Martha King

Basil King’s Tablets

Basil King, Tablet #3, 33x22”, (c) Basil King 2024 Artists Rights Society New York (ARS)

Basil King has shared with us at Jacket2 several of his remarkable new Tablets. We are delighted to present Tablet #3 — the paired poem and panel. The visual was made with chalk, charcoal, and soft moulding paste on prepared birch panel. Its dimensions are 30 x 22”. King's plan is to finish this series, at least for now, as nine poems and panels. The images of the panels, produced by Martha King with her phone, are meant to be part of this preview of the work. Those interested in knowing more, or seeing more (and finer reproductions), of the project, are invited to reach out directly: For now, we present the visual tablet above, and the verse tablet below.

Martha King on reading Paul Blackburn

From Jacket #12 (July 2000)

Painting of Joan and Paul Blackburn by Basil King (left); Martha King (right).

Note: This article by Martha King was based on a presentation she gave at a panel on Paul Blackburn, at the Poetry Project in New York, in 1991 [?]. Other panelists included Armand Schwerner, Edith Jarolim, Robert Creeley, and David Abel. (The references are to Edie Jarolim’s edition of Blackburn’s Collected Poems.)

When I told Basil [King] I’d been asked to talk on Paul at this panel he asked me what I wanted to say — we were walking down the street in our Brooklyn neighborhood — my answer popped out: ‘that strange hollow voiced singer of the city.’ On the theory that first thought might just be best, I’ll start there.

So why was my first thought “hollow.” It means empty in the middle. Like the woodwinds. Their sound comes from that. It’s a very old thing to think of a poet as a reed. Missing at the core. And therefore what is taken in will be released reverberating, as song.

But Blackburn’s been savagely critiqued for this quality. By people who have freely crossed the lines between reading the text and psychoanalyzing the writer. I mean even to the unbelievably grotesque suggestion — by Clayton Eshleman in his essay “The Gull Wall” — that Paul wouldn’t have died of cancer if he’d been able to overcome his negative feelings about women.

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