Thomas Devaney

Not in the buy (PoemTalk #199)

Edwin Denby, "The Subway" & "Ciampino: Envoi"

From left: Thomas Devaney, JS Wu, Vincent Katz

Al Filreis convened Thomas Devaney, JS Wu, and Vincent Katz (visiting from New York) to talk about two poems by Edwin Denby. The two poems are “The Subway” and “Ciampino: Envoi.” They can be found in Edwin Denby: the Complete Poems, published by Random House and edited by Ron Padgett. You can hear Denby performing these poems in audio recordings archived at his PennSound page. These poems and a selection of others were recorded and edited by Jacob Burckhardt between the years 1976 and 1983, on a CD originally issued on disc in 2004.

'silence isn't always a trick'

Thomas Devaney's 'Calamity Jane'

Photo of Thomas Devaney (right) by David Kelley.

Thomas Devaney’s dedication for Calamity Jane, “A Solo Opera for Jeanine Oleson,” situates Calamity Jane — famous as a gunslinger, sidekick of Wild Bill Hickok, and heroine of dozens of dime novels[1] — more overtly in the realm of dramatic performance than in the realm of Western myth.

Recipients of the Pew Fellowships (For Philadelphia-area artists)

I am pleased to see that among the 2014 recipients of Pew Fellowships are:
 
Laynie Browne
Browne explores and reinvents various poetic forms, including sonnets (Daily Sonnets, Counterpath, 2007) tales (The Scented Fox, Wave Books, 2007), and letters (The Desires of Letters, Counterpath, 2010).
 
Thomas Devaney
A native Philadelphian and author of the newly released Calamity Jane (Furniture Press, 2014), Devaney takes inspiration from music and visual art, writing for the ear as well as the eye.
 
J.C. Todd
Todd’s work complicates and contemporizes the longstanding tradition of war poetry, and investigates how war permeates human life and language.

I can't get started (PoemTalk #61)

Bill Berkson, 'Signature Song'

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Marci Nelligan, David Kaufmann, and Thomas Devaney joined Al Filreis to discuss what David thinks might well be one of Bill Berkson’s own signature songs; during our discussion, David opines that Berkson’s poem “Signature Song” is the best of the poet’s “fact poems.” Marci and Tom certainly did not disagree with that judgment. Its diction and tone are mostly that of familiar factistic subgenres: the liner note, the encylopedia entry, etc. Finally, of course, it’s more than merely encyclopedic, for it wanders around both historical and personal connections and interleavings, and concludes with a quiet but still jarring judgment of the “odd” work of writing through these associations in and out of the extremity of political situations they somewhat ignore and somewhat express.

The education of poetry

An interview with Bill Berkson

Thomas Devaney and Bill Berkson at the Metropolitan Museum of Art, New York, January 2012.

Note: That the critic and the poet should be the same person is not a surprise when it comes to the work of Bill Berkson. Both activities have fruitfully informed one another over five decades of writing. What remains engaging in all of Berkson’s writing is how each poem and how every essay continues to be so distinctively and affectionately rendered.

Ill, angelic poetics (PoemTalk #48)

Edgar Allan Poe, 'Dream-Land'

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Read Edgar Allan Poe's “Dream-Land” even just once and discover that it’s not at all clear if this land of dreams is the place from which the speaker has come, or is, rather, his longed-for destination — or if indeed it is the very mode and means and route endured along the way. Subject and object, both; content and form likewise; it is the process that demonstrates the importance of desired ends. “Thule,” a northerly, arctic/Scandinavian sort of zone,[1] is apparently an origin "from" which the speaker has traveled, but it is also apparently “it” — a “wild clime” neither geographical nor temporal, Out of SPACE— out of TIME.”  And “it” is also a space through which one passes.

Thomas Devaney, John Timpane, and Jerome McGann greatly admire what Poe achieved here. For them it is a matter of a sort of wild control. The poem seems to go where it will (and that’s its point) but the speed — as matter of tongue, teeth and lips saying its words — is managed at the level of the line. The poem is intensely languaged, as is the selfhood of the “I” whose journey is always already the poem. And so this work, as an act of writing, far transcends its Gothic conventions.<--break->

Speaking of Political Poetry

Carl Rakosi

Carl Rakosi, younger and older

Speaking of the 1930s: Carl Rakosi was a member of the communist party and, when he was merely 99 years old, several of us at the Writers House asked him to talk about the problems and possibilities of writing a politically radical poetry. He gave a halting but very thoughtful response. Keep in mind that he was speaking in 2002 about the period 1938-41. It's hard to see clearly through the fog of warring politico-poesis. Many thanks to Henry Steinberg for editing this segment. The questioner is Thomas Devaney. The whole interview with the 99-year-old Rakosi can be found here.

