Two days ago (May 20) Chris Matthews on his nightly TV show Hardball likened Ted Kennedy to the "man in the poem" - the poem being Wallace Stevens's "The Emperor of Ice Cream." Click here and listen to a brief excerpt of the show. For Chris, the poem is about the life-force, the one guy who's completely alive in the atmosphere of death. Maybe he's put his finger on the poem's essential antic quality. Well, maybe not. But it's certainly an illuminating way to think about this particular Kennedy. Death all around, so there's got to be someone whom we can call who will constantly remind us of life's ongoing fecundity, the wenches dawdling in their usual dresses; the boys, oogling; the creamy messes prepared in the kitchen; as many drinking joking jaunts in one's boat in the bay as one has time left for.
Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.
Let the wenches dawdle in such dress
As they are used to wear, and let the boys
Bring flowers in last month's newspapers.
"I always joke," Barack Obama told Jeffrey Goldberg for Goldberg's new piece in the Atlantic, "that my intellectual formation was through Jewish scholars and writers, even though I didn’t know it at the time. Whether it was theologians or Philip Roth who helped shape my sensibility...."
Philip Roth helped shape Barack Obama's sensibility.
In yesterday's Slate Cultural Gabfest the three hyper-articulate gabbers noted, half-jokingly, that if Bill Clinton was our first black president, perhaps Barack Obama will be our first Jewish president.
Goldberg has written this: "Obama told me that his sensibility was partially shaped by the books of Philip Roth. This obviously has profound implications for American foreign policy, and for shiksas, as well. And so, a reader contest. In a couple of pithy sentences, tell us what the first 100 days of a Roth-influenced Obama presidency would look like."
Andrew Sullivan in "The Daily Dish" blog creates an entry called "The Obama-Roth Presidency."
Back in February here's what Roth had to say about Obama:
Roth: I’m interested in the fact that he’s black. I feel the race issue in this country is more important than the feminist issue. I think that the importance to blacks would be tremendous. He’s an attractive man, he’s smart, he happens to be tremendously articulate. His position in the Democratic Party is more or less okay with me. And I think it would be important to American blacks if he became president.
SPIEGEL: Is Barack Obama black enough?
Roth: I know this discussion goes on, but I think it will disappear if he gets the nomination. The reality of his running will wash that away. Anybody who’s half white and half black is considered black anyway. That’s one drop of blood.
"His method is painstakingly thorough, and the sheer amount of research is stunning. His ability to put the period in context is remarkable, and he’s often able to show the way that what might look like a purely aesthetic disagreement is often grounded in a larger political conflict. The attention of the book is often minute in scope, tracing the smallest capillaries of the organs of attack, telling individual stories and slowly building up the story through a steady accretion of quotations. While most of the book presents archival research, Filreis takes sides when the modernist toolbox is under attack, and passionately defends the right of writers to work in non-traditional modes...."
"Discord when it's true has the conspiracy pinned." It surely does.
That's my favorite line in Lyn Hejinian's sequence called The Little Book of a Thousand Eyes. The chapbook itself is rare. It was published in Boulder by Smoke-Proof Press in 1996. The typescript of the book, presumably a draft, is already in her archive of papers at UCSD (here's the register for that growing collection). If you go to Amazon you'll find it "currently unavailable." Lyn herself has just one copy. And the Thousand Eyes poems haven't been collected elsewhere, although probably some of them were published individually in various places.
But in 2005, when Lyn Hejinian last read at the Writers House here, she read 19 of the little "eyes" from this work. Fantastic stuff. My favorite at the moment is a piece full of grammatical switches and misplacements, the first line of which is "Here in a sudden of this to Caesar." The line quoted at the top of this entry is from it. Click here and listen to the 41-second recording of this poem.