Sean Bonney's translation of Baudelaire's "Correspondances"
Sean Bonney is another poet who turns to a poetics of iteration as a poetics of revolution. Especially in Baudelaire in Englishand Happiness: Poems after Rimbaud, Bonney adapts iteration to revolutionary poetic and political ends. In these two books, Bonney attends to the way revolutionary writing, if too direct or smooth, can become implicated in the power structures it seeks to overcome. Bonney’s Baudelaire in English concludes: “the poem is in danger of becoming an overly smooth surface fit only for the lobbies of office buildings and as illustrations / expensive gallery catalogues, that kind of bullshit.” In Baudelaire in English, Bonney stresses the relation between echoes and cracks in the smoothness in his version of “Correspondances,” which contains the phrase “their echoes split us.” Bonney’s texts are idiosyncratic translations of Baudelaire’s poems so breaking the smooth surface of standard translations. Bonney’s translations overlay lines of typewritten text to the point of illegibility, even as they superimpose twenty-first-century London onto nineteenth-century Paris. Through grainy photographs of neglected and forgotten places in London, Bonney (like Baudelaire) emphasizes the ruins and decay of the modern city, the fissure lines and suffering that are the neglected side of the progress of modernity.
In Happiness: Poems after Rimbaud, Bonney again makes the city of London his subject, this time through a focus on the protests against the existing economic and political order that took place in 2010 and 2011 in the wake of the financial crisis. Much of Happiness first appeared on Bonney’s Abandoned Buildingsblog so that the book functions as a retrospective archiving and framing of poems written as news, as part of and in response to a movement for revolutionary change.
Charles Bernstein at a Poets Against the War reading, Buffalo, March 5, 2003
In the essay “The Conspiracy of Us” (first published in 1979, in L=A=N=G=U=A=G=E),Charles Bernstein anticipated a key driver of the iterative turn in contemporary poetry when he described his anxiety about collective identity and action and argued for the revolutionary power of poetry to disrupt the certainty of our collective positions.
In this commentary, I will explore what I term the “iterative turn” in contemporary poetry. I take iteration to encompass a range of poetic practices, including repetition, sampling, performance, versioning, plagiarism, copying, translation, and reiterations across multiple media. I will focus here especially on how iterative poetry engages forms of political, economic, linguistic authority and their intertwinement with questions of media. The iterative turn in poetry can be understood not just as a shift in rhetorical form but also as an ethical and political response to the crisis in authority engendered by the rise of new technologies of reproduction and the increasing pace of globalization since the late 1980s. In the posts that follow, I will map out just a few of the many forms that this response takes under four broad headings: revolution, copyright, translation, and the book.
'Their echoes split us'
Sean Bonney rewrites Baudelaire and Rimbaud
Sean Bonney is another poet who turns to a poetics of iteration as a poetics of revolution. Especially in Baudelaire in English and Happiness: Poems after Rimbaud, Bonney adapts iteration to revolutionary poetic and political ends. In these two books, Bonney attends to the way revolutionary writing, if too direct or smooth, can become implicated in the power structures it seeks to overcome. Bonney’s Baudelaire in English concludes: “the poem is in danger of becoming an overly smooth surface fit only for the lobbies of office buildings and as illustrations / expensive gallery catalogues, that kind of bullshit.” In Baudelaire in English, Bonney stresses the relation between echoes and cracks in the smoothness in his version of “Correspondances,” which contains the phrase “their echoes split us.” Bonney’s texts are idiosyncratic translations of Baudelaire’s poems so breaking the smooth surface of standard translations. Bonney’s translations overlay lines of typewritten text to the point of illegibility, even as they superimpose twenty-first-century London onto nineteenth-century Paris. Through grainy photographs of neglected and forgotten places in London, Bonney (like Baudelaire) emphasizes the ruins and decay of the modern city, the fissure lines and suffering that are the neglected side of the progress of modernity.
In Happiness: Poems after Rimbaud, Bonney again makes the city of London his subject, this time through a focus on the protests against the existing economic and political order that took place in 2010 and 2011 in the wake of the financial crisis. Much of Happiness first appeared on Bonney’s Abandoned Buildingsblog so that the book functions as a retrospective archiving and framing of poems written as news, as part of and in response to a movement for revolutionary change.