Living with terror (PoemTalk #23)

Cid Corman, 'Enuresis'

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Back in 2001 the people of the Kelly Writers House wanted to bring Cid Corman — long by then a resident of Kyoto, Japan — to Philadelphia to be with us, give a reading, meet some of his readers. But one thing or another — cost, Cid’s health — made this impossible. So we set up a combination of a phone link to Cid in Kyoto and a live audiocast feed; in this way, the fifty of us in the Arts Café of the Writers House and another 75 or so listening on their computers around the world were able to enjoy a reading by Cid, ask him questions, and make at least that limited sort of contact with the founder of Origin, crusty prolific exile, author of tens of thousands of poems. The November 2001 event was moderated by PoemTalk’s producer and host, Al Filreis, along with Frank Sherlock, Fran Ryan, and Tom Devaney.

Fast forward. Cid Corman died in 2004. Bob Arnold, Philip Rowland, Jack Kimball, Joe Massey and others have worked hard to keep Cid’s poems within the view of readers — especially Bob Arnold whose Longhouse Press published The Next One Thousand Years, the Selected Poems of Cid Corman. And then, as part of the PoemTalk series, we staged a mini-reunion of the November 2001 Cormanite moderators, Fran, Tom, Frank and Al, to talk about one of our favorite poems, “Enuresis.”

It means bed-wetting. The poem puts forward this audacious claim to understanding: I know the terror you’ve experienced in the midst of war because as a child I held my urine close to me for fear of my parents’ terrifying enmity. The claim is made with such poetic consciousness (at the level of word choice and meter - and in the spoken performance) that one hardly doubts the power of the homefront psychic terror being remembered.

Surpassing things we've known before (PoemTalk #15)

Lyn Hejinian, 'constant change figures'

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Above is Lyn Hejinian’s typescript of an untitled poem we’ve taken to calling “constant change figures.”

It is one poem in a series Hejinian has been writing, a project she currently calls The Book of a Thousand Eyes. If it is finished (perhaps, she tells us, in the summer of 2009?), it might consist of 1,000 poems; more likely of 310 or a few more of them (the number she had completed at the time this episode was recorded). Some poems in the series appeared in The Little Book of a Thousand Eyes, published by Smoke-Proof Press — although, please note, our poem, “constant change figures,” does not appear in that gathering. When Hejinian visited the Writers House a few years ago, she read 19 of these gorgeous little eyes, including ours. And it‘s the audio recording made during that reading that we use in our show.

To what extent does our notion of nature’s picture — a picture of the many things we name “out there” — surprass the things we already know? We seem to deem memory nature’s picture. So to what extent is experience the result of our living in time, a state producing senses that are familiar and yet move us forward toward new and different effects?

So, truly, constant change figures the time we sense. “Figures” there — a transitive verb at that point — enacts things: change makes things, shapes them, renders them, gets things just so.

As you can tell from the recording, we were astonished that these words could accomplish all that thinking about words? Can you imagine writing a poem of nine triads, 27 lines in all, each line this carefully rendered — a poem that in all uses far fewer unique words than the total number of words in the poem, far fewer than conventional utterances would need to employ. Fewer, let’s say, than required by the language of philosophy telling of the same phenomena.

During our lively Hejinian PoemTalk, Tom Mandel in particular works out for us the way the shifting yet repeating triads are enacted. Bob Perelman focuses on Steinian memory (forgetting something himself along the way), Thomas Devaney on the power of turned-every-which-way phrasal variations, Al Filreis on the Steinian mode (again) and the poem as a possible critique of the ideology of experience.

The beginnings concept (PoemTalk #9)

John Ashbery, 'Crossroads in the Past'

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Our PoemTalkers — this time, Gregory Djanikian, Tom Devaney and Jessica Lowenthal — gathered to talk about a late poem by John Ashbery, “Crossroads in the Past,” from his book Your Name Here (2000). Amid the usual Ashberyean ontological bounty, here’s a poem that disentangles the crossed lines of narrative middles and ends (and beginnings). Straightens things out, or at least imagines the goodness of such straightness. And indulges in a nostalgia for the way things were at the start.

Is it age — or the loss of a loved one — that draws an anti-narrative poet to beginnings at the end? That, in short, is the question we posed of this poem. And does such a thing undermine a career-long devotion to middles with implied pre-stories? The wind blows in the direction it blows, and can’t be “wrong.” What about a “relationship”? Can — or should — a relationship be talked back to its beginnings, a narrative housecleaning?

Jessica and Greg decided finally that the apparently definitive ending dead-ends in an obvious imagery and sentiment. Tom and Al disagreed, seeing the poem as thus a meta-poem: a poem about the poet who has reached a point where he must re-imagine “the beginnings concept” and who realizes its failure.

John Ashbery read this poem as a Kelly Writers House Fellow in the spring of 2002. We have video recordings of the reading and an interview/conversation moderated by Al Filreis.

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