PoemTalk

The sort of person you imagine (PoemTalk #18)

Lydia Davis, 'A Position at the University'

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PoemTalk finally goes squarely at the question of authenticity, and — wouldn’t you know it? — we do so through a piece that is not in any conventional sense a poem. Lydia Davis’s “A Position at the University” (published with other similar short prose pieces in Almost No Memory) suggests to Jessica Lowenthal that on this day our show was “PoemProseTalk.” Fair enough. Is it a very short story — in the mode of what we call “fiction”? Not really. Is it a poetic parable in prose? (It struck Al at one point as very much like a pondering paragraph from Wittgenstein’s Philosophical Investigations.) Thank goodness we brought sociologist David Grazian along. David observes that this piece is like an ethnographic field note. A field note that observes the following: In daily life, authenticity functions the way imagination does. What advantage is derived by writing about authenticity in this linguistically circular manner, in the grammar of mild-seeming discontent? Well, for one thing, it stipulates a poetics; the language of the piece makes us acutely aware as we read or listen that anxiety is the close kin of identity, because identity-naming is always partial whereas the named/identified subject is always hoping for wholeness. That discrepancy — that difference — creates a weird aura, and perhaps this is why Adrian Khactu senses that this piece belongs in the category of mundane SF, the newish sci fi mode in which there are no monsters, scientific abnormalities, cruel transformations. Perhaps the cruelest transformation is what happens every day when a person who thinks of herself in one way is assumed to have a “position” otherwise.

Because I am always talking (PoemTalk #16)

Robert Creeley, 'I Know a Man'

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Robert Creeley’s “I Know a Man” is in many ways a signature poem. Few poems we choose to discuss on PoemTalk are such. Many are downright unrepresentative. This one might indeed be unrepresentative but if a person knows just one Creeley poem this is probably it.

It’s been much written about. In The San Francisco Renaissance Michael Davidson explores the “Beat ethos” with a detailed reading of “I Know a Man.” Similarly, PoemTalkers Randall Couch, Jessica Lowenthal and Bob Perelman find beat here — but also its counterargument, and/or a rejoinder to its dark depth and to the beat propensity for driving nowhere (or somewhere) fast. Robert Kern in boundary 2 — a 1978 essay — finds postmodern poetics in the Creeleyite anthem: in a nutshell, composition as recognition. Cid Corman (himself the topic of an upcoming PoemTalk) finds and commends the “basic English” of the poem, comparing it with a “more refined” and less effective poem on a similar topic by Louis MacNeice. Walter Sutton back in ‘73 drew a line of influence from Charles Olson’s poetics to Creeley’s “laconic” and “spasmodic” lineation and rhetoric.

The PoemTalkers talk about this remarkable instance of eloquent stammering. The stammer is perhaps the apt way — since form is never more than an extension of content, and vice versa, after all! — of heading into the surrounding mid-1950s darkness, only to be brought up short by the actual needs of the actual American road. It is not a resolution and not a capitulation, but an assertive and possibly ironic (funny, anyway) means of bringing up short. Or, in short: more stammering.

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.

It's like a new reality, man (PoemTalk #14)

Wallace Stevens, 'Not Ideas about the Thing but the Thing Itself'

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PoemTalk listeners will want to stick around for the end of this show in particular, when Nada Gordon, a first-time PoemTalker, recites her flarfistic rewriting of Wallace Stevens’ late poem, “Not Ideas about the Thing but the Thing Itself.” Meantime, of course, we give the poem a good going-through. The talkers this time, beside Nada, are Lawrence Joseph and Charles Bernstein, and we were (for the first time in PoemTalk’s short history) on the road, at Studio 92 on the Upper West Side of Manhattan.

Anyone who deals with this poem has to understand the rhetorical gist of Stevens's “like”: the cry he thinks he hears seemed “like” a sound in his mind; it was “like” a new knowledge of reality. Charles half-jokes that it’s anachronistically (and uncharacteristically) a 1960s like: a cool “very,” an intensifer, a pause. Al tries to stipulate that this is a Keats-at-the-casement poem: he’s inside, looking out and hearing minimal late-winter birdsong. But Larry believes firmly in the radical open-ness of this poem: we are neither inside nor out. There is no conventional place of standing. “Three times in the poem,” Nada has written elsewhere, “he says the sound was coming ‘from outside.’ But I don’t believe him. How can I believe this from a poet whose ‘actual candle blazed with artifice’?”

This was certainly the threesome, too, to say interesting things about the alphabetical “c” that precedes the choir.

Our recording comes from the wonderful collection of recordings at the Woodberry Poetry Room at Harvard, and we wish to thank Don Share, Christina Davis, Peter Steinberg, and others who have taken such good care of that material. Stevens traveled to Harvard to record this poem on October 8, 1954 (he died in 1955).

Can't stop the cars (PoemTalk #13)

Kathleen Fraser, 'The Cars'

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PoemTalk is back after a bit of a holiday hiatus. Happy to be back with episode 13 on Kathleen Fraser’s disorienting prose-poem “The Cars.” The piece appears in two paragraphs on a single page in Fraser’s great book Discrete Categories Forced into Coupling. At some point during our discussion we ask ourselves if there are any such mergings going on in “The Cars” and we agree that there are, certainly. For one thing, two categories so literarily basic as subject and object: the poet’s subject position (the p.o.v. of the passenger in a car on an interstate highway) and the object of her gaze — a “dusky”-necked body, a dark or light-darkened man, dangerously crossing the highway at dawn, barely visible to the swiftly passing cars, looking for something he’s lost. The person in the car, the narrative seer, sees him, but then she’s past him. Did he make it? Did others see him? Does one want to see or to help, and are these categories discrete?

The PoemTalkers this time were Kristen Gallagher, CAConrad (both on our program for the first time) and a wonderful regular, Jessica Lowenthal. Conrad identifies strongly with the woman in the car and expresses real doubts about the man crossing the road. Kristen is, in the end, concerned about the gendered poetic ethics of observing danger for the sake of the poem, which, to be sure, is a problem she feels Fraser raises in the writing (and thus it is a poem about this very “journalistic” problem). Jessica, aided by informal commentary from Kathleen Fraser herself (delivered by surprise, somewhat unfairly, by Al), comes to believe that at the center of the poem’s concerns is the disoriented body. Al agrees: it is a body in space, dislocated by interstate highwayness, with no place to stand, no light to define, no there to be there.

PoemTalk #13’s engineer and director was James LaMarre and our editor as always is Steve McLaughlin. We at PoemTalk wish to express thanks to Kathleen Fraser (pictured above) for her generosity and assistance.