Friday, December 30, 2005

The Trouble with Ron


Back from Philadelphia, where I spent Christmas, and now in deep convalescence from a cold I picked up from my nephew (I don't know what the deal is, exactly, but every time I'm in close proximity to children I get sick). But undeterred by illness I blog doggedly on from behind my half-empty bottle of Nyquil (the only cold medicine to come with its own shot-glass) and an ever-growing haystack of used kleenex.

Today's act of bloggery is prompted by Josh Corey's meditation on Ron Silliman's blog. Silliman has an odd status: since he was the first poet of standing to start blogging, since he does it regularly, and since he plays a kind of manichean game (in which you are invited to feel like one of Ron's heroic good guys, or to feel the equal but opposite pleasure of raging against the Orthodoxies of Ron), he's ubiquitous in the poetry blogosphere. In this little world, he is a condition of discourse, a kind of hegemon (as Jim Behrle has stated, not in words, but in a whole line of "obey Ron" merchandise), but he still works the rhetoric of the aggrieved outsider. Maybe it is this dissonance between his objectively central status and his subjective experience of marginality that mars his model of the shape of the contemporary poetic field. I mean, some of what he says about the way we map poetry makes a lot of sense, but there's a narrowness to it that, in the end, is deeply ironic. Check it out.

One of Ron's big ideas is that those who occupy positions of power tend to think of themselves as normal, and others as deviant. Nothing new to this, really: whenever I tell my students that they all have accents, the majority of them object, since they think only those from American English's linguistic minorities (people from the south, or old school Brooklynites, or rural Wisconsin cheeseheads, or whatever) have accents. They think they speak unnaccented English, because their accent is the dominant one. As it goes with accents, so it goes with poetry, and Ron quite rightly wants to see this come to an end. He is angered by a world in which people act "as if Robert Pinsky and John Hollander wrote poetry, but Kasey Mohammad wrote post-modern or New Brutalist poetry, Geof Huth wrote vispo, Erica Hunt & Harryette Mullen wrote langpo." I owe the discovery of this passage of Ron's to Josh Corey, who goes on to comment on it in a way that nails both the virtues and the vices of Ron's way of thinking about poetry. Ron, says Josh,

wants the word "poetry" always to carry an appropriate socio-historico-communitarian modifier, and if he took the time to distinguish more closely the various differences and strains within what he too often lumps together as a School of Quietude he might encounter a little less resistance to his project. (Not that such resistance seems to faze him even slightly.)


There it is: Ron's got a very worthy desire to see all poetry described precisely, and a desire for everyone to be aware that what they write isn't simply "poetry" but a particular kind of poetry, with a history behind it, with a series of implicit aesthetic decisions always already made. This is the good Ron. But the bad Ron is the guy who is willing to lump everything he doesn't like together in one big mass and give it a kind of derogatory name. This is bad because it is unsubtle, because it masks real differences, and because it is dismissive. I suppose this is where the self-image as aggrieved outsider comes into play: it's okay to dismiss all that stuff, you can tell yourself, because they are powerful and they dismiss you. The irony of this (you're narrow-minded and ignorant of us and think we're all the same, so I'll combat it by being conversely narrow-minded) is so clear it is amazing that a guy as smart as Ron doesn't see through it.

One reason I keep harping on David Kellogg's model of the poetic field (with all its limitations and its need for refinement) is that it could lead us toward two things we need: A) a more subtle system of understanding the varieties of contemporary poetry and B) terms for describing poetry that are not already charged with positive or negative value. That "School of Quietude" is always a negative term is clear enough, the proof being that, like so many other negatively charged terms for groups of people, the people it describes never use it to describe themselves.

In the end, I suppose I want one of the things that Ron wants: a poetry world in which everyone consciously understands something about their own aesthetic position and the sociology that goes with it. I just wish he'd be more fair to people from other traditions than they are to him.

One could make a case that there is more reason to rant against the people who give out the big prizes than there is to rant against Silliman. They are just as dismissive, after all, and they tend to have a bigger immediate impact on the lives of poets. But there are two reasons why it is more important and worthwhile to rant against Silliman than to rant against, say, Helen Vendler:

1. There is an actual chance that someone like Silliman would listen. I peg the odds of Helen Vendler responding to a blog-based critique of her aesthetics about even with the odds of the Green Party winning a seat in congress. (Oddly enough, though, I do get a lot of hits from Harvard whenever I mention her name).

2. Silliman, I think, is actually in a position to give out the bigger, more meaningful prizes. I mean, those who seem powerful are rarely as powerful as we think they are, and I think that is the case in the poetry world now. I'll bet that time will show us that the real reputation makers aren't going to be the Vendlers of the world, but the Sillimans. The Vendler view is dominant for the moment, but the Silliman view is the emergent power, with scads of younger people taking their cues about literary history from him. Some of this surely has to do with the fact that most of the people Ron would call "Quietude" types don't actually write a lot of criticism, for all kinds of complicated reasons. There's more to say here, but for now I'll just assert my conviction that Ron's blog will probably turn out to be the major canon-machine of early Twenty-first Century American poetry, so what he occludes or elides will become the excluded orders that the future will have to find ways to reclaim. The poets who get neither Ron-credit (from the emergent power) nor Helen-credit (from the now dominant, eventually residual power) will be the most excluded of all, and our sense of literature will be the poorer for it.

Of course my crystal ball is no clearer about the future than is yours. If we hit the treadmill to work off the last week's diet of fruitcake, sugarplums, and double-scotches, we may just live long enough to see how things pan out.

*** *** *** ***

Much more movement in blogland during my Philadelphia hiatus, including an interesting post by Eric Selinger, who riffs a bit on the whole business of aesthetic disinterest.

Thursday, December 22, 2005

Cato! No!



I staggered free of the five-blog pile-on (see post below) and limped back up the stairs to my office. Closing the door and leaning against it panting and sweating, I thought I was safe at last. But no! Like a modern-day Inspector Clouseau returning from a world of danger to his Paris apartment only to be bushwhacked by his butler Cato, I found myself assailed even in my sanctum sanctorum. Yes indeed! A hand shot out from under my desk, hauled me down, and drubbed me soundly with an accusation (true, all too true!) of inadequate materialism.

As I dusted myself off and helped my assailant up from behind the desk, I saw that it was none other than Joshua Clover. He explained his position thusly:

There's something frustrating about Samizdat's acccount, even as it seems smart and useful. The frustration lies in the way history is narrated, so that the cause for a bunch of powerful, potentially useful and destructive ideas turns out to be another idea. Locating the appearance of this separation of thought we're calling "disinterest" is useful. But history simply can't be told in such a way that thoughts always come from other thoughts; this approach is literally non-sensical (albeit occasionally convivial to folks who think for a living); effects without causes.


Good point! Indeed, deliberation about taste and disinterest in the eighteenth century come about, in no small measure, as a product of social change. It is a cornerstone, for example, of discourse in The Tatler and The Spectator, journals that play a role in the forming of a new, hybrid elite of landowners and the newly powerful mercantile class. The ideas come out of and feed back into a social movement.

You know, when I typed out more than 2,000 words on disinterest, I thought that A) no one would want to read it and B)no one would wish it longer. But given the level of interest, and the general desire for a subtler account than I was able to give in that space, I'm beginning to think there's a book in this. Which is good news, since I've spent about eight months laying the ground work for something along these lines.

Since everyone else who commented on the disinterest post had their photo posted, here's a shot of Joshua looking pretty badass for an English professor:

Wednesday, December 21, 2005

Much Interest in Disinterest


So there I was, a few days back, basking in the warm glow of Josh Corey’s kind words about my post on "Good Taste, Disinterest, and the Divided Self, with a Peroration Concerning the Doom of Iraqi Democracy" as I strolled out the door of my office on my way to lunch. Imagine my surprise when five figures lept out from behind an arbor vitae and wrestled me to the ground. What could it be? Had the Lake Forest rugby team turned against me? Was I to be mugged and have my wallet (contents: sixteen bucks and a Johnny Thunders Fan Club card) taken from me? No! As I wriggled around at the bottom of the scrum I recognized my assailants: Mark Scroggins, Dave Park, Henry Gould, Eric Selinger, and Jeffrey Bahr. They didn’t want my precious Johnny Thunders card, either: they wanted me to know they took issue with my post. Between elbow-jabs and ear-tugs, they explained the nature of their critique. As I understood it from deep inside the scrum, they had two areas of criticism.

