Two tried-and-trues among the short poems of William Carlos Williams, as chosen for our 30th PoemTalk by Robert Grenier, who has been thinking about his WCW for many decades. First the metaphorical anti-metaphor of ocean and plant in “Flowers by the Sea”:
When over the flowery, sharp pasture's edge, unseen, the salt ocean
lifts its form—chicory and daisies tied, released, seem hardly flowers alone
but color and the movement—or the shape perhaps—of restlessness, whereas
the sea is circled and sways peacefully upon its plantlike stem
And then, seemingly quite different but just as classic an instance of early modern condensation, “so much depends” (“The Red Wheelbarrow”):
so much depends upon
a red wheel barrow
glazed with rain water
beside the white chickens.
Charles Bernstein and Bob Perelman (Grenier once taught the latter poet at Berkeley, by the way) joined Al Filreis to speak with Robert Grenier about why and how he is always in the act of remembering these poems – or, as he puts it near the start of our talk, how the poems are remembering him. “Those words return,” says Grenier.
Al asks Bob P. and Charles to comment on the poetic relationship(s) between Grenier and Williams. Bob P. remembers Bob G. on Williams as fundamentally as Bob G. remembers his WCW. Grenier has always dwelled on the short vowel sounds emanating outward from “chickens.” It’s about farming and the social aesthetic and other big topics, but it’s also, says Bob P., about the patterning of words’ sounds. This was what Grenier had already taught us, years ago.
The group, prompted by Al, discusses the autotelism of “Flowers by the Sea,” and, for Charles, both poems have a “specific autonomy.” When Charles admiringly isolates the line “edge, unseen, the salt ocean,” he is put in mind of a Larry Eigner and of a possible lineage running through WCW to Eigner. He is implying there a place for Robert Grenier in that line, of course, since Grenier, at the time this session was recorded, was just then anticipating the publication of his four-volume edition of Eigner’s poems.
We discuss what WCW meant when he said of the more famous of our two poems that it was “the same as a thing of beauty.” The red wheelbarrow as locating a rewriting of Keats’ “Endymion”! “It an injunction,” says Grenier, “to pay attention to something because of its moral value. And it directs you to what is in the fact an image, in itself, as an image…. Words being composed as letters, as a composition of successive shapes. It only happens because of the conjured quality of the form.”
More Bob Grenier goodies today. Through Whale Cloth (which has published his Sentences online as well) Grenier has released "Penn Scans": the 71 drawing poem images he selected for presentation during his October 2009 visit to the Kelly Writers House. Go here and read Grenier's notes on these, see links to the 71 images, and a link to the video recording of the KWH presentation, which only permitted time to consider a handful of the 71.
Grenier says: 'Whether drawing poem texts like 'the one about crickets' (no. 39) accomplish (or help accomplish) whatever it is they are otherwise 'saying'—-so that seeing/reading "crickets" a reader may hear 'crickets themselves' (& even be able to literally go ('by ear') "across/the/road"?)—-remains an animating question.'
A few months ago, during Robert Grenier's most recent visit to Philadelphia, I sat with him — joined by Bob Perelman and Ron Silliman — and talked about his life and work in the early period, covering roughly 1958 through 1964. We talked a lot about his experience (in two stints) at Harvard. During the second of these he met and was taught by Robert Lowell. In between he wandered to San Francisco and met Robert Creeley in New Mexico. The recording of this 1 hour, 16 minute discussion is available on the Grenier author page at PennSound. Here is a direct link to the audio.