Michael Golston, Danny Snelson, and Sarah Dowling joined Al Filreis this time to talk about two short poems by P. Inman from his book at.least. (published by Krupskaya in 1999). The poems are “lac[e]y.” — dedicated to Tom Raworth — and “reception. theory.” — which is “for Diane Ward.” The text of the poems is available as a downloadable PDF, and the book is described and available here. Recordings of Inman reading the two poems, made in 2005, are available at Inman’s PennSound page and as follows:
reception. theory., for Diane Ward (1:06): MP3 lac[e]y., for Tom Raworth (0:44): MP3
Read Edgar Allan Poe's “Dream-Land” even just once and discover that it’s not at all clear if this land of dreams is the place from which the speaker has come, or is, rather, his longed-for destination — or if indeed it is the very mode and means and route endured along the way. Subject and object, both; content and form likewise; it is the process that demonstrates the importance of desired ends. “Thule,” a northerly, arctic/Scandinavian sort of zone, is apparently an origin "from" which the speaker has traveled, but it is also apparently “it” — a “wild clime” neither geographical nor temporal, “Out of SPACE— out of TIME.” And “it” is also a space through which one passes.
Thomas Devaney, John Timpane, and Jerome McGann greatly admire what Poe achieved here. For them it is a matter of a sort of wild control. The poem seems to go where it will (and that’s its point) but the speed — as matter of tongue, teeth and lips saying its words — is managed at the level of the line. The poem is intensely languaged, as is the selfhood of the “I” whose journey is always already the poem. And so this work, as an act of writing, far transcends its Gothic conventions.
LISTEN TO THE SHOW Sean Cole is a poet and radio producer currently based in New York City. I spoke with him last summer in Toronto, where he was living at the time. Sean’s chapbook Itty City (Pressed Wafer) was published in 2003, and The December Project (Boog Literature), a collection of postcard poems, came out in 2005. Sean has contributed to numerous public radio programs, including This American Life, All Things Considered, Marketplace, and Weekend America. He produced a memorable piece on Flarf poetry for Studio 360 in 2009, and his story “Death Mask” appeared as a Radiolab podcast last month.
Rosmarie Waldrop’s book Shorter American Memory consists of prose poems collaged from documents collected in Henry Beston’s American Memory, a book of the late 1930s evincing an Americanist zeal for early documents. Beston's historicism seemed a liberal effort to restore and include in the American story, as it was being retold during the Depression, a wide range of Native American as well as both obscure and classic “founding” or “first encounter” Euro-American writings. By appying various constraints to these documents, Waldrop rewrites Beston by “taking liberties” — an intentional pun on her part — with the gist of the anthology and its very length. In doing so, (to quote her publishers at Paradigm Press) she “unearths compelling clues into America's perception of its own past, developing a vision of America vital for its intelligence, wit & compassion.”
We at PoemTalk decided to take a close look at one of these prose poems, “Shorter American Memory of the Declaration of Independence.” A performance of this poem, preceded by a short introduction, was recorded at Buffalo in 1992. The main work of that reading was to present many chapters from Key into the Language of America, a project related to that of Shorter American Memory in several ways we mention in our discussion. As a warm-up to Key, she read three of her writings-through Beston: ours on the Declaration, a second on Salem, and a third on “the American Character According to [George] Santayana.” Here is a link to Waldrop's PennSound page, where these and many other recordings are linked.