Montreal's was a desiring feminism

A review of 'Theory, A Sunday'

Theory, A Sunday

Theory, A Sunday

Louky Bersianik, Nicole Brossard, France Théoret, Gail Scott, Louis Cotnoir, and Louise Dupré. Introduction by Lisa Robertson

Belladonna 2013, 162 pages, $18, ISBN 9780982338780

In a post-riot-grrrl world, it’s hard for those of us who were too young for the theoretical debates of the eighties to understand the amount of collective cognitive labor that was required to move us from feminism’s second wave to its third. We easily take for granted the radical cultural shifts that had to take place for Kathleen Hanna’s emergence on stage with the word ‘slut’ written on her belly to be seen as a populist punk feminist act, until we are kindly reminded otherwise. I was politely offered this “otherwise” recently by a sentence in Louise Dupré’s essay “Four Sketches for a Morphology,” in Belladonna’s recently published translation of Theory, A Sunday, originally published in French in 1988 by Éditions du remue-ménage in Montréal. When I read Dupré’s claim that “Feminism can only survive by recognizing the feminine as difference” (95), my initial reaction was, “well, yeah.” Luckily, I was alone when I thus betrayed my origins as an ungrateful and privileged adolescent of the deconstructionist nineties whose college green seemed to be nothing if not a carnivalesque sea of celebrated differences, because as I continued my read of the essays and literary work in Theory, A Sunday, it became clear that the kind of political struggle and intellectual labor in these texts made possible the relatively utopic feminist intellectual world in which I emerged as a young queer writer. 

It makes sense then, that Belladonna published Theory, A Sunday as the inaugural piece in its new “Germinal Texts” series, for the text documents the kind of feminist thinking enabled by French poststructuralism. More importantly, it shows how this inquiry aided a particular group of French Canadian women writers in feminist interrogations of literary culture and of language itself. The publication also serves as an homage to the rich dialogues that have been taking place between American and Canadian women writers for several generations. In the afterword, Belladonna founder Rachel Levitsky stresses the importance of the “Canadian feminist avant-garde” for offering her a model for expanding the politics of an experimental American literary scene that, in the aftermath of Language poetry, believed “language dissonance and disruption was political in and of itself” (152–53).

As a literary project, Theory, A Sunday presents critical and creative productions that emerged from a women writers’ study group started by Nicole Brossard in the early eighties and included Louise Cotnoir, Gail Scott, Louise Dupré, France Théoret, and Louky Bersianik, whose work make up the volume. In its multiyear effort of Sunday meetings (hence the book’s title), this group worked at defining feminist consciousness through the poststructuralist theory emerging from France. Poststructuralism’s emphasis upon the slippery nature of the sign, its ability to question philosophical binaries through its interrogation of linguistic representation, provided these writers a means by which to move beyond the essentialisms of second-wave feminism and to ponder how one might exhibit a feminist consciousness on the page. Fans of Gail Scott will be excited to read her essay “A Feminist at the Carnival” and a short work of fiction, “‘The Kiss’ of Edvard Munch, Revisited.” Scott’s meditative essay on being a female writer, a work richly layered with novelistic elements, highlights how well the narrative techniques of her novels have always served philosophical thought. Though at times the reader will feel the great gap of time between ‘now and then’ when encountering, for instance, Dupré’s mention of “the teen idol of the moment,” Madonna, this distance disappears with her interrogation, “Where is the feminism in all of this?” a question I lately feel compelled to ask each time I open up my Internet browser (91). Miley Cyrus on a flying hot dog, I believe, does not a Kathleen Hanna make, though argue with me, if you wish. It’s a slippery space. Similarly, Louky Bersianik’s piece “Aristotle’s Lantern,” with its deconstruction of the academic critical apparatus and its detrimental effects on the reception of women’s writing, interrogates and dismantles canonized patriarchal forms and reminds us, in light of our dismal twenty-first-century VIDA numbers, that, “Baby, we haven’t come (too) far.” 

