Podcasts

Can't stop the cars (PoemTalk #13)

Kathleen Fraser, 'The Cars'

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PoemTalk is back after a bit of a holiday hiatus. Happy to be back with episode 13 on Kathleen Fraser’s disorienting prose-poem “The Cars.” The piece appears in two paragraphs on a single page in Fraser’s great book Discrete Categories Forced into Coupling. At some point during our discussion we ask ourselves if there are any such mergings going on in “The Cars” and we agree that there are, certainly. For one thing, two categories so literarily basic as subject and object: the poet’s subject position (the p.o.v. of the passenger in a car on an interstate highway) and the object of her gaze — a “dusky”-necked body, a dark or light-darkened man, dangerously crossing the highway at dawn, barely visible to the swiftly passing cars, looking for something he’s lost. The person in the car, the narrative seer, sees him, but then she’s past him. Did he make it? Did others see him? Does one want to see or to help, and are these categories discrete?

The PoemTalkers this time were Kristen Gallagher, CAConrad (both on our program for the first time) and a wonderful regular, Jessica Lowenthal. Conrad identifies strongly with the woman in the car and expresses real doubts about the man crossing the road. Kristen is, in the end, concerned about the gendered poetic ethics of observing danger for the sake of the poem, which, to be sure, is a problem she feels Fraser raises in the writing (and thus it is a poem about this very “journalistic” problem). Jessica, aided by informal commentary from Kathleen Fraser herself (delivered by surprise, somewhat unfairly, by Al), comes to believe that at the center of the poem’s concerns is the disoriented body. Al agrees: it is a body in space, dislocated by interstate highwayness, with no place to stand, no light to define, no there to be there.

PoemTalk #13’s engineer and director was James LaMarre and our editor as always is Steve McLaughlin. We at PoemTalk wish to express thanks to Kathleen Fraser (pictured above) for her generosity and assistance.


The cars

Sprinting across the freeway just ahead of them having set his left foot down directly onto the pavement from the ledge of the cement divide and edging his other leg forward deliberately—caught the way sports pages show an athlete with muscles condensed in the effort of crossing through a particular space—and then she sees the cars coming towards him giving off that early morning shine across their hoods almost colorless but precipitous in the four-lane parallel rush of metal and cannot tell if any driver straining into the distance further ahead has seen him or possibly has caught that glint off the long black flashlight he appears to carry with its up-beam turned on full and faintly visible due to the angle of early sun falling over the mid-western plains fanning out in every direction away from the sudden view of the airport hub’s acclaimed architectural design.

She sees the brief alignment of his body methodically finding its way across the freeway lanes blue baseball cap fit snugly over his head to just above the hairline here now dusky skin of his neck breaks into the picture. He’s made it halfway, she thinks but she can’t stop the cars rushing towards him even as he scans with concentration the worn lanes for the thing he’s lost as if he’s walking through the dark and shining his flashlight wherever the object might have landed, his right knee still lifting purposefully upward and forward.

Troubled sleep (PoemTalk #12)

Ezra Pound, 'Cantico del Sole'

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Ezra Pound integrates — or, rather, doesn’t quite integrate — a response to a stupid contemporary judicial ruling on censorship and a fragment from the Canticle of Simeon (Luke, 2:29-32) to make a powerful, comic (even schticky) satire on American culture of his time and perhaps of ours. How this works, variously (and depending too on which recording of Pound reading the poem you hear), is the topic of our twelfth PoemTalk. Talkers this time: Charles Bernstein, Joshua Schuster, Rachel Levitsky.

How broad is the satire? Is the figure whose sleep is troubled by Americans reading classics widely the anxious, sensorious judge, relieved that no one really reads the indecent classics? Or is he the modernist poet, aiming for whatever would strike such a man as indecent? (Is this just another early-Pound personae? Is it the performance of a subject position Pound would never quite occupy? Does the speaker's elitist animosity toward America confirm the judge’s disquietude?

PennSound’s Pound collection (it’s complete — everything recorded by Pound that we know of) includes several readings of “Cantico del Sole.” PoemTalk plays two of them, one from the 1930s, the other from the late 50s.

