LISTEN TO THE SHOW
I meet Andrew Zawacki in this episode of Into the Field, recorded on the campus of the University of Georgia in Athens. Zawacki teaches in the creative writing program at UGA, and holds degrees from the College of William and Mary, Oxford, the University of St. Andrews in Scotland, and the University of Chicago. His books of poetry are By Reason of Breakings (University of Georgia Press, 2002), Anabranch (Wesleyan University Press, 2004), and Petals of Zero Petals of One (Talisman House, 2009). Zawacki's writing has appeared in The New Yorker, The Nation, and The New Republic, as well as in many anthologies and journals. We talk about his ambivalence toward his role as a "professional" poet, and discuss what he's learned from his students over the years. The show begins with a reading from his long poem "Georgia," which explores his sense of cultural alienation after moving to Athens in 2005.
You can find more of Andrew Zawacki's poetry and criticism on his website.
Ezra Pound, Canto III
This time PoemTalk took on Canto III of Ezra Pound’s epic, The Cantos. For such a daunting task we gathered Kaplan Harris (who came from far-western New York State for the occasion), Richard Sieburth (the brilliant NYU Poundian, who interrupted a sabbatical to lend a hand), and Philadelphia’s own (and, originally, Brooklyn’s own) Rachel Blau DuPlessis.
We began by considering what Al – for lack (at the moment) of a better word – calls the four or five “blocks” of topical segments that Pound typically brings together in a collage of historical materials and genres. We work through these, explore the associations, and find our way back to Pound himself (presented in the first “I” of The Cantos), remembering himself young, penniless, ambitious, shut out of rightful civic entry – like The Cid, a hero of this poem; and perhaps, too, like (but also unlike) Robert Browning (who makes a slant appearance).
The third canto was drafted around 1917 and published between hard covers in 1924-25. Although Pound recorded several performances of other cantos through the years, he did not record this poem until the summer of 1967, when he was 81. The voice you hear in the PennSound recording is frail, although Kaplan and Richard both remind us that Pound is, even here, putting on the performance of weak retrospection (a specialty, as a matter of tone and also content, of the final cantos which he had been writing not long before this). What is remarkable is that the poem contains a memory already (when it was written) of a very early moment for the poet (1908), and now, nearly sixty years later, we hear the old poet remembering the memory. There are moments – words re-uttered – when he certainly comes alive through emphasis and what one might call “deep memory.”
We urge you to listen hard for Rachel’s terrific riff on the importance of Pound’s deployment of the “genre circus,” and of Pound’s late “my notes do not cohere” problem. “Notes” in themselves, are one of the many genres deployed, says Rachel.
And listen all the way to the end here, folks. In his “final word,” Richard treats us to a marvelous description of the role played in Pound’s complex conception of the poem by the hyper-desired figure of Inez de Castro, lover and posthumously exhumed and declared wife of King Pedro I of Portugal (in the 1350s). At left: Inez de Castro.
Richard Sieburth is also the author of “The Sound of Pound: A Listener’s Guide,” which is the most authoritative account of the recorded voice of the important modernist. The essay was written for PennSound and is linked from PennSound’s Pound page. Just to be clear: PennSound’s Pound page includes every recording of Pound reading his poetry that we know exists. As you will see from the credit lines and acknowledgments on that page, we depended on the kindness of many people to produce such a collection.
Steve McLaughlin both engineered this 41st PoemTalk and also, as always, edited it.
LISTEN TO THE SHOW
In this inaugural edition of Into the Field, I talk with Benjamin Friedlander at his home in Bangor, Maine. Friedlander is a poet, critic, teacher, and member of the Flarflist Collective. He currently teaches at the University of Maine. Friedlander reads a selection of poems originally posted on the Flarflist, as well as several from his book A Knot Is Not a Tangle (Krupskaya, 2000). In our interview, he discusses his years spent living in two of the major meccas of experimental writing in recent decades: San Francisco in the 1980s, and Buffalo in the ’90s. We also talk about his use of the tools of Flarf to do the work of elegy, and his interest in widely forgotten poets of the nineteenth century.
Susan Schultz, 'Dementia Blog'
Norman Fischer’s super-coherent overview of the book called Dementia Blog by Susan Schultz is a good way to begin: “Following the odd form of the blog, which is written forward in time but read backwards, it charts the fragmented disorienting progression (if this is the word) of her mother's dementia. Schultz sees through her family's personal tragedy to the profound social and philosophical implications of the unraveling of sense and soul: a deranged nation, so unmoored from coherence that it is unable to feel the difference between political rhetoric and the destructiveness of war.”
For our 40th episode of PoemTalk, we gathered Jamie-Lee Josselyn, Michelle Taransky and Leonard Schwartz and discussed two relatively early blog entries in this work.
Leonard responds to the matter of Schultz’s discovery of dementia as poetic form and he quotes Schultz on this point: “Reverse Stein. Not insistence but repetition.” “Stein,” says Leonard, “who insists it’s not repetition, that there is no repetition” but Schultz reverses that, based on the neurological reality facing her. Is this repeal of Stein a “big breakthrough”? asks Al - to which Leonard replies that it’s not really a critique of Stein, because finally “this book honors a kind of indeterminacy as ethics.”
