Showing posts with label poetics. Show all posts
Showing posts with label poetics. Show all posts

Thursday, December 1, 2011

“Landscape as Activity in The End of America Poems”




Here, in several parts, is the talk I gave at the And Now Literary Festival at the University of California, San Diego, on October 13, 2011.

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“Landscape as Activity in The End of America Poems”

Part One

 The conventional narrative assumption about landscape: events happen on it. Landscape, surroundings, environment, milieu–interactions and differences between these terms included—become both background to the foregrounded action and the frame inside which differences between characters play out. Fiction, and poetry with elements of narrative, differ little here: Description of landscape comes first, or at least early, and comes up again, at well-timed intervals, to fill in around the action. Description doesn’t merely set the stage on which the action will occur. Descriptive language is the stage itself.

Given the human ability to assign meaning (or, say, the human determination to impose meaning on whatever exists, human-created or otherwise), frequently it turns out that descriptions of landscape are not only frames on which meaning takes place, but meaningful frames that determine the significance of whatever happens on them.

In much of western culture’s pastoral literature, description creates a rural, natural, supposedly timeless source of virtue in which humans find solace and steadfast grounding among the flux and chaos of human societies with all their circulations and interactions and cage-like enclosures, a flux and chaos which becomes the essence of the urban landscape (the urban stage). While characters are supposedly the crux of the action, in fact in the pastoral and its permutations, the primary struggle often occurs between the rural and urban stages themselves, with the characters becoming examples (if sometimes nuanced ones) of those stages.

Or consider the post-apocalyptic landscape: that stage on which human life has come close to destroying itself because of its power, corruption and contradictions, a stage on which all social contracts have been demolished and people are attempting to re-create them or exploit their absence. Oddly enough, the post-apocalyptic is still pastoral in its implications, though post-social rather than pre-, with the natural world polluted by layers of human-created (urban-created) debris.

While pastoral narratives might seem to imply that landscape shapes character, it is not landscape in these narratives so much as human assumptions about the meaning of landscape that shapes character. The idea that nature brings virtue, or that urban life breeds corruption and immorality, doesn’t question and explore the effect that landscape might have on character, but assigns that value in advance, limiting itself to playing out the interaction of pre-determined values, though admittedly often with intriguing turns.

Whatever the power of landscape in pastoral narratives and the meaning assigned to it, the action focuses primarily on the characters and their interactions with each other. The landscape, often inert and passive, occasionally disrupting or impeding through thunderstorms or nuclear fallout, remains background to what the key characters do and realize about what they do.

I don’t feel the need to rehearse here a long history of cultural and literary theory, Marxist and much else, that questions the centrality of character and subjectivity over environment and history, and shows how history and cultural and the physical opportunities available in specific geographical environments (the focus for instance of Jared Diamond’s Guns, Germs, and Steel) shape people’s behavior, possibilities, thoughts and feelings. Instead I want to ask, what might a work of literature look like if, instead of keeping landscape as background, or pre-determining its value, one thought of both landscape and character/subjectivity as questions and mutual interactions, person-in-flux and landscape-in-flux, that dynamically dissolve, or reassert, or otherwise unsettle distinctions so that there is no stable ground or clear center of action, but only multiple shifting points of contact?

End of Part One

Sunday, May 2, 2010

Postmoot: Barrett Watten Reports


(Pictured above: Barrett Watten presenting selections from The Grand Piano at Postmoot, and K. Lorraine Graham's Postmoot performance of "White Girl.")


Barrett Watten's excellent report on what happened at the Postmoot Literary Convocation is well worth reading, so I hope you'll check it out.

Tuesday, April 27, 2010

The Rose Metal Press Field Guide to Prose Poetry

 
Here’s an excerpt from my essay in this recently released collection:
What to make of the fact that some crucial early practitioners of prose poems, Baudelaire and Rimbaud especially, are obsessed with death and decay? The link isn’t accidental. Of course the connection between a subject matter that defies bourgeois norms and a form that challenges conventional literary distinctions has often been discussed relative to the prose poem’s creation. It comes into being at the axis of writing about things powerful people don’t want to hear in a way they don’t want to understand. But its social and political condition also connects to my sense of the crampedness of the prose poem and its proximity to originary divisions. If for human beings the most crucial division may be between life and death, and the original genre division is that between poetry and prose, then matters of life and death must lie very near to what makes the prose poem. Anyone taking up the violation of the prose poem comes quickly upon the materiality of the body and peoples’ ability to destroy each other and everything else. The prose poem sits close to the rot.

The Rose Metal Press Field Guide to Prose Poetry contains short essays about prose poetry by 34 writers along with some examples of prose poetry by those same writers. It’s quite a different group of writers than I usually find my work in the company of, and I’m glad to be featured in it.

For more details and more excerpts, check out their webpage on the Rose Metal Press website.