The thought of what America would be like
If the Classics had a wide circulation
Troubles my sleep,
The thought of what America,
The thought of what America,
The thought of what America would be like
If the Classics had a wide circulation
Troubles my sleep.
Nunc dimittis, now lettest thou thy servant,
Now lettest thou thy servant
Depart in peace.
The thought of what America,
The thought of what America,
The thought of what America would be like
If the Classics had a wide circulation...
Oh well!
It troubles my sleep.

PoemTalk’s director, engineer and editor is Steve McLaughlin, who, by the way, has recently taken a turn at selecting his 12 favorite PennSound recordings.

This episode of PoemTalk was recorded in the Arts Café of the Kelly Writers House in Philadelphia. Next time, PoemTalk goes on the road - to our Broadway studios in New York, for a discussion of a late poem by Wallace Stevens and the talkers are Nada Gordon, Lawrence Joseph, and Charles Bernstein. Stay tuned.

Tim Carmody reminds us of this later Poundian remark about Americans’ reading habits: “This crisis as I see it was and is at the moment I write this (July 22, 1930) due to a fear that the American public is too stupid to buy books without buying bindings. The continental European buys books in paper covers at 50 or 60 cents per volume in order to see what is in them very much as the American buys magazines.” (Pound, “How to Write,” Machine Art and Other Writings: The Lost Thought of the Italian Years, ed. Maria Luisa Ardizzone [Durham, NC: Duke University Press, 1996], p. 90.)

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Mike Hennessey’s PennSound daily did a feature piece on this episode of PoemTalk, providing a good summary of the discussion and some helpful links. Go here for more.

Paddling ladders (PoemTalk #11)

Erica Hunt, 'voice of no'

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When a poet asserts she has the voice of no, does that mean she has it — has got that voice down, can do that voice — and wants to know it from the inside in order to get past it, or wants to doubt it, so that she and we can get on to the positive change we seek? Or is, finally, that voice her voice? A withering critique of present conditions (21st-century-style hyper-mediation; disorientation and alienation; natural disasters in response to which there are human-made failures): is that what this voice of no voices?

Well, you can imagine that our PoemTalkers, talking Erica Hunt’s poem “the voice of no” from her magnificent illustrated book of poems Arcade, came to no simple conclusion to the above-posed questions. One reason is that the poem starts in a comically self-aware yet censorious maternal voice and then gives way, from a longer view and somewhat more omniscient p.o.v., to geopolitical social ills that indirectly but devastatingly follow (the personal is political for Hunt, for damned sure).

Elizabeth Willis joined us this time, as did Julia Bloch — for both, first appearances on PoemTalk. And an insightful regular, Jessica Lowenthal, formed up our foursome.


the voice of no

No need to be contrary, I put on a face.
No use for muscle, the workers tand on line for hours.
No need to read, 24 hours of the shopping channel.
No fine, we have the illusion of doing what we want.

Is that any way to talk with your tongue pressed against glass?
The tv set is barking this Sunday morning off
when we acquire an instant memory,
and round language, where the ends justify the ends.
We rummage among the many
unplugged connections

looking for that darn
fraction of a percent of the landscape
you say it is possible to live in,
who will miss
it when we divide up
the sun, devour the
young rather than
give up our good seats.
The postcards
are bought out,
the lp is skipping
and anyway
rescue is sure to be slow.
In place of a raft
we paddle
ladders past the
litter of drifiting bodies.

Here is a link to Arcade, with illustrations by Alison Saar. Here is Erica Hunt’s PennSound page and here is a link to the recording of our poem, “The Voice of No” (1:01).

Our engineers for this episode were Steve McLaughlin and James LaMarre, and our editor was Steve McLaughlin, now productively HQ’d in Rotterdam. The recording of Hunt’s poem was made during a conversation with Charles Bernstein as part of his “Close Listening” series, June 20, 2005. Photo by Bernstein.

Portrait, but of whom? (PoemTalk #10)

Gertrude Stein, 'Christian Bérard'

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“Stein leaves no doubt…that she’s doing portraits in the same way that Picasso and Braque are doing portraits.” So says Jerome Rothenberg — very helpfully — in the first minute of our discussion of Gertrude Stein’s “Christian Bérard.” PennSound’s Stein page includes a recording made in New York during the winter of 1934-35 of the first page of the poem as it appeared in Portraits & Prayers, the Random House volume that had just been published. The portrait of Bérard — a friend of Stein’s, a painter and set designer and frequenter of her salon — had been written in 1928.