Jamie-Lee argues that for Schultz memory is community and the state of being without memory is isolation. In the post-Holocaust sense, we won’t understand, and cannot successfully convey, what we write down about the trauma we witness. Schultz nonetheless chooses testimony a mode, and blog as form, not so much because she believes in the efficacy of bearing witness but because she wants to be part of this community and to stave off remoteness.
Michelle follows this by wondering if we can understand such writing as lyric – as embodying the qualities of the lyric poem. How is Schultz “somehow both expressing something personal – relating it to herself, her mother turning into not-her-mother – and at the same time there’s the very public [function, so that] someone else with a mother with dementia might read this and relate. Thus there’s somehow that ability to both be lyrical and to be poethical at the same time.” Michaelle isn’t certain that the blog form is what makes that convergence possible, but she suspects it might be.
Al had already written about the book on his own blog, where he concluded, perhaps a little too cutely, that “[t]he illness is the medium” – and then pondered the project’s novelistic aspects:
As you read this work you go backwards into the daughter's recent past to a point just when the mother begins to lose a grasp on her past. Ironically, conventional novelistic progression is repurposed for the digital mode that would normally undermine it. As we move toward the end (the beginning: Susan's return home from a vacation abroad to deal with her mother's first crises), we arrive at wholeness. Not Pip realizing his realistic place in London, nor Emma right-sizing the world into appropriate family pairings, nor even Clarissa Dalloway's party bringing the whole fractured cast together, but a happy-ever-after that is a moment in time just before the decline begins. In the end are things as they were.
The book can be purchased through Small Press Distribution. It was published by Singing Horse Press in 2008. PennSound’s Susan Schultz page is here; she recorded nine sections, or blog entries, specifically for PennSound – including, of course, the two we discuss. For his radio show, “Cross-Cultural Poetics,” produced in the studios of KAOS-FM at The Evergreen State College in Olympia, Washington, and made available through PennSound, Leonard Schwartz has interviewed Schultz several times. During the 180th show, he spoke with her about Dementia Blog and that interview is very much worth hearing along with this PoemTalk.
[A few days later: we’re glad to see that already this discussion and of course the book itself are being recommended in a letter to the editor of Slate in response to an article about the experience of living with someone suffering from dementia.]
PoemTalk’s 40th episode was directed and engineered once again by James LaMarre and edited as always by Steve McLaughlin. Next time on PoemTalk: Richard Sieburth, Kaplan Harris and Rachel Blau DuPlessis talk with Al about the third canto of Ezra Pound. Stay tuned for that one.
Etheridge Knight's 'The Sun Came' and Gwendolyn Brooks' 'Truth'
On PennSound’s Etheridge Knight page we offer single downloadable MP3 recordings of every poem Knight read at a memorable February 25, 1986 reading. The introduction to the reading was given by Gwendolyn Brooks herself — she who had long been an encourager of Knight. “Don’t let us lack hard rock,” she says at one point in this intro, addressing herself directly to Knight. She reminded her audience of a poem Knight had written in response to her very early poem, “truth,” in which she (as she reminded us in ‘86) had equated truth with sunshine. And Brooks read the opening lines of Knight’s “The Sun Came,” and then invited Knight up to the podium with the command to “open your mouth.” Open it he did, Etheridge Knight did, and along the way performed “The Sun Came” himself.
Is Knight’s poem a rejoinder or counterargument to Brooks’ “truth” in any sense? There is no easy answer to this question. For this episode of PoemTalk Al Filreis gathered Tracie Morris, Josephine Park, and Herman Beavers to talk through the relationship between the two poems and between these two poets. Enabled by Tracie’s sense of the lived authority of Knight’s voice (“the Joe Williams of modern poetry”), by Jo’s close reading of his performed meter, and by Herman’s attention to the jailed figure of Knight, we soon realize that Brooks invites a dialogue by way of a key religious trope, and that Knight has responded by figuring Malcolm X as Jesus Christ. Summoned by Brooks to testify about Jesus, Knight associates Malcolm with the end of darkness. Christian regret (we did not sufficiently know him until after death) sparks Knight’s angry, sad, sorrowful expression of our having “goofed the whole thing” — that our ears should have been, but weren’t, equipped to hear the “fierce hammering.” The sun comes. So Malcolm comes. Did the light of each or either reach the cell of the speaker? It seems that it did not (although the poem itself is our only evidence otherwise). Who comes? Mal (evil, danger, etc.) comes. (The way Knight emphasizes the repeated “MALcolm” makes this double sense clear.)
But back to the question of possible rebuke. Herman hears some counterargument in Knight, Tracie less so. One of those rare disagreements on PoemTalk. The discussion among all four is at its most interesting here, and there’s some good talk about Brooks’ sheer power and pull as a poetic personage. Finally, Herman summarizes this segment of the discussion as follows, speaking in Knight's voice: “I’m honoring your influence by taking it in a direction that you would not take it.” It = the problem of the instance of the sun; the possibility of radical opportunities.
Here is the recording of Knight reading his poem. And here is Brooks’ introduction. And here is a PDF of the text of the Knight poem provided by the University of Pittsburgh Press, and also here below: