turns out, hypocritical — phrase in the NEA charter) is answered in this poem through its own responsive performative daring. In art that tempts the censors to repeat their censorious work, is merit really still relevant? Political response emerges as one way to deal with the problem of aesthetics!

This 76th episode of PoemTalk was engineered and directed by Steve McLaughlin and edited by Allison Harris. Next time on PoemTalk: Jessica Lowenthal, Michelle Taransky, and Dee Morris join Al Filreis at the Kelly Writers House to talk about two poems performed by Lorine Niedecker as recorded in 1970 by her friend Cid Corman.