Nicole Brossard’s opening essay in the collection offers a strong example of what poststructuralism made possible for the Montreal group and an introduction to the kind of theoretical work one will discover in this volume. Early in her essay Brossard announces that Western feminism “presents us with a wholly new historical phenomenon, because it questions the imaginary, symbolic, and psychological construct of everything through which the inferiorization of women has been programmed” (19). Though her vocabulary teases the reader into expecting a Lacanian analysis, another Frenchman aids Brossard in the heavy lifting of articulating the relationship between a psychological patriarchy and the linguistic phenomena it produces. It’s Brossard’s turn to Barthes that I found to be the most compelling moment of the essay. Brossard understands “misogynist antagonism,” i.e. patriarchal ideology, in narrative terms, specifically as a narrative we inhabit (25). For this reason it is subject to the same contradictions and disruptions inherent to all narratives. She is able to make this important move, one that will allow her to shift from a discussion of a general feminist project to the specific role of the writer in this larger political movement, by invoking Barthes, for whom the form of narrative “is essentially marked by two powers: that of extending its signs through the whole of the story, and that of inserting unforeseeable developments within these distortions” (25–26). That is, according to Barthes, narrative suffers from something like an excess of itself. In its self-perpetuation, narrative produces a proliferation of signs that may or may not serve the same end. It’s these “unforeseeable developments” that allow for feminist consciousness to emerge. Though all women find themselves struggling within the master narrative of patriarchy, Brossard outlines how this proliferation of patriarchy’s signs provides an opportunity for self-consciousness.

Up until this moment Brossard had discussed patriarchy and its narrative as an extra-literary phenomenon, the sociopsychological story we are all asked to buy into. But Brossard’s turn to Barthes opens up the possibility for literary narrative to disrupt this sociopsychological phenomenon. Through the act of writing, a woman creates the necessary distance — the space between signifier and signified — to gain a critical perspective upon her own story, which is also the story of patriarchal order: “In fact, if it weren’t for what this subjective (diaries, biographies, letters) and novelistic narration of our lives exposes to our consciousness, we should have no other alternative, for lack of any other perspective, than to debate amongst ourselves using the contradictory and hierarchical binaries that the male imaginary constructs” (26). Patriarchal narrative, through its proliferation into a woman’s written self-narration, exposes her to its form as a sociopsychological narrative. The externalization of this “master” narrative through the act of writing creates the necessary self-consciousness to begin a feminist interrogation. For Brossard this gap between signifier and signified is where feminist consciousness begins.

Such theoretical headiness, Gail Scott reminds us in her remarks in the afterword, emerged not from isolated intellectual practices, but from fruitful Sunday gatherings, suggesting that the community produced through this collective study became at least in a partial way an answer to what a new feminism and a new feminist consciousness might look like:

Arriving at noon at someone’s house, each brought a page in French on a topic … The texts were the product of our most recent discoveries in writing, in reading, or had been scored in the heat of political intervention … During the discussion of our texts, we drank coffee, then out came the wine and the food, so the discussions evolved into a kind of camaraderie of sharing and reflection. I remember the meetings that lasted from noon till almost midnight, full of passion and instruction. (151)

In her affectionate introduction to the book, Lisa Robertson emphasizes that these efforts, which took place in the city outside of the auspices of any academic institution, forever altered the landscape of Montreal. She writes, “Thinking about and reading the work of these Montreal women now, twenty-five years later, I am brought to the realization that feminism is one of the scintillating companions of the culture of cities. Feminist culture, discourse, and resistance has shaped contemporary urban experience and urban space” (11). Robertson’s understanding of feminist intellectual activity as a means of altering urban space once again underlines the fact that the publication of these texts continues a dialogue between generations of avant-garde women writers in North America. Where the social and intellectual practices of the Montreal group altered the landscape of that city twenty-five years ago, Belladonna as a reading series and publishing group has been helping change the landscape of New York literary life since the late nineties. As Levitsky notes in her commentary in the afterword, she was only able to conceive of such an intervention through the legacy of these women. Their collaborative literary practices, social and intellectual, “offered [her] permission” (153). Belladonna’s publication of the results testifies that Sunday meetings have been happening ever since and will continue happening in cities all around us.