1. The Split Self of the West

Eric Selinger maintained that I had taken a political stance against the Enlightenment (and the West in general) when I quoted Lawrence Rosen on the existence of a split in Western self that isn’t present in the Arab self. Rosen maintains that the disinterested self of the Enlightenment west, which divides the professional role from the individual’s values, isn’t strongly present in Arab societies, where the self, lacking this split, is “whole.” Mark Scroggins agreed with Selinger on all this, or so I gathered from their synchonized jabs to the Archambaldian breadbasket.

Since both of these guys came away from the piece with the same impression, I’m going to take responsibility for a lack of clarity, even though I don’t think I did take a political stance for or against this kind of Enlightenment subjectivity. Rosen means his words for the two different kinds of subjectivity (“split” and “whole”) to be merely descriptive and not laden with values, but in the end they are loaded words, and we do tend to equate “wholeness” with “goodness,” so I can see where the trouble started. And I did give only one example of Enlightenment subjectivity, in which it was shown as making some unpalatable behavior impossible. But I don’t think I said that Enlightenment subjectivity was always bad, or that it’s alternatives were always good.

Anyway, Eric was soon willing to acknowledge that the problem may have been with clarity more than with content, saying “Maybe Mark and I did pile up on you, Bob, but my sense is that disinterested aesthetic pleasure, like so many other products of the Enlightenment, is in fact under attack these days, if not necessarily by you.” And right he is about that! I just finished teaching a course on the Enlightenment with my historian colleague Dan LeMahieu, and remember his closing remarks about the continuing radicalism of the Enlightenment, under attack by fundamentalists at home and abroad. (For the record, I’m too much of a Frankfurt School guy to be unaware of some very real and powerful critiques of the Enlightenment, and spent too much time teaching Romanticism not to feel the truth of some of these critiques, but on the whole I think you’ve got to see most of the Enlightenment legacy as tremendously positive).

A different form of critique of these notions of selfhood came from Jeffrey Bahr, Henry Gould, and Dave Park, all of whom made versions of the following point: the Western self/Arab self dichotomy is too simple because both selves are hybrid. This I grant immediately, and not merely because of the head-lock in which Park held me at the bottom of the pile, nor due to the powerful noogies administered by Bahr, nor the savage half-nelson into which Henry repeatedly put me.

Bahr pointed out that Western subjectivity is hybrid, combining elements of the “disinterested”/gesselschaft-oriented Enlightenment self with a more “interested”/gemeinschaft self. He put it this way:


I like Robert's characterization of "separation" that many Americans exhibit in their beliefs and behavior. I wonder, though, if western civilization is really so far along the ethical curve. It hasn't been that long since most police forces had large numbers of the force getting free drinks at bars or accepting a $10 bill in exchange for overlooking a traffic violation. Political machines, patronage, and municipal deals that would be labeled as "corrupt" were also prevalent for most of American history.


Right! I mean, I live in Chicago. You shouldn’t have to tell me how the world of Enlightenment disinterest is mitigated by a very different version of ethics. I’ve even read Mike Royko's excellent biography of the first Mayor Daley, so I’ve got no excuse for missing this point. Noogies merited!




Henry pointed out that all cultures have their different splits in subjectivity (“The divisions & splits between (ethical) self and (social) role seem inherent to moral dilemmas of every kind, in every culture”) and he’s got a point. I (and Rosen) contrasted a Western split in subjectivity with an Arab self that lacked that split. But while there may be no exact counterpart to the post-Enlightenment Western fissure in subjectivity in the Arab world, any culture is sure to be full of its own various splits and fissures. So I’ll wriggle out of Henry’s half-nelson by acknowledging that I threw too many unqualified asserions into the initial post.

Dave Park makes much the same point in greater detail, saying:

You begin with the contention that "modernity is disinterest." Great. I like it. Just the kind of top-heavy and profound statement we readers of Samizdat blog have come to expect from our troubador Bob. You offer a discussion of Randy Cohen's suggestion that someone keep their personal opinions away from their occupational function. You move from this to a ... broader set of assertions, concerning the roots of modernity, and the difficulties that face anyone hoping to introduce democracy in Iraq. Fine. But you say that this notion of disinterest leads one to become a "very split self". Well, maybe. You presume that the interested/non-modern self is somehow more 'whole' than the modern disinterested one. This ignores the tremendous amount of 'splitting' that can occur in the self that exists in a society that does not buy into disinterest. Are Iraqis really so un-split? Do they not interact differently in different situations? This does not wipe you out, but you must concede that, if modernity is to be understood in terms of the introduction (and spread) of the splitting of the self, this splitting is not the only kind of splitting there is.


Let...(gasp)...go...(ow!)...of my...(yow! owie!)...head, Parksie! Damn! Okay, that’s better, man. Whew. Yeah. I get it already. Hey, when are you going to add that blog to your website, anyway?


2. Aesthetic Theory and the Origin of Enlightenment Subjectivity

Okay, I know this subject heading looks like a parody of the kind of paper I used to write in grad school, but it is the best short phrase I can think of to describe the second part of the criticisms leveled at my initial post. These come from Mark Scroggins and Dave Park, mostly (with Eric on board as well).

Mark puts the point in concentrated form, saying that the claim that the Enlightenment subject has its origins in aesthetic theory is unconvincing because

the splitting-up of the Enlightenment and post-Enlightenment Western subject is entirely overdetermined, entertwined and inter-influenced in so many directions that it seems patently reductive to point to this one aspect of division of psychic labor (yes, it all does come down to capitalism, somewhere) and premise another aspect upon it. A disinterested aesthetics is no doubt part and parcel of the ambivalent project of enlightenment ... but I can’t buy it as somehow a “triggering” element.


On the “part and parcel” business Mark and I can agree. And it was both hasty and quite probably inaccurate to make early aesthetic theory out as strictly causal. So Mark’s probably right there. I do think, though, that eighteenth-century aesthetic theory comes early in kind of thinking that forms the basis of the Enlightenment self — a point not too distant (as
Mark points out) from what Terry Eagleton has to say in The Ideology of the Aesthetic.

So, as I crawl from beneath the pile, shaking hands with my worthy assailants, I conclude that there’s still a lot of thinking that needs to be done here.

******************

And in Other News...

Responses to another recent long post, on the varieties of self in contemporary poetry, have been more generally positive, including one by Kevin Andre Elliot that takes the whole notion and runs with it in a two-part post up here and here. Well worth a look!

Sunday, December 18, 2005

In the Beginning Without Any Mother the Girl Was Born a Machine


"Working Progress, Working Title," John Matthias' poem about Hedy Lamarr, the invention of wireless and midi technology, Anthiel's Ballet Mécanique, Hollywood, and the French avant-garde is back up online at alt-x. Rejoice, all ye fans of contingent poetry!

Thursday, December 15, 2005

Quietude Redux, or: Varieties of Self in Contemporary Poetry



The School of Quietude. The Lyric I. The Scenic Mode. Confessionalism. MFA-verse. We've all thrown these labels around, trying in one way or another to get a handle on the kind of writing that, despite the bleed-over from old-school language poetry, still constitutes the bulk of new American poetry. The problem, of course, is that all of the labels are pretty crude. None gives a very specific sense of the concerns or formal qualities of the work in question. I'm fond of the Kellogg model of the American poetic field because it, at least, places the kind of writing we try to designate with these labels in relation to other kinds of poetry. It is, in his view, oriented toward the self rather than toward community, and it sits somewhere between innovation-oriented and tradition-oriented poetry (drifting more toward tradition every day, as we move ever onwards from the days when Lowell's Life Studies could shock us with its plainspokenness). But even Kellogg's model is still too crude (as Joshua Clover, among others, has pointed out). What to do? One way to proceed in refining the model would be to take one of Kellogg's poles of value, like "self," and convert it from a single point to an axis or array of its own, charting out different ways of emphasizing the self.

I was inspired to give this a try by an article I ran across while Googling a poet I've always thought of, somewhat unfairly, as a rival of sorts (yeah, its creepy, but you’ve Googled your ex-girlfriends and/or boyfriends, haven’t you? What — no? Really? I refuse to believe it!). Imagine my delight when he cropped up as a negative example in Ellen Hinsey's very sharp article "The Rise of Modern Doggerel" (you can download a pdf of it from the site of the journal Sources, a magazine published in France and edited, in part, by the incredibly cool Antoine Caze — the article is in the Autumn 1998 issue).

Hinsey begins by telling us that doggerel is alive and with us, but not in the form we've come to expect. Hinsey tells us that Victorian doggerel, with its emphasis on "obvious rhymes and labored meter...easy sentimentality and all those roses and trellises", set our expectations for truly dreadful poetry. But, if we think of doggerel as a style of verse that has become, in terms of style, a predictable pastiche of itself, and that addresses only "a codified range of subject matter" (as Hinsey does, taking her definition from Northrop Frye), we see that a great deal of the poetry we find in most of the journals out there is, indeed, nothing more than a new kind of doggerel.

