What are the ethics of citation? Don’t all poems enter into the cacophony and babble of “the great conversation,” or to mix metaphors, that river of text, of jetsam and flotsam we all swim in and against? Still, to take up a gentle anachronism, we might ask, who sits at the table, and what is the etiquette of the host? How do you turn to your citation-guests? What do you offer? Two recent books, very different in subject matter and affect, take up this question — as both are explicitly addressed to other work(s) of art, inviting them, as it were, to the table.
Brandon Brown’s Top 40 is forty poems of forty sentences, each sequentially titled with the name of a song from America’s Top 40 with Ryan Seacrest, where the first poem’s title is the fortieth song of the countdown on September 14, 2013, and the title of the last poem is number 1.
Pop music is an ecstasy for Brown, and it has both collectivity and isolation in it. He writes:
“Please forgive me.” These words appear in the beginning of Jonathan Stalling’s Yíngēlìshī—an experimental “transgraphic” work written in what he calls “Sinophonic English,” which strains the parameters of what we call “translation.” Stalling’s work evinces a deep knowledge of and sensitivity towards Chinese language, philosophy, and culture; yet, he plays with misrecognitions and mishearings that emerge in the heterocultural space of mistranslation.