But back to Jerry’s statement, meant to get us to talk about non-representational depictions, for (the first line of the poem), “Eating is her subject. / While eating is her subject. / Where eating is her subject” certainly does suggest, emphatically, that neither Bérard nor anyone else is the subject of the poem.

Bob Perelman joined us for PoemTalk #10 and noticed that when Jerry read the poem aloud for us he erred in reading the line, “She ate a thin ham and its sauce.” Jerry said “name” instead of “sauce” and Bob persuasively runs with that apt substitution. This is a poem about the named and not-named — or, as Lee Ann Brown, our third PoemTalker this time, noted, how language for Stein is something that can be eaten and, in that sense, purely enjoyed, taken in, consumed, made an embodiment.

I kept pushing my conversants to find an at least winking reference to Bérard, at least in the avoidance of him. We know that he was considered an improvisatory genius (in stage design) and had irresistible personal charm despite “his apparent indifference to personal hygiene.”[1] He cut quite a figure in the Stein/Toklas flat, especially at dinnertime. Yet about Bérard's paintings, Stein quipped: “They are almost something and then they are just not.”[2] This there/not-there quality of her subject’s art — especially when contrasted with Picasso’s and Braque’s portraiture (the real instigation of the poem) — seems replicated in the poem’s relationship to portraiture itself.

Such winking Paris-insider references aside — they become mere literary-historical background — we four took pleasure in the pleasure Stein obvious took here, word by word. Bob’s sense of the punning “Withdraw” (pull back, yes; but also, draw one kind of portrait while withdraw another kind), Lee Ann’s and Jerry’s sense of child-like play on sounds, our all getting hungry during a late-afternoon talk about a poem dwelling upon “the difference between steaming and roasting,” “breaded veal and grapes,” “pigeon and a souffle”…these are elements of a language that is like food: delicious, to be taken in. Stein is perhaps to the literary critic as the lover of meals is to the foodie. The foodie’s irony: there’s talk about food and then there is its realist purpose. What if language were really seen in such a way? We’d all be happier.

PT #10 was directed and edited by Steve McLaughlin and recorded in the Arts Café of the Kelly Writers House. Our poem is available as a free, downloadable mp3 recording on PennSound.

 


[1] Dance Research Journal 22/1 (Spring 1990), p. 32.


2 The Autobiography of Alice B. Toklas, 1933, chapter 7.

The beginnings concept (PoemTalk #9)

John Ashbery, 'Crossroads in the Past'

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Our PoemTalkers — this time, Gregory Djanikian, Tom Devaney and Jessica Lowenthal — gathered to talk about a late poem by John Ashbery, “Crossroads in the Past,” from his book Your Name Here (2000). Amid the usual Ashberyean ontological bounty, here’s a poem that disentangles the crossed lines of narrative middles and ends (and beginnings). Straightens things out, or at least imagines the goodness of such straightness. And indulges in a nostalgia for the way things were at the start.

Is it age — or the loss of a loved one — that draws an anti-narrative poet to beginnings at the end? That, in short, is the question we posed of this poem. And does such a thing undermine a career-long devotion to middles with implied pre-stories? The wind blows in the direction it blows, and can’t be “wrong.” What about a “relationship”? Can — or should — a relationship be talked back to its beginnings, a narrative housecleaning?

Jessica and Greg decided finally that the apparently definitive ending dead-ends in an obvious imagery and sentiment. Tom and Al disagreed, seeing the poem as thus a meta-poem: a poem about the poet who has reached a point where he must re-imagine “the beginnings concept” and who realizes its failure.

John Ashbery read this poem as a Kelly Writers House Fellow in the spring of 2002. We have video recordings of the reading and an interview/conversation moderated by Al Filreis.

Here is a link to the Poetry Foundation’s PoemTalk page.

Here is PennSound’s John Ashbery page. This page has grown enormously in recent weeks, as PennSound becomes the prime available-for-download repository of audio recordings of this great contemporary poet. Here is a link to Ashbery’s reading of our poem, “Crossroads in the Past.”

PoemTalk #9 was recorded in Studio 111 at the Center for Programs in Contemporary Writing in Philadelphia. Our engineer-director and editor was Steve McLaughlin.

At top: standing from left, Tom Devaney and Jessica Lowenthal; seated from left, Gregory Djanikian and Al Filreis.