And what does this new doggerel look like? It looks very much like one variety — but by no means the totality — of the poetry of the self. And here’s where the article gets interesting. She lays out a dichotomy between two versions of self-oriented poetry, claiming that “there has been a progressive re-definition of the ‘I’ in American verse, and a subsequent subtle but definite shift toward the ‘self’ and the ‘other’ as objects.” Check it out:

One might even go so far as to say that there have come to exist two different ‘I’s in contemporary American poetry: the ‘therapeutic I,’ which is self-reflexive and therefore object-oriented, and the traditional or axiomatic ‘I’ which has traditionally involved an implicit relationship with the reader.... [T]he poem which employs the first of these methods, the therapeutic ‘I,’ has at its base the goal of self-analysis and self-revelation, for which the poem acts as testimony. The process of the poem is one of identifying — often within the scope of predefined categories such as childhood trauma, abuse, or sexuality — certain “memories” and then finding their expression. At the base, this “objectification” and isolating of experience by the poet creates a texture in the poetry itself. Rather than communicating directly with the reader or working from an implied relationship, the poem asks the reader to understand and sympathize with the author’s relationship to his or her own history.


This, for Hinsey, is the cliched or doggerel form of contemporary poetry, in which the self is presented as the object of the poet’s concern, and you, as reader, have no role or implied presence in the poem other than as one who looks on at the poet’s self-presentation with the hushed breath of sympathy. As an example of this, she cites a few stanzas from “Zephyr” by Timothy Muskat (my predecessor here at Lake Forest, and the object of the initial Googling that led me to Hinsey’s article). Here they are, prime examples, according to Hinsey, of the “self as object” in poetry:

When my Airedale died I crawled into the dark
doghouse and lay down as the ghost of him
ran through me. That night, sleeping,
the chambers of my heart in ruins, I pleaded

with God. Curled into myself. wind circling
like a nighthawk in the far away fields, something
stirred, muted, from a distance. In the morning
thirteen years passed overhead in the clouds.

Understand me here: I know she was only a dog.
But grief is a faint light flashing on a mountaintop
while you are in a valley far below, tied
in darkness, like a dog, unable to move.


It’s all in that “understand me here,” isn’t it? The poet’s concern is with himself as the object of contemplation, with the exquisiteness of his own emotions, and the relationship to the other consists only of an appeal for that other to understand the exquisitely feeling self. About the only virtue of these stanzas, I suppose, is that they are so utterly bald: they make explicit the injunction behind of so many of the poems that have cluttered the journals and anthologies since the dawn of confessionalism. One can almost hear the dusty whisper arising from the pages in the literary periodicals section of your local university library, “understand me, understand me, understand me...”

It isn’t unfair to think of this sort of poetry — let’s call it poetry of the self-as-object, for now — as the School of Quietude, to use the term from Ron Silliman’s subtle-as-a-blunderbuss quietude/avant-post model of poetry (a model which refuses to die, despite a few heart palpitations of late). But, as Hinsey goes on to point out, there’s a whole other way for poetry of the self to proceed. In contradistinction to the poetry of self-as-object, Hinsey tells us of a poetry with “a more generous ‘I’”:

This ‘I,’ while naturally originating with the author, nevertheless contains within it an opening towards the reader: it encompasses not only ‘personal’ experience but orients itself outward towards multiplicity. It is this second sort of relationship which Martin Buber describes in his famous work I and Thou. For Buber any ‘I’ that does not include a corresponding ‘thou’ turns both the self and the other into objects, eliminating the possibility of real communication. The result is a lifeless one: “...the I that is not bodily confronted by a You but surrounded by a multitude of ‘contents’ has only a past and no present. In other words: insofar as a human being makes do with the things that he experiences and uses, he lives in the past, and his moment has no presence. He has nothing but objects; but objects consist in having been.” Thus, for Buber the encounter with another can only take place when the “I” is not oriented towards itself—implicitly knowing that the severing off of individual experience leads not to understanding but further isolation.


An ‘I’ gazing at itself, and turning to the other only to command that other to “understand me” is, then, a curiously lifeless thing. But the ‘I’ that opens to the other can be found in poetry of the self, too, provided that the poem contains “a space where the reader is invited to enter, and join the poet on his or her journey.” What would such a poetry look like, you ask? One imagines there’s a wide range of possibilities, but Hinsey’s example comes from Czeslaw Milosz. Here’s the poem she chooses as an example of what we might call a thou-oriented poetry of the self, the appropriately-named “Encounter”:

We were riding through frozen fields in a wagon at dawn.
A red wing rose in the darkness.
And suddenly a hare ran across the road.
One of us pointed to it with his hand.
That was long ago. Today neither of them is alive,
Not the hare, nor the man who made the gesture.
O my love, where are they, where are they going
The flash of a hand, streak of movement, rustle of pebbles.
I ask not out of sorrow, but in wonder.


Sadly, Hinsey doesn’t spend much time unpacking this passage, but I think what she wants to get at is the way the speaker has a somewhat complex set of self/other relations (the “orientation outward toward multiplicity” that a navel-gazing poem like Muskat’s lacks). There’s the relation of the self to the you-here-now we get in “O my love,”say, and there’s the relation of the self to the prior self. There is, too, the relation of the prior self to the other with which it traveled, and the confounding of the identity of those two entities in the line “one of us pointed to it with his hand.” The poem is more populous than the kind of work in which we are invited to look over the shoulder of an exquisitely sensitive poet as he gazes deeply into his own navel. But there’s more to it than that: the poem gives us a self defined by a large set of relationships to a group of others, rather than a self defined only by its relationship to its own emotional experiences.

I read Hinsey’s article yesterday morning, and I was still tripping on the distinction between an object-oriented poetry of the self (the real doggerel of our time) and a thou-oriented poetry of the self when I went to lunch my distinguished historian colleague Dan LeMahieu. I somehow steered our conversation around to these matters and nattered on happily for a while. Dan listened indulgently, as he always does, then asked me whether I could talk about someone like T.S. Eliot, with his objective correlatives, in these terms. Flummoxed, I meandered back across campus, and had almost made it to my office before a solution came to me. “Aha!” I cried at the threshold of my office door, startling a group of students who were taking an exam in a nearby seminar room. “Eureka!” I shouted, dancing a little jig of intellectual delight. “I need another axis!” Unperturbed by the startled — nay, concerned — glances of the exam-takers, I reached for my Moleskine notebook and quickly scrawled “direct/mediated.”

Here’s what I had in mind (*note to Henry Gould, most skeptical of my readers and respected for that skepticism: you are not going to like this). If we think of the treatment of self in poetry as a horizontal line with “object-oriented” written at the left end and “thou-oriented” written at the right end, we can get some real analytic traction by thinking of that line as intersected by another line, a vertical one marked “mediated” at the top and “direct” at the bottom. A guy like Eliot, who is in some sense profoundly autobiographical (you know, writing that epic of cultural sterility The Waste Land while having all sorts of procreative problems of his own), deals with the self, but not as directly as a confessional poet. Instead, the personal or emotive content is mediated, in his case by the presentation of an objective correlative” for personal emotions. I’d place Muskat in the lower-left corner of the grid, as a direct-presentation, object-oriented poet of self; I’d place Milosz on the lower-right corner of the grid, as a direct-presentation, thou-oriented poet of self. But Eliot would be at the top of the grid, his presentation of self being indirect. As to where he’d go on the horizontal axis, my instinct would be to put him more toward the object-oriented side of things (but I’m open to hearing otherwise. I mean, give a poet-critic a break — I’ve only been trying to think in these terms for about a day).

If I had to come up with a way of approaching the self that would cover the area in the upper-right hand corner of the grid (thou-oriented, mediated stuff) I’d think almost any poet working with the death-of-the-author theory of writing (that is, many members of the post-avant tribe) would fit the bill. What kind of self, after all, could be more open to multiplicity than the scriptor, the postmodern writer defined by Roland Barthes in “The Death of the Author” as one for whom

The text is a tissue of quotations drawn from the innumerable centres of culture. Similar to Bouvard and Pecuchet, those eternal copyists, at once sublime and comic and whose profound ridiculousness indicates precisely the truth of writing, the writer can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any one of them. Did he wish to express himself, he ought at least to know that the inner ‘thing’ he thinks to ‘translate’ is itself only a ready-formed dictionary...