Poetry as path, as weapon

On Uche Nduka



Uche Nduka

Overpass Books 2012, $10, ISBN 978-0-9832206-2-6

How many poetries are there; how many could there be? The poetry of investigation, the poetry of protest, personal poetry, national poetry, international poetry, documentary poetry, poetry of war and peace, emotional, environmental, philosophical, identity poetry. And what’s at the root of all these poetries, if anything? Poetry as a way of approaching the world — as the urgent effort — probably futile — to get at something inside or outside through language — or to escape into language as a way to survive a brutal material or psychological world. Somehow language — the effort in the ineffability of words — can save us if we can engage at a deep enough level to get past the pain. That’s then a poem and more than a poem. It’s a mode of living. What we call a poem might not be more than a momentary snapshot of an ongoing life in language — a dislocation, an exile.

Some thoughts on reading Ijele, a powerful prose text by the Nigerian poet Uche Nduka. Born in 1963 into a family of Christian priests, Nduka was brought up bilingual in English and Igbo and earned a BA in English from the University of Nigeria in 1985. When he was four years old the Biafran War (the Nigerian civil war) broke out. Possibly as many as three million people died in that conflict, many of them children — Nduka’s generational peers — mostly from starvation. Chaos and ethnic violence in Nigeria preceded that war and continue to the present. Top Nigerian government officials regularly and spectacularly fleece the nation’s coffers. The bloody terrorist activities of Boko-Haran, whose members recently broke into a boarding school and slashed the throats of students asleep in bed, go on without restraint. 

Nduka left Nigeria in 1994 for Germany, when he won an arts fellowship from the Goethe Institute. He’s lived out of the country ever since, in Germany and Holland for twelve years, and in 2007 emigrated to the US, where his parents and family live.

Given this background, it’s clear that for Nduka, poetry has had to be much more than a polite profession or an aesthetic preoccupation. He has of necessity had to find in poetry a means of survival and a method for fighting back. No way to set aside the scars, the disappointment, and the social rage, and go on to write a poetry of reflective personal feeling. Also, it would seem, no way straightforwardly to attempt to describe or depict the immensity of what has been experienced and felt — writing would have to take you beyond that to a more total or global sense of engagement with language as defiance, as hope, hope not for a probably impossible political solution to the chaos, but hope for a present, in writing, in which sanity and endurance prevail, even as the pain is confronted head-on. At any rate, this seems to be what Nduka’s writing does. Poetry as path or weapon — as life.

i had barely been born when i nearly lost my life. that     music is not higher than the unity of pines. how intact am i. how intact am i. how intact are you. i should turn my back on them:these opened wounds may swallow me. we make claims for the land hoping it will not betray us.quandrants of parenthesis.overnight, waterlilies rose and sent mails to him.waterlilies speaking for the lodgers. not a few are anatomically incorrect. (“Overnight,” 25; unconventional spacing in original)

A prize-winning poet well connected in Nigerian and African literary communities, Nduka writes in the Western avant-garde tradition, but without particular affinities that I can see, judging at least from the work in Ijele. What’s inspiring about the book is its line by line intensity, and the way it simply states, baldly and without pathos — almost, at times, coldly, without regret or protest — its themes of sexuality, dismay, exile, resistance, dislocation, without any promise or redemption other than in the text itself. The book consists of eighty one-page prose poems (a few are longer) written in mostly disjunct sentences without capitalization. The compositional method seems to be improvisational, listening on a word-by-word basis for what seems to want to come next, and allowing that to happen, celebrating surprise, spontaneity, contradiction, reaching out for something not yet realized. Onward, always onward. Yet the poems do not wander or drift — there’s a driving rhythm and insistence to them, an urgency, a sense of defiance. I found the text frankly difficult to read for its density and intensity — I kept wanting to read on, but sometimes found that difficult to do; I needed breaks. So it took a while to get through. Ijele seems intent on doing its work, reader or no. Nduka is a fiercely independent writer. 

So far I just like doing my own thing and not buying into the hype of either formal or informal English; traditional or avant-garde usages. I enact a language style that suits my mood and the subjects I am interested in. Linguistically it seems there are a lot of trenches that have not been explored in poems/poetry. I keep attempting to investigate them. I don’t want to feel like people expect me to write in English timidly. I have always been wary about the conformist pressure of Nigerian, African, European, and American literary scenes. Yet I guess I am not fully in possession of the knowledge of the things/factors/situations that motivate the shifts in the usage of English in my work. I try not to overthink this phenomena. Pushing the boundaries is what a real poet does. I am writing about the United States of America now, but with my eyes wide open. (Nduka to Johannes in Montevidayo, September 24, 2103)

Wanting some information on the word, I ran Ijele through Google translator. In Zulu it means “prison” or “warder.” In Igbo it’s the title for a traditional masquerade about a courier between the spiritual and physical worlds — in the case of Nduka’s poems, between Nigeria and Europe/America or between the social horror and triviality of the world and the possibilities for survival with integrity that a life of poetry provides.

words invite us to take part in stamping their feet; in thrashing the desks of belles-lettres;in scorning the mirage of a bookworm; in fusing bindweed and algae. my logic cannot catch all the spoils of the possible. my past momentarily cannot cease being a thirst. being no visitation of a whip, being no visitation of loss, the subterfuge of a needler is patently absurd. this present incarnation of the philosopher’s stone does not interest me. some courtesies are diabolical. overall the fowl has bled to its limit. interruption is our condition. in interruption is our trace. the way in is not the way out. going in the direction of thirdness it is better to be incensed than bored. (“Branching,” 72)

As a writer concerned with poetry as more than poetry — poetry as a life in language that can realistically confront the world as it is without going mad or resorting to the various impressive strategies for distraction that our present world has on offer — I am drawn to Nduka’s work. Because of what he has seen, what has formed him, there’s a level of passion in his work beyond what’s normal in much other writing today.

Notes on 'A Mammal of Style'

A Mammal of Style

A Mammal of Style

Ted Greenwald and Kit Robinson

Roof Books 2013, $15.95, ISBN 978-1931824538

Let’s begin with the title A Mammal of Style, which of course echoes the Chicago Manual of Style, someone’s notion of the proper and correct way of rendering sensible sentences in the English language. A manual isn’t a book you read, it’s a book you have close at hand — the word means hand, functional and straightforward. This book feels like that.

But a mammal isn’t a manual; it’s an animal. It could be a human animal, but as animals humans have no proper way of doing anything. They do what comes naturally. They live in the world, reacting to it. Grunting and grimacing, as the occasion demands. A mammal of style describes what this book is: grunts and grimaces of literary style, gestures, blunt-force interventions. Distinctly not sensible.

Its collaborative authors, Ted Greenwald and Kit Robinson, have been well known as practitioners of the art of innovative poetry for many decades, both of them, to my ear, having consistently written a poetry that is edgy, flat, and tough, without much ornament, very much in the American idiom, with lots of local slang, technical terms, and contemporary buzz-words, sending up all these vocabularies and simply doing them in a dead-pan, satirical tone — the opposite of passionate or emotional. In fact, decoration, elegance, subtlety, beauty, are not words one would normally use to describe Ted’s or Kit’s writing, as far as I know it. So they are natural colleagues and collaborators. Together they have produced in A Mammal of Style a wonderful source text for anyone who wants to hear a peculiarly trenchant American take on contemporary life and letters. “Kit” and “Ted”: plain three-letter American guy names. 

Mammal is a substantial text, more than 130 pages and divided into six distinct sections, each devoted to a different poetic form: sonnet, sestina, haibun, maybe haiku, a three-stanza fifteen line form that might be a version of the medieval French rondeau, and a final one-poem section that seems to be written free form. There are fourteen sonnets, ten fifteen-line poems (the last being ten lines long, not fifteen), twelve sestinas, and twenty-four haibun. It seems that Ted and Kit had a plan. What’s interesting about the plan is that it violates utterly the implied tone or feeling that goes with these traditional forms. A sonnet — even an unconventional sonnet — sounds and feels a particular way, as does a sestina, a haibun, and so on. These poems don’t sound that way at all; in fact, what’s remarkable about them is how they manage, regardless of form, to sound pretty much the same: full of attitude about the contemporary scene, mostly with regard to the language we use every day to confuse ourselves about what’s going on. This is word by word, phrase by phrase poetry, made often without any noticeable sense of intentional connection from part to part, so that a moment by moment reading of the text, without worrying about where the text is going or where it has come from, is a necessity — and will reward the reader.