Although unfortunately I won’t be able to be there, upcoming launch parties for the book are taking place in Kalamazoo, Portland, and Chicago:

Tuesday, May 4
Nancy Eimers, Gary L. McDowell, Kathleen McGookey, William Olsen, and F. Daniel Rzicznek reading from The Rose Metal Press Field Guide to Prose Poetry at Kalamazoo Books, Kalamazoo, MI, 6:30 pm.
Free and open to the public.
Kalamazoo Books
2413 Parkview
Kalamazoo, MI 49008

Sunday, May 23
Andrew Michael Roberts and Carol Guess reading from The Rose Metal Press Field Guide to Prose Poetry at Powell’s Books, Portland, OR, at 4:00 pm
Free and open to the public.
Powell’s Books
3723 SE Hawthorne Blvd.
Portland, OR 97214

Thursday, May 27
Launch Party for The Rose Metal Press Field Guide to Prose Poetry at The Book Cellar, Chicago, IL, at 7:00 pm
Featuring Joe Bonomo, John Bradley, Maurice Kilwein Guevara, David Lazar, Gary L. McDowell, Amy Newman, F. Daniel Rzicznek, Michael Robins, and Kathleen Rooney
Free and open to the public.
The Book Cellar
4736 North Lincoln Ave.
Chicago, IL 60625


The Rose Metal Press Field Guide to Prose Poetry:
Contemporary Poets in Discussion and Practice
Edited by Gary L. McDowell and F. Daniel Rzicznek
April 2010
ISBN 978-0-9789848-8-5
224 pages
$16.95

FEATURING ESSAYS FROM:
Nin Andrews • Joe Bonomo • John Bradley • Brigitte Byrd • Maxine Chernoff • David Daniel • Denise Duhamel • Nancy Eimers • Beckian Fritz Goldberg • Ray Gonzalez • Arielle Greenberg • Kevin Griffith • Carol Guess • Maurice Kilwein Guevara • James Harms • Bob Hicok • Tung-Hui Hu • Christopher Kennedy • David Keplinger • Gerry LaFemina • David Lazar • Alexander Long • Kathleen McGookey • Robert Miltner • Amy Newman • William Olsen • Andrew Michael Roberts • Michael Robins • Mary Ann Samyn • Maureen Seaton • David Shumate • Jeffrey Skinner • Mark Wallace • Gary Young

A wide-ranging gathering of 34 brief essays and 66 prose poems by distinguished practitioners, The Rose Metal Press Field Guide to Prose Poetry is as personal and provocative, accessible and idiosyncratic as the genre itself. The essayists discuss their craft, influences, and experiences, all while pondering larger questions: What is prose poetry? Why write prose poems? With its pioneering introduction, this collection provides a history of the development of the prose poem up to its current widespread appeal. Half critical study and half anthology, The Field Guide to Prose Poetry is a not-to-be-missed companion for readers and writers of poetry, as well as students and teachers of creative writing.

Wednesday, April 21, 2010

See you this weekend at Postmoot?



Here's the schedule.

And if you want to see a set of photos from the first Postmoot, in 2006, go here.

The photo above is from my performance of "The Poetry of the Noble Voice" from the first Postmoot.

Tuesday, February 16, 2010

James Sherry on Environmental Poetics (interview by Stan Apps)




I was intrigued to read this interview, up at Jacket, of James Sherry by Stan Apps on the subject of Environmental Poetics.

Some brief thoughts on a few complexities it raises:

I was pleased to see Sherry try to avoid the politics of guilt-tripping and blame laying. Plenty of blame lies all over the place, as he points out, but guilt is rarely effective as a large scale political tool because of its tendency to lead to resentment and (often passive) resistance. The issue according to Sherry is not to tell people how bad they are and make them say “Sorry” but to make them clearer about ways in which environmental consciousness is in their interest (although only by shifting the nature of what is meant by self-interest).

It’s fascinating to see the way that terms that to some extent I associate with corporate capitalism, like “risk management,” come into play in the interview. Admittedly, poetry and environmentalism are more closely related to businesses than many people are comfortable acknowledging, and certainly part of Sherry’s point is that conventional leftist oppositional language isn’t sufficient for the task at hand. But will such terminology really help more conventional environmental practices become more effective or might it not instead co-opt and ultimately misuse them? Still, Sherry definitely acknowledges this risk. He’s careful to insist that predicting what will happen is difficult.

Sherry also makes the point that significant change in environmental practices on a large social is unlikely to come until people really find themselves in disastrous circumstances. While suggesting the importance of an environmental poetics, he’s also a bit of a fatalist (or at least skeptical) regarding its ultimate use value. But like him, I like the idea of making the attempt anyway, despite necessary skepticism.

How Sherry connects environmental issues with aesthetic practice seems to me more tenuous. He tends to assert a fairly well-known lineage of consciously avant garde writers as figures helping lead towards his ideas, but I’m not sure how the details regarding these writers’ work really supports his position.