Oyez. The Aristotelian taxonomist who lies within me yearns for an elaborate system of many-dimensional classifications, in which each pole of value on Kellogg’s grid (or on Joshua Clover’s more elaborate grid) opens out into a dimensional space of its own.



But enough! Off to grade exams for an hour or two before putting together one of these delicious bastards.

Tuesday, December 13, 2005

Poundian Indirection, Archambaldian Indiscretion


Alex Davis (whom I haven't seen since the MSA conference in Philadelphia in '99 — too long!) writes in from Cork about the war poetry conversation, with this learned note on the influence of Pound on David Jones:

I'm enjoying the Blog-exchange with Mark Scroggins. To chip in my penny's-worth, there is in fact no direct influence of Pound on In Parenthesis. As late as the composition of The Wedding Poems and the beginnings of The Anathemata, Jones had still to read The Cantos. The Possum, yes, of course-The Waste Land is a clear precursor to In Parenthesis, but not Pound.


So it seems that any Poundian influence on this stage of Jones' work comes indirectly, via the savage blue-penciling Pound gave to Eliot's Waste Land. I'm beginning to think that, despite some reservations about it in erudite places, I may have to read Keith Alldritt’s biography of Jones, David Jones: Writer and Artist, which has been glaring down at me, unread and resentful, from my bookshelf for close to two years. This may, at least, save me from further indiscrete remarks.

Monday, December 12, 2005

David Jones vs Anonymity


Mark Scroggins makes some interesting contributions/corrections/refinements to the ongoing discussion of war poetry prompted by Kevin Prufer's "Army Tales." Firstly, he points out that the tomb of the unknown soldier works through synechdoche not metonymy (right! And in the most literal way possible!). Secondly, he draws an interesting distinction between what Prufer's up to and what David Jones was doing in In Parentheses:

First of all, I don’t particularly read what’s going on in David Jones’s In Parenthesis – the superposition of previous wars over the Great War – so much to be a matter of the contemporary soldier’s “anonymity” ... as simply a matter of precisely superposition. That is, the Anglo-Welsh Great War soldier does not lose his contemporary identity when he recognizes that he’s standing in the same shoes as one of King Harry’s invaders of France, but rather finds his contemporary situation enriched (a dreadful word, given the horrors described in the poem, but I can’t come up with a better at the moment) and deepened.... [I]t’s a matter of “getting at the shared life beyond the individual life,” but I don’t think it necessarily involves the loss of individual identity, as in the anonymity imposed by the state apparatuses of Jarrell and Auden.


This makes sense to me. I was trying to get at the sense, shared in Prufer and Jones, of the identity of all soldiers, or at any rate of their shared participation in a larger identity. This seems to me to be one of the great tropes of war poetry — you even see it, in a way, in Wilfred Owen's "Anthem for Doomed Youth," where the "anthem" is not for any national group, but for the soldiers of all sides, in their sharing of an identity stronger than any mere national identity. But there is a real distinction, as Mark points out, between shared identity via anonymity and shared identity via a felt participation in the lives of those who have preceded you (and, for Jones, geography counts: the shared identity is largely for those who have preceded you in this place).

I suppose the use of anonymity does connect, for Prufer, with the humanistic critique of bureaucratic life, putting him in the Auden-Jarrell camp. For Jones, though, the key is Christianity, with a big dose of Poundian modernism, rather than an anti-bureaucratic humanism, so he'll approach the work from a different angle. In Jones' work, the identity of self and other doesn't come from an erasing of individuality by the state. Rather, that self/other identity can exist even while individuality is retained. I suppose what we're dealing with in Jones, then, is a kind of aesthetics of mystery (you know, like the trinity), in the theological sense of that word.

Sunday, December 11, 2005

Good Taste, Disinterest, and the Divided Self, with a Peroration Concerning the Doom of Iraqi Democracy

So there I was, leafing through the New York Times Magazine, having scurried out early into the snow to get it before the lovely and talented Valerie woke up and took possession of it for the morning (the pre-nup specified that I’d get the first shot at the book reviews if she got first shot at the magazine, an agreement about which I’ve been ambivalent ever since). As I ruminated over Randy Cohen’s Ethicist column, it hit me: modernity is disinterest. What, you say? What could this mean? And how does it connect to Randy Cohen (or, for that matter, to good taste, disinterest, and the failure of democracy in Iraq)? Good questions, all! And, fuelled as I am by Intelligentsia’s powerful Sumatran coffee beans, I’ll endeavor an answer.

Randy Cohen’s weekly column, “The Ethicist,” sets forth to answer, in practical terms, the ethical questions that arise in the daily lives of the readers of the New York Times. In this week’s installment, the redoubtable Randy begins with a question from a guy in Cambridge, Mass, who reads books and magazines aloud in order to make tapes for blind people. While engaged in this worthy endeavor, the guy — a good lefty such as one finds in Cambridge — was asked to read some right wing screeds put out by the despicable John Birch Society. What to do? Read on, or act on one’s personal conviction that this stuff is immoral? Randy Cohen has no problem providing an answer for our Cambridge worrier. “Your function is akin to a librarian’s,” he writes, “to provide requested material, not to judge it.”

In effect, Cohen is saying that our social function must be kept separate from our private convictions. We are to be disinterested professionals at work, setting aside personal ethics for professional ones. So a doctor, loyal to medicine and the Hippocratic Oath, would be obliged to treat anyone who came for help – even a Hitler or a Stalin. So a lawyer, assigned to protect a person he believes to be guilty, is obliged to make that person’s case to the best of his or her ability. The ethic here is one of disinterest and gessellschaft — of setting aside personal interests and convictions in a society of abstract, contractual relations. It makes for a very split self (the part of me with real convictions, and the part of me that performs a social role according to ethics determined by that role alone). This is interesting, in that while it is entirely ordinary for our society to take Cohen’s view, the view is quite rare historically and in many other cultures.

I want to say two things about all this: first, that this ethic is a product of the Enlightenment and a property of Western Civ (broadly conceived, and incorporated to varying degrees in other cultures); and second, that the idea comes, ultimately, out of 18th century theorizing about (of all things) good taste. Yes indeed. I really do think I can make the connection.

To see how thoroughly Western this idea is, we could turn to all sorts of sources, but the one I have in mind is an article in the latest issue of The American Scholar, which I was thumbing through in the Lake Forest train station Thursday morning, waiting for the Metra after an “I’m getting too old for this shit” all night end-of-semester shindig thrown by a colleague (a colleague whose guest-bed mattress seems, I might somewhat petulantly add, to have been designed and built by Torquemada). One of the main articles in the current issue, Lawrence Rosen’s “What We Got Wrong: How Arabs Look at the Self, their Society, and their Political Institutions” makes a grim but convincing case about the poor prospects for Western-style democracy in Iraq (problems that would persist even if the current attempt at setting up an oil-vending democracy hadn’t been implemented at the end of a gun by a nation that had killed untold thousands of Iraqis — a particularly unpropitious proposition).

Rosen (a sharp guy, and an anthropologist at Princeton) lays down a number of factors that mitigate against the success of democracy in Iraq, but I’d like to focus on two of them. In the first, Rosen argues that, in contrast to the West,

in the Arab world the self is never seen as divided. Whereas in the West we imagine ourselves able to take on multiple, even contradictory roles — as when an official gives support to a law with which he personally disagrees — to Arabs this self-segmentation runs contrary to the idea of a person as a unified whole.


So, while it seems clear to a guy like Randy Cohen to advise someone to separate his ethical convictions from his social role, this sort of separation doesn’t make sense to cultures operating with different logics. It is a deeply Western idea — and, as the letter to Cohen makes clear, one that isn’t always obvious even in the West, where some people feel ambivalent enough about it to turn to an professional ethicist for help.

Another point of Rosen’s carries this idea of an Arab resistance to democracy outward from the self to the social world. In the Arab world. Rosen says,

political institutions have never been separated from the individuals connected to them. Indeed, personal attachments — whether to a political leader, spiritual guide, or close relative — focus not on the settled expectations of position but on the constantly shifting network of obligation through which each actor seeks to negotiate an advantageous connection.


So, while in the West there is this notion of the separation of person and office or role (you may not like the John Birch Society, but damn it your professional ethics demand that you read it onto tape for the blind man who wants to stoke his ignorance and rage with the contents of those pages), this just doesn’t pertain elsewhere. While a Western official is (ideally, though not always in practice) impartial, looking after everyone impartially and with a kind of disinterestedness, this sort of division is not available in the Arab world, where gemeinschaft networks of contact and obligation are the norm. We’d see many Arab officials as corrupt and nepotistic (and, described in terms of the logic of our system, they would indeed be corrupt). In their own estimation, though, they’d just be remaining true to themselves and looking after their peeps.