What haunts me about this work is its most typical rhythmic structure — many stressed syllables one after the other, almost telegraphic. Here, for instance, are some of the titles of the sonnets: “Trickle Comp,” “Lift Hood,” “Lath Talk,” “Mound Co,” “Poles Claw,” “Light Atch,” “Down Own”; many of the lines within the poems (this is true not only in the sonnets, but throughout) echo this very tough and definite stressed phrasing, which for me expresses a radically unsentimental take on the world as it swirls by. A tough, cold eye. As in the sestina “Fire House and Crowded Theater”:

When all is said virtually
Voice drops do whisper
Well-wishers with access
To home range audience
One bare witness
So difficult to believe

Fantasy is ability to believe …

Later verses of this sestina come, by way of the logic of the end rhymes, to lines like:

Got wheelchair access
Cracked up to believe

… illustrating probably the main technique and message of the work — the wisdom of fractured cliche.

As someone conversant with Buddhist literature I was amused by examples of fractured clichés from that tradition, as these lines that play off the Buddhist formula for confession (“all my ancient twisted karma, from beginningless greed, hate and delusion, I now fully avow”):

all my ancient twisted car parts born of green hail and
diffusion I do now secretarially avow.

… and the several lovely fractured quotations from Dogen.

Political commentary appears frequently, built on pop culture references, with easy humor and without the usual angst or bitterness:

Banana Republicans usher usa into twenty-first century
third world. honey i shrunk the people.

as well as plenty of commentary on poetry and its uses, as in this fantasy about the power of the poet to defeat the world with his verse:

Passing through fields of garbage the syntactical
hero pulls the trigger on meant verbiage shoots the object
of his rampant longitude, dead predicate, and rides off into
the archaic, trailing diaphanous interpellations. How the
West Was.

or this marvelous line that more or less captures what poetry used to do and what it does now:

Scratch at vague word moss, places poetry used to go.

Also, the world’s greatest haiku:

Great sweater
Really love the shoes
And the watch!

In short, this is a delightful book, full of the sorts of recognitions that one wants from poetry, but without the annoyances that that sort of experience could produce in less capable hands than those of Ted and Kit.

I haven’t said much here about the mechanics of the collaboration between these two great poets — how did they do this, what was their method of working long distance (Kit in Berkeley, Ted in New York), what were they thinking, what intentions did they have? When I asked them they preferred not to say, seemingly themselves not focused on methodology or documentation of how a poem is made so much as on the accidental and forgotten stumblings and miracles that make poems appear out of our biographical and cultural miasmas. Neither Ted nor Kit works in a university, and neither seems interested (as do the very many poets who teach and profess poetry) in rationalizing and documenting the making of poetry, focusing on questions of methodology and text, context, on the theory that no text stands alone, it comes out of a cultural and historical moment, it comes out of influences, other texts, biographical realities, and so on. True! We must not become too mystical and precious about our poetries! On the other hand, to make poetry into another reasonable cultural production that can be folded into the cultural/commercial mania that rules our world these days is certainly not such a great idea either. Leave it to poets like our Ted and Kit to manage to remain outside all that, to find a way, together to clear some space for thought.

(Note: Takeaway, published by c_L Press in Portland, Oregon, 2013, is a brief companion volume to A Mammal. It’s a forty-four-page text in a small-format, sewn-bound book consisting of poems with a triplet/couplet form. The tone and subject matter is a continuation of what’s found in Mammal).

'Gradually the World'