Of course, this divorcing of personal ethical conviction from institutional activity that we see in the West doesn’t always manifest itself in positive ways. One example of creepy shit connected to this that comes to mind involves the advertising industry. One of the most chilling parts of the generally excellent documentary about capitalist social organization,The Corporation, shows us how an otherwise decent human being can do bad things because of the kind of dissociation of private ethics from institutional life that we’ve come to expect in the West. In one scene, a very chipper and apparently quite bright woman from the advertising industry (who doesn’t seem to know just what kind of documentary she’s in) goes on about how marketing research has shown that it just isn’t effective to market children’s toys to parents. You’ve got to market directly to the kids, crafting ads aimed at their level of cognitive development, with the goal of getting them to nag their parents into submission. Empirical studies, she says, show that parents hate this, and other studies indicate how much pressure of what kind one has to put on kids to get them to nag their parents the right way. Parents then buy the kid the product in order to get some peace back in the house. When the filmmakers asked the marketing executive how she felt about the ethics of deliberately introducing misery into households, she didn’t seem phased. “That’s the best way to do our job,” she said (or words to that effect — I returned the DVD to the library the other day, dreading any addition to the mammoth late fees I’d already racked up by hanging onto the 4-CD history of Jamaican music that’s been overdue for the past two weeks or so — excellent music for grooving around the kitchen with a cocktail while cooking, I might add, and quite possibly the source for a poem. But I digress). So here’s a dark side to the Western system: perfectly decent people who love their own children can step into the office and do some seriously evil shit without batting an eye.

Okay. So disinterest is one of the defining characteristics of the contemporary West ("disinterest is modernity," one might say, hoping to make an impression). But if this system of disinterest and the separation of self from role is indeed a Western thing, and only recently so (I mean, doesn’t the world of obligation-networks Rosen describe sound a lot like the Elizabethan England Stephen Greenblatt writes about in Renaissance Self-Fashioning) how did it come into being in the first place? Here, I think, is where the idea of good taste comes into play. Check it out.

The idea of the beautiful (and of taste in things beautiful) is deeply tied to the idea of disinterest in the main line of Western aesthetics from the 18th century on through the 20th century, and even in our time, for some die-hards. Here’s my favorite chunk of text for explaining the idea of a disinterested appreciation of beauty. This imaginary dialogue comes from Coleridge’s On the Principles of Genial Criticism, and serves (according to the students in my theory of lit seminar last semester) as a better example of Kant’s ideas than any examples Kant came up with:

Let us suppose Milton in company with some stern and prejudiced Puritan, contemplating the front of York Cathedral, and at length expressing his admiration for its beauty. We will suppose it too at that time of his life, when his religious opinions most nearly coincided with those of the rigid antiprelatists. P[uritan]: Beauty, I am sure, it is not the beauty of holiness. M[ilton]: True, but yet it is beautiful. P:It delights not me. What is it good for? Is it of any use but to be stared at? M: Perhaps not! But still it is beautiful. P: But call to mind the pride and wanton vanity of those cruel shavelings, that wasted the labor and sbstance of so many thousand poor creatures in the erection of this haughty pile. M: I do. But still it is very beautiful. P: Think how many score places of worship, incomparably better suited both for prayer and preaching, and how many faithful ministers might have been maintained, to the blessing of tens of thousands, to them and their children’s children, with the treasures so lavished on this worthless mass of stone and cement. M: too true! But nevertheless it is very beautiful. P: And it is not merely useless, but it feeds the pride of the prelates, and keeps alive popish and carnal spirit among the people. M: Even so!


It goes on, but the text is too obscure to be available anywhere online except one site that isn’t responding right now, and I tire of typing. Also, I imagine you get it: matters of taste in the beautiful, in the view of Coleridge’s Milton (who speaks, somewhat anachronistically for a whole 18th and 19th century tradition in aesthetics) is to be judged without reference to our sense of utility or morality. In this view, we are separate from parts of ourselves when we make an aesthetic judgment. We set aside such things as personal connections (“that painting is beautiful because my daughter painted it/is in it/bought it for me”) and ethical reservations (“Leni Riefenstahl is a lousy filmmaker because she supported the Nazis”). We become divided selves, compartmentalized in exactly the way Rosen tells us the Arabs, with their refusal of “self-segmentation,” are not. And once we become divided from parts of ourselves at the level of aesthetics (where the stakes seem so low to so many people), we’re ready to become divided from other parts of ourselves, like ethics. We’re ready to treat people with the same disinterest Coleridge’s Milton treated the Cathedral, without bias regarding our personal prejudices. We’re ready to treat our own actions that way, too, without reference our own ethics (“business is business,” we tautologically opine, while doing things we wouldn’t countenance if we weren’t enabled in the divorcing of individual ethics from professional ethics).

(Caffeine-fuelled sidebar: Pierre Bourdieu has convincingly argued that this self-segmentation is a class marker — specifically a bourgeois and upper-class class marker. The working classes in his survey of French taste didn’t make these kinds of distinctions between the good or useful or personally-connected and the beautiful. In effect, they’re with Coleridge’s Puritan, not his Milton. And John Berger’s work bears this out too, but that’s another blog entry, one I’ll probably never get round to).

Anyway. The interesting thing to me is this: the idea of disinterest in the West begins to come into being in the 18th century, and it begins in discussions of taste. It travels into the realms of politics, institutions, corporations, and professional ethics (the stuff Randy Cohen supports and the makers of The Corporation find creepy), but it begins with taste and aesthetics. You don’t really get it as a part of ethics until after you get it as a part of aesthetics, unless you count the Third Earl of Shaftesbury’s 18th century Characteristicks, in which aesthetic disinterest and ethical disinterest are sort of united (trust me, I spent the first half of last summer up to my tweedy academic elbows in Shaftesbury's works).

The reasons for this early theorizing about disinterest as vital to aesthetics are themselves quite fascinating. So are the paths disinterest takes on the way from being an aesthetic idea to being a key element of gessellschaft social organization, and of modernity itself. I could go on. But I rather imagine that anyone who’s made it this far into this entry is thinking it is high time for Archambeau to settle down, so I’ll let all that wait for another Sumatra-bean fuelled trip to the outer blogosphere.

Sunday, December 04, 2005

War Poetry and the Aesthetics of Anonymity


A few days ago John Peck dropped me an email about my last post on Kevin Prufer's "Army Tales." He raises some interesting issues about the anonymity of the soldiers in Prufer's poem, and in other poems about war:

...as I read thje poem for the third time, my ear took me not to the ambiance of WWI for literary comparison but to WWII and Jarrell's Pacific Theatre poems — specifically their tone. That association, if valid, raises an interesting question for me: do the ways in which these poems by a non-combatant at some distance and a combatant fairly close-up seem similar (enlisting feeling through generic detail, and then through their pungent round-offs) have to do with the anonymity to which people are reduced by modern warfare? That was already David Jones's major theme (as former combatant) in his In Parnethesis.


Though Peck's got Jarrell in the wrong place (Jarrell spent the war working at an Army Air Corps training center in the southwest), he's dead-on about the anonymity shared by the soldiers in Prufer's poem and in, say, Jarrell's famous "Death of the Ball Turret Gunner":

From my mother's sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.


Both Prufer and Jarrell give us soldiers reduced to nameless figures performing in unspecified environments. But there's an important difference, I think: Jarrell's poem is part of a broad, midcentury humanist critique (think The Man in the Gray Flannel Suit) of the dehumanizing nature of bureaucratic, administered, gesselschraft-based society — Prufer's poem makes a gesture of this kind at the end, but for most of its length it is up to something else.

Right from the beginning of Jarrell's poem, when the ominous "State" substitutes for the mother, we get a strong sense of this humanist critique. C.D. Wright nailed it, I think, when she wrote:

[I]n war poem heaped upon war poem, beginning with "The Ball Turret Gunner," and never again with such dexterous compassion and plain eloquence, Jarrell blames the villainy of the world not on Germans (whose literature he would wholly adopt), nor on Japanese, but on the one neutrally destructive force, the State.(Field 35, 1986)


This puts Jarrell's poem closer to, say, Auden's "Unknown Citizen" than it is to Prufer's "Army Tales."

The soldierly anonymity in Prufer's poem has, I think, more in common with the anonymity of soldiers in the works of another poet mentioned by Peck, David Jones. David Jones's war poetry uses that great Modernist trope of juxtaposing past and present. But unlike an Eliot or a Pound, who'd often see the present as an ironic or sterile or debased version of the past, Jones (ever the Blakean visionary) saw a kind of eternity, in which things we think of a seperate are fused into one. Michael Anania set this straight for me, once, in an interview for Samizdat, where he said:

...for Jones the significant past is not the source of an irony about the present: it is a part of the synchronistic present. This sense of synchrony is part of Jones’ Christianity, in which all time is present in the eyes of God. So when Jones, a Welshman, goes to war in France (the experience behind In Parentheses) the event is religiously and ethnologically significant, and the events he experiences take on a larger resonance. For example, when a soldier falls in Jones, and his helmet falls down over his face, Jones associates that with the vision of visor the worn by knights at war over the same ground long ago.(Samizdat 9, 2002)


This synchronistic/Modernist anonymity seems to me to be what's at work in Prufer. Rather than offering a humanistic critique of bureaucratic social organization, such a poetry seeks to show the common life shared by all people (even those in combat against one another). So "the boy" in Prufer's army tales is both many different boys and a single boy at the same time. Like Jones, Prufer is a visionary poet, and tries to see with the eyes of eternity. (The technique is consistent with that of his book Fallen from a Chariot, which I see, more and more, as a single poem. If you want to hear me go on about it for a few pages, check out the next issue of the Notre Dame Review).

Anonymity in a poem like Jarrell's "Death of the Ball-Turret Gunner" (or Auden's "Unknown Citizen") is presented as a bad thing, thrust on to real people by an uncaring state that is perfectly willing to erase the individuality of people. But in Jones or Prufer, something quite different is at work. Anonymity here is a way of getting at the shared life beyond the individual life. Anonymity becomes a way of representing the common humanity of soldiers in different wars, or fighting on different sides in the same war.

Anonymity plays a number of roles in the art that comes out of war: the humanism of Jarrell and the visionary poetics of Prufer and Jones are just two. Consider, for example, the Tomb of the Unknown Soldier: there, the anonymity allows the remains within to serve as a metonym for all of the unknown dead.

This is not to say that an onomastic (name-based) aesthetic for the pity of war can't be moving, though. John Matthias works in this way in his poetry, as (most famously) does Maya Lin in the Vietnam Veterans Memorial where, as Wilfred Owen would put it, the poetry is surely in the pity.

Thursday, December 01, 2005

Home Front War Poetry


Am I violating any copyright laws by reposting this poem from Poetry Daily? I'm not sure. But Kevin Prufer is a poet I admire, and this new poem seems particularly timely. Prufer's last book, Fallen from a Chariot, is powerfully elegiac. I'd assumed from the intensity of that book's grief that the death he'd described there came from some event in his personal experience, and I still think that is must have. But here he shows that his ear for elegy is every bit as sound when he deals with events he's unlikely to have experienced first hand.

Army Tales

Kevin Prufer


The boy who drowned in the bog, the boy caught in the rotors, the boy who laughed too loud —

The boy who swallowed the bee that stung the throat —

The rip cord worked, but the parachute fluttered weakly above him and would not bloom —

He put his foot down in the foreign grass and heard a click, as of metal on metal. When he lifted that foot —

Sometimes it is a cold day and the clouds rain toxin over the boys on the base —

Sometimes, they don't know they're being watched, leaning against their packs, asleep like that —

One more, one more, he said. One more all around — And the assembled clapped for him, they clapped, he put his money down and smiled because they loved him —

Sometimes a boy thinks he is unloved, so he retires to a dark tent where he will not be disturbed —

Then, the cells wink out like lights on a tall office building in a strange city at dusk —

His friends said it was a sad day, it was very sad. They thought he'd been kidding, they told him not to laugh like that —

You pull the string and out it blooms —

And what was he doing off the base late at night? What was he doing on the open water, in the plane, driving so fast down unfamiliar roads? His mother —

Someone would tell her. Someone would write her a letter, thank god. There's a template for that —

A guy who puts your name on the hard drive, a distant office, a simple program and printer —

You punch in the name and out it comes.


I taught some poems by the great World War One poet Wilfred Owen the other day, as I do most semesters in my 19th/early 20th century literature survey course. This semester my students were remarkably engaged by the poems, for reasons we can guess. That engagement, along with this new poem by Prufer, have me thinking with sorrow that we may soon find ourselves in another period of powerful poetry about war — poetry that will inevitably resemble Owen's work more than it will that of someone gung-ho and innocent like Rupert Brooke. There will be soldiers' poems, I'm sure, and probably a large body of work by those of us who only see the war on television and need to do something with the frustration and the grief. Prufer's poem shows just how good this latter kind of work can be.

Wednesday, November 30, 2005

Politics and Style


Okay, I know that the most offensive thing in the following passage from the new White House plan for victory in the midterm elections (uh, I mean in Iraq) is the overt lie (that the war in Iraq is part of the war on terrorism, not a distraction from it that makes us less safe). But let's stick to matters of style:

As the central front in the global war on terror, success in Iraq is an essential element in the long war against the ideology that breeds international terrorism. Unlike past wars, however, victory in Iraq will not come in the form of an enemy’s surrender, or be signaled by a single particular event – there will be no Battleship Missouri, no Appomattox.


Right. It is well known that George W. Bush has issues with language, but you'd think the White House would be competent to hire some good writers, capable of lying to us in a grammatically correct manner. But no! While the writers mean to say that Iraq is the "central front in the global war on terror," they actually say that success in Iraq is the central front. Success isn't a place! No! Who are these writers? Power-point monkeys of some kind? The English professor pulleth out his hair in frustration.

One also has to wonder about the writers including a reference to the Japanese surrender aboard the battleship Missouri. Didn't Bush already tell us something about victory from the decks of a warship? Sigh. Grumble.


ADDENDUM: For a good example of the way ideology and political crisis can distort language, see this article on how Donald Rumsfeld doesn't want us to use the word "insurgency" anymore. No indeed. He wants us to call the Iraqi insurgents (noun, "people who revolt against civil authority") "the terrorists." I suppose the idea is to re-enforce the Big Lie at the start of Bush's new plan: that Al-Queda and the Iraqi insurgency are, somehow, one and the same. Interestingly, as the story reveals, his own generals have refused to toe this line.

Sunday, November 27, 2005

Simone Muench in the Gray Ganges

When I shuffle down my driveway Sunday mornings to pick up the newspaper Tony Soprano style (tee shirt, boxers, bathrobe, morning stubble and rope-soled canvas shoes), I generally know what to expect: the great gray Ganges that is the New York Times reliably delivers an editorial I'll like (generally by Frank Rich), and editorial I'll hate but that is just intelligent enough to compel me to read through to the end (generally by David Brooks), a magazine I'll be unable to pry loose from the hands of the lovely and talented Valerie, and a book review section more interesting for its treatment of historical nonfiction (lives of rich dead white guys, mostly) than for its choice of literature. But lately some more interesting things have been surfacing there, and the once-moribund poetry reviews have been spiced up with the occasional comment on a book of poems I actually want to read. Today a new high-water mark was reached, I think, as the oyster-gray waters lapped up on me bearing a review of Simone Muench's latest, Lampblack and Ash.

Joel Brouwer, who wrote the short review, seems to know what he's reading. "Many poets have developed crushes on the French surrealist Robert Desnos," Joel writes, "his reputation as the dreamiest of the dreamers in Andre Breton's circle ... make[s] him a fascinating figure." Joel sees his influence in Lampblack and Ash (he's right, I think), but he does better than that: he provides a brief and quite precise description of Simone's method in the book: "Muench tends to begin a poem with a vague suggestion of setting or theme, and then piles on gorgeous phrases." This is exactly right, and very much in the French tradition. Desnos may be an immediate influence, but behind him you've got to see the whole Symboliste groove, the shaping of suggestive and connotative fields without a great deal of literal context. This is, I suppose, part of the whole movement toward indeterminacy that's been going on in American poetry for a generation or more, and the presence of a review dealing with these issues in the New York Times can only confirm the thesis that this sort of writing has gone mainstream. I know I spend a fair bit of blog-time grumbling about lousy examples of this sort of writing, but the poems in Lampblack and Ash are always interesting and generally successful poems in an idiom that lends itself to going badly wrong in less skillful hands.

There's an interesting essay to write, someday, about the development of Simone's writing. I was surprised when, a while back, she gave me some poems for Samizdat in her current style, since her first book, The Air Lost in Breathing, was much more literal, solid, and down-to-earth in its anecdotal style. Still, I should have seen the seeds of her new developments in those poems that would take a surreal turn, or break into odd images. (I can't quote from it just now, since some students I sent to do an interview with Simone borrowed my copy). In a way, Simone's development can be seen as typical for our times: from a family-confessional mode toward a kind of symbolist-surrealist influenced poetry of acontextual images. What's anything but typical in her work is the degree of skill with which she's worked in both idioms.