A review of Burt Kimmelman's new and selected poems

Gradually the World: New and Selected Poems, 1982–2013

Gradually the World: New and Selected Poems, 1982–2013

Burt Kimmelman

BlazeVOX [books] 2013, 252 pages, $18, ISBN 1609641345

I was unfamiliar with the poetry of Burt Kimmelman when Jacket2 asked me to take up the assignment of writing about Gradually the World: New and Selected Poems, 19822013. Reading, rereading, pondering the volume — which is a life — has been an education for me in poetry’s use as engagement with writing as a means of being in the world. Why, after all, is anyone writing? Of necessity, I suppose, to figure out how to survive in — even appreciate — being alive temporarily in a world. Kimmelman’s poems surely serve that function for him and his readers. Here is a seriously committed poet who has felt through, thought through, and written into what and how a poem is — for a poem and for a life. In his important interview with Thomas Fink in Jacket in late 2010, Kimmelman cites John Taggart’s assessment of his work: that his poems “evince a quality infrequently encountered in contemporary American poetry: modesty, an attentive and forthright modesty. As such they are unassailable. They cannot be tarnished by our times’ endemic disease, the irony disease.”[1] That’s exactly right: Kimmelman’s poems are intelligent, admirably well wrought, almost classically so. They reflect straightforwardly usually tiny moments of lived experience, but never without care and pressure for the writing moment, a moment of working in and through words — yet they are, as Taggart points out, modest in their claims and tone. It’s as if each poem were shaking hands warmly with life, each careful word making no claims whatever for any larger meaning or understanding, and reaching out to hold hands with the reader too, in the embrace of the words of the poems.

Although Kimmelman is impressively well read and astute about poems, poetry, culture, and art in general, his modesty seems genuine and deeply felt. He wants to be generous, true to the tradition in which he writes, truthful in his own productions, without posturing or imposing anything. Sounds simple enough, and is — on first reading — unspectacular enough. But ongoing reading (slowly, a difficult mode of reading these days) brings out this quality of modesty more strongly — and more and more impressively as one goes on. Because it turns out it isn’t easy simply to be a person in a world, and to write simply, quietly, and elegantly out of that. Kimmelman manages to do it.

However, Taggart’s comment about modesty and irony has another dimension. A serious and intense engagement with poetry now, it seems to me, may well confront the question of irony not necessarily as an attitude, a coolness, let’s say, or an avoidance mechanism — which irony generally is — but rather as a genuine sense of linguistic doubt. That is, what does a word say, where does it come from, what is — a word having been written — its implication? A lot of the difficulty of contemporary poetry stems from this felt sense of any word’s having been captured, maybe defeated, by the world’s various social pressures — if not from outside then from inside — as one’s constructed self. Irony that comes from this pressure may not be the opposite of sincerity or engagement: it may be a more contemporary form of sincerity. Kimmelman’s sense of language doesn’t directly reference this, though he must be aware of it. See “Poem for Jackson Mac Low” (162), which is a straightforward personal narrative about walking to attend Mac Low’s memorial. No one could have been more sincere in his work than Jackson, yet is his self-consciously un-self-centered writing ironic or unironic in its word-by-word distancing techniques?

There’s something particularly interesting about a “new and selected” that you don’t find in the original volumes. Every selection of poems is a new articulation of the work, much more than a mere repackaging. So, for instance, a poem that opens a volume or closes it has a particular meaning and flavor coming from that strategic placement. Any poet thinks about such placement; Kimmelman probably more than most, being so clearly thoughtful and careful in his writing. But this factor is completely altered in a new and selected, where the poems are ordered in more or less chronological batches, often missing poems between that might have had their functions in off-setting poems to their left and right, so to speak. So that the poems will inevitably read less for their aesthetic juxtapositions than for their sense of being a recording of a life. In such a selection you notice (particularly in Kimmelman’s work, where there is clear and coherent subject matter) the occupations, preoccupations, shapes of a life over time. Kimmelman writes about art and artworks; he writes about his family, his daughter Jane from birth to adolescence, his aging mother, his deceased brother, his wife; he writes about seeing, hearing, being in places as sun rises and sets, flowers bloom and fall. It appears from this volume — for this reader at least — that Kimmelman’s verse is getting clearer, simpler, more distilled, as it goes along the continuum of time.

The book opens with “New Poems 2011–2013.” These are mostly small, precise, understated works whose modesty can’t hide their shimmer:

After Rain, October

Purple asters fall
on the walk after
rain — wet leaves, too, have
dropped, bereft of home,
stuck to stone, to dirt.

This poem seems easy enough, but note the perfect five-syllable lines, the rhyme, the heft of “stone,” “home,” “dirt.” There’s a lot here that doesn’t need or want any further explanation.