I remember a capacity crowd of students in Lake Forest's Meyer Auditorium eating up the poems from The Air Lost in Breathing a couple of years ago. It was no surprise: Simone said it had been important to her when writing the book that the poems work well for a reader like her sister -- a sort of common reader of the kind described by Virginia Woolf, not a habitué of the poetry demimonde. I remember, too, a reading a few months later, at the much-missed Gallery 312 in Chicago. Simone and I were both on the bill for a crowd that consisted of poets, publishers and others in town for the AWP conference. Simone read from poems that were to become part of Lampblack and Ash, and the demimondain crowd loved it. I wonder, though, how things would have gone had the audiences been reversed. I imagine that the two books appeal, for the most part, to two different audiences, neither of which would allow themselves the pleasures offered by the other book. But I hope I'm wrong.

Sadly, the brief format the Times has turned to for its poetry-roundups (usually 8 books or so in two pages) doesn't allow for a whole lot of analysis, let alone a kind of retrospective look at a poet's work. Still: when the paper of record starts writing about Simone Muench, something's right in the world. I remember why I come to the great gray Ganges in the first place.

Saturday, November 19, 2005

Chicago: Open City?


I trekked down to the offices of the Chicago Review the other day, students in tow, and picked up my contributor's copy of the latest issue, in which my big article on James McMichael appears. I'd taken some students from Lake Forest to the Regenstein library, where the incredibly well informed David Pavelich gave them a look at some of the Special Collections holdings of literary magazines — old copies of Big Table, Verse, Poetry, and the Chicago Review, newer journals like the Joel Felix/O'Leary brothers production LVNG, and original correspondence by all kinds of people from the span of a whole century. It was a bit of a surprise for some of the students, I think, when we left the lavish displays at the Regenstein, hoofed it a few blocks over to the Lillie House, and walked up three flights of rickety stairs to the crammed and slightly crummy offices where the Chicago Review is actually edited. I think they were expecting a journal with this kind of history to be housed somewhere a bit more glamorous. But isn't it always the case in the culture industry that lavish offices are a sign of deep decline? I mean, think of the fate of Manchester's Factory Records back in the rave days.

Anyway. For all of its ups and downs over the years, Chicago Review has had a remarkably strong record, especially when you consider how it is edited by graduate students, usually Serious Young Men in Dark Crew-Neck Sweaters (and yeah, the gender-thing is real. I don't think the journal has done too well at putting women in charge of things, but that's another story). Two of the current editors, Josh Kotin and Bobby Baird (who fit the editorial type even unto the dark sweaters) were on hand when I showed up, and were kind enough to hang out with my students, talking about the magazine, its history and its goals, even though it made them late for the Jim Powell reading that evening. One thing that impressed me about Josh's editorial outlook was his insistence on being open to poetry from all traditions. He went into great detail about the editorial process, and clearly has a discerning taste, but he's absolutely adamant about not excluding work from any particular tradition or style. (This accounts, I suppose, for my essay on the neo-classical and therefore very non-mainstream James McMichael sitting almost adjacent to a John Wilkinson piece on language poet Marjorie Welish. There aren't many journals out there willing to take both McMichael and Welish seriously). I was impressed, too, by Josh's commitment to keeping the review open to poets from around the world. There have been good issues on German and Polish poetry in recent years, and Bobby Baird promises to keep the review's interest in British poets going.

I got a bit sentimental about Our Fair City on the way back up to Lake Forest. I mean, aren't Josh and Bobby just continuing the best traditions of Chicago as a literary city? Behind all of the Nelson Algren/Studs Lonigan/Carl Sandburg buzz about grit, there's something more important and more vital, I think: an openness to different traditions of writing and to developments around the world. Harriett Monroe was all about this sort of thing back when Poetry was the best thing going in American letters, and, in a more modest way, it was what I had in mind back in '98 when I started Samizdat. Here's what I thought then, as I looked over the proofs of the first issue and typed up my editorial:

I notice, looking at the present issue, that a map locating the contributors would look a bit like a United Airlines route map: centered on Chicago with lines stretching out to other parts of the country and to points around the world. The centrality of Chicago and environs is, to some degree, a function of the magazine’s location in metro Chicago, but it is also, I think, reflective of the way that the cultural climate of Chicago has fostered poets without pressuring them to conform too closely to the establishment or the counter-establishment. It is in the interstices between orthodoxies that poetry finds innovation and life, and this is why Chicago has become one of the good places for poetry.


Had my thinking followed its usual course the other day, I'd have gotten home, shaken off my sentimentality, and dismissed the idea that there's something about Chicago's literary culture that is somehow condusive to open-mindedness. I mean, are the poets of, say, Boca Raton really closed-minded? Even the formerly rigid Buffalo types are no longer burning candles exclusively at the shrines of the language poets. And the once-provincial people at the Iowa Writer's Workshop seem to have woken up to a world a little bit bigger than the backyard epiphany. But just as I was about to dismiss the idea of Chicago's literary culture as more than usually open, I cracked open my hot-off-the-presses Chicago Review and read this, from a piece by Paul Hoover:

For years, Chicago was a fly-over city. The real world of literature existed on the coasts. Chicago's main poetry event used to be Poetry Day, sponsored by Poetry. In 1972, at the suggestion of Paul Carroll, a few of us, including Lisel Mueller, Mark Perlberg, and Martha Friedberg founded the Poetry Center at the Museum of Contemporary Art. The idea was to bring poets to Chicago to read their work. For the same reason, to leap high enough to connect with what was not local, Maxine [Chernoff] and I published New American Writing, which sponsored a reading series at Links Hall, and served on the board of the Poetry Center. San Francisco comes ready-made. Someone else did the work of building (Kenneth Rexroth, the Duncan and Spicer circles, and so on). Chicago remained to be built.


And what was the young Hoover up to in this as-yet-unmade city? He was listening, it seems, to a thousand voices from a thousand different traditions:

The most important turn in my reading may have come when a classmate dropped Ron Padgett's Great Balls of Fire on a conference table in Adams Hall at UIC....I didn't plunge completely into the New York School, nor did I remain where I was. I'm thankfully still in passage, within and among a number of heavy planets: Deep Image, Surrealism, the English Metaphysicals as well as the American (Dickinson), Williams and Stevens, Cesar Vallejo and Pablo Neruda, Language Poetry, Ashbery and Schuyler, Lorine Niedecker, Thomas Trahearne, Robert Creeley, Zukofsky's "A-14," Elizabeth Bishop, Marianne Moore's "The Fish," and Gwendolyn Brooks' amazing vocalizations and close rhymes...


This is interesting. I mean, had Paul started out in San Francisco, one wonders how different he'd be. New American Writing would have been a more narrowly Duncany-Spicery kind of journal, I think. And what if Paul had first seen that Padgett book in New York? The powerful gravity of the New York School's levity could well have pulled him in, I think, and left the Trahearne and Brooks and Vallejo sides of his poetry less well developed.

Then again, Paul is speaking of the Chicago of several decades ago, and he seems to think the city has become far less of an unmade place. The open frontier has, in his view, has been replaced with a new city, one to which he, from his secret base at Columbia College, carried The Revolution, or at any rate The Revolution of the Word:

For many years, I taught at an open admissions arts and communications college in the South Loop that had a large enrollment of first-generation college students. In Auden's terms [sic] we were throwing the little streets upon the great, and it was working. My poetry students were being accepted into the country's leading MFA programs -- Brown, Bard, Columbia University, University of Iowa, Bennington — and were becoming known in the world (Elaine Equi, Mary Jo Bang). At the same time, the poetry I had supported, a melange of New York School and Language poetry, was coming into its own....By the mid 90s notable poets of the former mainstream like Jorie Graham and Brenda Hillman were being impacted by the new style....Had the little streets defeated the great?


Okay, let's leave aside the howling error of attributing to Auden a line by Yeats. And let's leave aside the begging of that most-begged question of experimental poetry in America, the equation of aesthetic radicalism with left-wing political action. Let's concentrate on the notion of the triumph of a particular aesthetic. In this view, the possibilities of poetry have actually narrowed, with a hybrid of New York School/Language poetry and the "former mainstream" constituting the period style of the new century. This is true, I think, in the case of many poets, and of many journals. And I'm perfectly willing to grant Paul his role in bringing this state of affairs into being. I'm just not at all sure that it is a good thing. Who but an ideologue would willingly see poetic diversity reduced to a kind of monoculture, after all? Or even into the kind of dual-track culture Paul seems to be describing, with the good guys from the little streets, and the watered-down version of the good guys on what's left of the great streets? But there's an enduring tradition of openness in our city, and this saves us from reduction of possibilities inherent in the situation Paul describes as a kind of triumph. This is the tradition of openness — a classical liberalism of the aesthetic — that Josh Kotin is continuing, and the tradition, I should add, that kept Paul from plunging all the way into the New York School, and that made him into the interestingly various poet he has become.

If the unbuilt city of Hoover's youth is gone, along with its cultural-frontier-openness-by-default, we should be glad of institutions that enshrine the ideals of liberality and openness. The Chicago Review remains one of the best such institutions Chicago has to offer.

Tuesday, November 15, 2005

What Do Poets Want?


Every now and then, the Academy of American Poets sends me a letter asking me to subscribe to their newsletter and receive sundry other benefits in exchange for my contribution. I'm not quite sure why I'm on their mailing list, but several explanations present themselves. They gave me a prize, once, and a poem of mine was published in one of their anthologies. I've also committed other acts that could get me on the list: subscribing to poetry magazines, writing a book of poems, being an English prof, etc. But what interests me here isn't their interest in me (or my money). What I'm interested in is their pitch. Check out the opening paragraphs of their letter, class, and tell me what it is they think I (and any other poet on their list) want and need:

Dear Friend,

Today it gives me great pleasure to invite you to become an Associate Member of the Academy of American Poets.

As Chairman of the Academy, I very much hope you will accept.

In joining us today, you will enter into a new and exciting relationship with the best American poets of today and tomorrow. You will receive public recognition for your role in nurturing the art of poetry. And you will receive a number of material benefits which will bring you closer to the center of the American poetry world.


That's right, class: the "material benefits" are beneath mention at this point. Here, at the start of the pitch, the writers have chosen to concentrate on selling their real products, which are (yeah, you guessed it) BELONGING and ESTEEM, or at the very least the hope/illusion of them. I become something far more esteemed than a subscriber: in exchange for my check I'd become a member (just like the subscribers to National Geographic -- uh, I mean the members of the National Geographic Society). And I'd have a "new relationship" with the best American poets (I suppose the literal truth behind this statement is that I would, in a very minor-league way, be a patron of their art, but the implication seems to be that I'd somehow know them better, maybe even meet a few by a large fireplace in an oak-panelled room where we would sip brandy and discuss Anthony Hecht). Also, I will "receive public recognition for [my] role in nurturing the art of poetry." Woohoo! Will there be a plaque of some kind? Perhaps laurels? I'd like laurels.

As if all this this weren't enough, I will be brought "closer to the center of the American poetry world." Ah, at last! I will be loved! Valued! Picked out of the common mob and taken to...to...to where, exactly? I mean, what center? The Iowa Writer's Program? The SUNY-Buffalo English Department? St. Mark's in the Bowery? The 92nd Street Y? The Poetry Center of Chicago? The Kelly Writer's House? Helen Vendler's doorstep? John Ashbery's loft? John Ashbery's pharmacist? Or, in some weird real-life version of the Commodore Vic-20 era movie Tron, will I be transported physically onto the internet and placed inside Mark Scroggins' blog? Wherever it is, I'm sure the inhabitants (with tweeds or with pierced tongues, with sherry or rare B-sides by The Fugs) will see, accept, value and love me. At last, at last, at last...

By the way: the Academy of American Poets is a fine organization, and I support their outreach efforts and their desire to do some good for poetry. I'd really support any effort on their part to give me a grant. That's the kind of "public recognition of [my] role in nurturing the art of poetry" I could get down with.

Monday, November 14, 2005

Piotr Gwiazda Knows How It Feels to Live Here Now


At times I can barely understand myself,
living in the place called Brainwash.

My visitors talk to me in headlines
I reply with absurd proverbs.


(from Piotr Gwiazda's "Four Autobiographies," a poem in his new book Gagarin Street, which arrived in the mail about fifteen minutes ago).

The poem is about being an immigrant to America, but I think many of us, at this time when political strain and propaganda has distorted language,know what Gwiazda means. I remember an old comment of W.H. Auden's about feeling caught between the language of agitprop (that's agitation and propaganda, for those of you not immersed in the culture of the 1930s) and Mallarme. I remember, too, that old saw about Language poetry coming into being in response to the corruption of public discourse following Vietnam. Lately, I suppose, everything feels like a headline, and every headline feels like a lie. How to talk back? More headlines? A set of rah-rah propagandistic tropes of our own to counter (if only for a few) the angry spew of Fox News? Or something subtle, something that, with its recognition of nuance, irony, and difficulty, seems cryptic and odd, and destined to survive nowhere but in the valley of its own making. Gwiazda sees the problem. I can't wait to finish the book.

Saturday, November 12, 2005

The Fringes of the MSA and the Axis of Ambition


"The border wars define the pallid center of the empire," writes Chris Hamilton-Emery in the latest PN Review. He's thinking about Salt, the upstart-turned-success-story of poetry publishing in Britain (and -- full disclosure -- my publisher), but his comment came to mind the other day down in Chicago, where the Modernist Studies Association held its annual conference at the Michigan Avenue Marriott. I bailed on attending the conference itself this year, but that didn't stop me from catching the Metra down to Michigan Avenue, meeting a poet, a critic, and a poet-critic or two and heading out for the kind of venue where all the real action happens at any conference: a nearby bar. I've always thought that the real exchanges at these places define the success or failure of any conference. I mean, I've enjoyed going to the 20th Century Literature Conference in Louisville for years, but I've learned more from talking until closing time at the bars on Bardstown Road and the jazz lounge in the Seelbach Hotel than I have from any of the panels. Except perhaps for the panel where Charles Altieri blew me away by saying, of the presentation I'd just given, "I find your paper irritating, but I didn't think anything else here was interesting enough to be irritating." But that's another story.

So I got together with Piotr Gwiazda (whose Gagarin Street is just out), Stephen Burt (whose Parallel Play is about to come out), and Matt Hofer (who just finished writing his Distance and Resistance: Modernist Polemic in American Poetries) and we talked poetry and drank Goose Island in some crummy dive until we split up, Matt and Steve hitting the big party at Walter Benn Michaels' place while Piotr and I kept talking up and down Michigan Ave.

Two items emerging from the Archambeau-Burt-Hofer-Gwiazda discourses:

1. The Axis of Ambition.

I brought the crew up to speed on the the ongoing blog saga of how-to-anatomize-contemporary-poetry, and they all proposed third axes to help make David Kellogg's model more useful. Steve's was, I think, the most useful: ambition. In addition to charting poetry in terms of the claims made for it as innovative/traditional or communitarian/individual, Steve proposed an axis that would chart the way the poems were seen in terms of the scale of their ambition. I suppose one would have to see the binary here as major/minor. I like the retro, even archaic, quality of the scale, and I like in particular the way thinking of this kind forces us to be evaluative critics, (and, with any luck, to get a bit reflexive about the criteria of evaluation, too).

2. Donald Davie, Poetry Critic or Poet-Critic.

Since the discussion had touched on classification and evaluation, and since I found myself at a table with three people who'd read all of Donald Davie's work -- a position I don't occupy every week -- I took a straw poll on how we should classify and evaluate Donald Davie's acheivement. Two votes went for "poet-critic," one for "scholar" and one for "man of letters" (yeah, that was me). Curiously, though, when we each named our favorite Davie book, all were books of criticism (one each for Ezra Pound: Poet as Sculptor, Ezra Pound, and two votes for Articulate Energy). So whatever we want to call him, Davie seems to be most valued as a critic. (Incidentally, only two of us had favorite books of Davie's poetry -- Six Epistles for Eva Hess was mine, The Shires was Steve's).

We never quite got to the question of where we'd put a guy like Davie on the modified Kellogg grid. I suppose I'd have to put him more toward the community end of the community-individual axis, because of all the Little Englandism in Thomas Hardy and British Poetry. As a poet and critic with Thomas Hardy over one shoulder and Ezra Pound over the other, Davie covers a lot of territory on the tradition-innovation axis. As for ambition -- harder to say. As a critic he did big things, but never wrote a book that tried to totalize (no The Pound Era or American Renaissance). As a poet, he ranged over a wide terrain, but didn't write a single Big Poem of the kind that signaled ambition for Modernists and midcentury New American Poets. He had just enough Larkin in is soul to keep him from that. So I'd have to scratch my head and, somewhat surprised, put him somewhere around the middle of the axis of ambition.