Not so for the earlier work. After the initial suite of newest poems, we go back in time to the earliest work, “Poems 1982–1992,” which has many ekphrastic poems, reflections on visual artworks (Kimmelman, from New York, can easily spend time at major galleries and museum shows). I find this work far less engaging and more ponderous — difficult for me, since (as is the case with most of these poems) I don’t know the works being written about. This section ends with the birth of the poet’s daughter in several careful, sweet poems that skirt the edge of sentimentality, more or less successfully I think. (The urge to write conventional epiphanic poems without sliding into sentimentality is a problem — and a gift — Kimmelman is quite aware of, as expressed in the Jacket interview). Still, though: a tightrope act, sometimes more dangerous than one would want. (Although, on second thought, why not be sentimental? If you are sentimental knowingly, is this still sentimental? Or is it ironic?)

Among many others, Kimmelman reads Corman, Bronk, Oppen, and Heidegger — salient sources for his poems. In his piece on Oppen and Heidegger, he writes, “Oppen and Heidegger depend on tautological thinking, literally the contemplation of what is self-evident, and so for Oppen the things within the realized world become supremely relevant.”[2] In Oppen’s work — as in Kimmelman’s — there is a terseness and a careful, respectful, almost courteous stance in relation to the world and the word that, for the poet, makes the world and one’s ability to stand in it. I find this notion of “tautological thinking” new and essential in understanding both Heidegger and Oppen, and Kimmelman. Things just are. There they are. They actually appear, shining. One stands in relation to them. There’s no interpretation, no commentary, no theorizing necessary — or, in fact, possible. Yet language, which is thought, can’t help confronting the fact and in such confrontation deeply entering it, appreciating it. This Zen-like approach to poetry or life (a kind of amazement that there is anything here at all) is what Heidegger, in his rather tortured but transcending way of expression, gropes toward, and what Oppen at his best reflects in the clarity of his words. As does Kimmelman.

1. Burt Kimmelman, “Burt Kimmelman in Conversation with Thomas Fink, 2010,” Jacket 40 (late 2010).

2. Burt Kimmelman, “George Oppen and Martin Heidegger: The Philosophy and Poetry of Gelassenheit, and the Language of Faith,” Jacket 37 (late 2009).

Let 'em eat kitsch

A review of Thomas Fink's 'Joyride'



Thomas Fink

Marsh Hawk Press 2013, 108 pages, $15, ISBN 978-0988235625

Ceci n’est pas un article à propos de schtick (except perhaps as René Magritte might have it be). Thomas Fink’s glorious new book of poems presents us often with the joy of Yinglish, but in whole it is all about the magical present, and this is no coincidence. Is it inspired schtick Yiddishkeit’s bestowal upon us all — or might we simply take his new volume as especially inspired high comedy, which approves of serendipity? I don’t think so, not that Fink doesn’t possess a joltingly wicked sense of humor (also to be found in his earlier books, yet with even more verve here in Joyride). I grant that Yinglish Strophes, a series of poems extending across a number of collections of Fink’s verse, might be read as schtick by casual readers. He includes a number of new “strophes” of this kind in Joyride.

Here are a few lines from one of them, which will be weirdly familiar to some of us from our youths, I suspect, who retain memories of some alter cocker holding forth: “I fell again and // again I fell. More the / reading I keep, the / more examples of serious is finded.” A more poignant poem in this series begins (its first line here does not cue us as to what’s to come), “How long been here // this place? Died well, / died good from that / hospital mother. That // was a day and a half yesterday.”

Fink does savor the delicious wrenchings of American syntax and pronunciation by people such as his own Eastern European Jewish ancestors. And how not? A New York Jew (Alfred Kazin’s masterful memoir of this name helps us to navigate Fink’s warp-speed lines, yet only up to a point), Fink has inherited the jouissance of both the written and oral discourse of his world. This world is a great deal wider and more complex than that of his Jewish upbringing, however. So it is lucky for us that he has provided this guidebook in which neither Kazin nor Leo Rosten (nor the two together) could account for the soaring flights of language in its purest, indeed subliminal, form, arranged in Joyride into a number of ongoing series. Aside from Yinglish Strophes, there are new entries from Dusk Bowl Intimacies, Jigsaw Hubbub, Hay(na)ku Exfoliation, Goad, and Home Cooked Diamond; and Fink has interspersed a number of freestanding lyrics among these sequences.

But if you try to grasp the poems by attending to their gorgeous exteriors you’ll have fallen into a trap — not one set by Fink but rather simply the trap of language. An overly liberal reading of his painting reproduced on the front cover of this joyous new book is that we can see the various shapes, forms, waves, and/or occurrences of the biological or simply the material world, which are held within their asymmetrical orders by some deeper order of the sort that would have allowed Einstein in his later years a good night’s sleep. Make no mistake about it: Fink’s world is not one in disarray. Fink is a master at working within constraints that make themselves disappear and then, just when they do, appear again. (Mazel Tov!)

There are the explicit constraints, such as we see in his series of poems whose respective forms are governed by rules. For instance, the poems in the Dusk Bowl Intimacies section of the book consist of a paragraph each and then, reminiscent to me of the bob-and-wheel structure in Sir Gawain and the Green Knight, a subsequent set of short verse lines, the number of which match the number of sentences in the paragraph above them. These short lines are arranged according to a form developed by the poet Eileen Tabios, which she calls the “hay(na)ku,” her form adapted from the haiku. (Caveat lector: there’s a lot more to all this than what I’m saying here, so you may wish to get in touch with her, or with Fink — or maybe check out this website by J. Zimmerman.)

Whatever the constraint or form, the poems in Joyride showcase the canny hearing of which Fink is capable and reveal what I’ll call his etymological desire — which, given his penchant for the pun and within the happenstance of any given moment, results in strange, often funny, and beautiful (mis)statements. Reading these, one may be led to wonder at the ultimate constraint: natural, historically evolved language (rather than, for instance, an artificial language such as in mathematics). Like the alluringly odd shapes and brash colors in his painting, Fink luxuriates in both the debris and the founding elements of expression. (A computer scientist I know works on the ninety-eight percent of genetic material that he once called “garbage” — evolution’s or nature’s mistakes? — although recently we may be seeing that some use is to be made of that portion of the spectrum.)

Either way, Fink knows language from the inside out — rather different from a poet who is seduced by language’s shimmering surfaces. And here’s another thing: While we are language beings — i.e., humans and uniquely so — we are also cultural beings (the two one, of course). So a phrase like “Stronger than dearth” (in “Jigsaw Hubbub 10”) can mean “stronger than death” as in the avenging angel or Jesus Christ Superstar, or “stronger than dirt” as in Mr. Clean.

Now, would someone please tell me which signification takes precedence here (from “Goad 20”):

  Your mother                                     is very loud — of you: “He’s been banged
from Bahrain to                                   Brisbane, Sweetie.” For you, schmuck,
 conversation’s                                   been a trans
  ition between                                    climaxes. Vol
   ubly laconic                                       & transactional,
    except when                                       you know it’ll
     except when                                       you know it’ll
      tag you  as cal                                       ous galoot.

Fink not only loves the detritus of culture; he bathes in it, singing in his tub the comic-book aphorisms of daily life. His antennae take in the memes and the castoffs — maybe better to say they suck everything in — and then the machine of constraint misreads the culture in surprising and illuminating ways, ways in which we all speak; and what we hear ourselves say must be what we’d encounter if we had just come out of general anesthesia, though we’ve not yet retrieved our presumptions about the world through which we process what we see and hear. Thus we get, for example, “Hay(na)ku Exfoliation 15,” in which a “red sign / keeps beasts, / even pensive ones, / out of the / circulation area […].”

“It’s amazing that you found me here of all unknown places,” Fink exclaims (in “Dusk Bowl Intimacies 27”). “Sometimes,” he continues, “love does its homework diligently. Can you fill that void with bonds? Heat of the random crystallized.” Here’s one more, from “Home Cooked Diamond 3”:

                                         brooding. I
                                    seek         worries,
                                monitor          ing every
                            one. Stoned            on crisis.
                         “So — I love              you; do
                        you have my            cat?” You
                   should stop                 tolerating.
                Let ‘em eat                kitsch.

The joyride Fink takes us on is the exhilarating surfing of the nonlinear waves of the moment-to-moment we ought to pause, once in a while, to marvel at. Joyride is not pure joy, however. In any case it’s not kitsch, or cheap thrills, and rather gives fleeting, possibly chimerical glimpses of language's dark matter. I think this book is the milestone marking the full attainment of the poetics Fink has been developing for years. The poems are brilliant and masterful in their execution.