I note for instance that the contemporary writers he mentions are heavily weighted towards contemporary poetry in New York City, with an emphasis on Roof Books authors. That doesn’t surprise me, given where he lives and his role as the publisher of Roof, but it doesn’t seem to me necessarily the best way to develop a list of writers whose aesthetic practices support the kind of philosophy of environmental poetics that Sherry is urging.

Where for instance are the west coast poets, in Canada or the U.S., who have specifically engaged with Pacific Rim cultural development issues? What about poetic practices beyond the U.S.? In the case of the poets he mentions, Sherry seems to be falling back more on the writers he specifically promotes and lives near than he is making an entirely convincing case for where his kind of environmental poetics might be found among writers. That’s interesting given his remarks about how easy it is to fall back into individualized self-promotion even when one is highly aware the problems of such self-promotion (and I have no intention of playing holier than thou relative to this).

With all due respect to my flarf and conceptual writing friends, I didn’t see how his repeated mentioning of them was really tying into his argument. He is making the case that it’s not subject matter, but structural developments in poetics, that most closely tie into his concept of environmental poetics. Citing Kenny Goldsmith as an instance environmental poetics struck me as off, especially given some of Goldsmith’s takes regarding poetry and politics, and I didn’t see the specifics to back it up: does it come from the way Goldsmith recycles text, rather than attempting to create new works of individual human genius to clog up our air? That seems a stretch to me, a metaphorical resonance perhaps but not much more. And while I think I can see a connection between environmentalism and some of Nada Gordon’s work, I’m not sure exactly how to tie most of the other writers of flarf into this situation, except again along the rather tenuous line of re-use of materials.

Minor note: I wonder if my friend Cathy Eisenhower will like her appearance in this essay as an example of a new generation of language poet.

Sherry himself says that he doesn’t wish to unsettle too far the relevance of earlier generations of writers relevant to “avant garde” practice, a term he uses only once though he insists on its significance, which I actually appreciate while seeing the pitfalls. He wants to rock the poetic boat but not to rock it too much, and he’s probably overly cautious here and ends up dishing out a few extra kudos to the usual suspects.

Lastly, I wondered about the degree to which Sherry insists on the rejection of most emotional, affective practices re the environment, that is, those practices that draw on emotional human responses. Sherry definitely does not favor the “we need to feel sad/mad about the dying animals” approach; he just isn’t sentimental about penguins. He notes, rightly I think, that putting individual human emotion and experience at the center of all things is part of why human beings find themselves in such a physically endangered world.

Yet the degree to which Sherry resists any return to a language involving emotion (so much so that he deconstructs Apps’ questions when Apps tries to draw him out on this and related subjects like that of individual responses) strikes me as overkill, simply too much careful theoretical and managerial distance. His attempt to refuse the value of emotion is something of a return to the blame-laying Sherry wishes to avoid, as if emotion’s frequent refusal to understand structural conditions is in fact still too much to blame for environmental problems. I’d suggest that we need a rethinking of how to consider emotion and structural understanding in relation to each other without rejecting emotional response so thoroughly.

These are very off-the-cuff (and quickly typed) thoughts, not all final versions of what I ultimately might think about all this.

Tuesday, January 26, 2010

“Most of the great poets today are women.”




In response to a Harriet post by Craig Santos Perez, who is responding to a blog post by Jessica Smth (both pictured above).

Dear Jessica and Craig:

Thanks for raising this issue, one that comes up every so often in poetics.

I always find myself fascinated when I hear the claim “Most of the great (or best) poets writing today are women,” but also startled.

The first thing that startles me about such a claim is its use of quantifying logic. In order to know what most of any group is doing, one needs to have looked at all (or at least a sample large enough to imply all) of the group. The statement contains the implication that the person making it has read so much of the world’s poetry that the total quantity of good poets is apparent. Yet unless the person is truly encyclopedic, it’s likely that the person means “most of the poets among the group of poets I read,” a smaller group from which to take the sample, at which point it’s important to wonder how the sample was selected.

The second thing that startles me is the claim to objectivity. “Great” and “best” means not simply the poets I like, or the poets whose ideology I prefer, but the poets that are superior according to objective standards that should be clear to all who have good sense and reason.

Surely many people know by now that terms like “great” and “best” often come from personal standards, or cultural ones, or ideological ones, and that rarely if ever is there a ground of objective superiority against which people can make no reasonable objections.

I myself then see the claim “Most of the great/best poets writing today are women” as an ideological claim rather than objective or quantifiable. I’m not saying that one could counter the point with some more objective claim, but rather that we’re talking about an ideological question here rather than a factual one.

I don’t say all this to suggest that either of you do not mean the point sincerely. I’m not doubting for a second that you believe what you believe. But it’s out of the sincerity of competing claims that many ideological struggles (especially those regarding art) develop.

Whenever claims regarding gender and “best” poets come up, I look for how they function relative to ideology and power, that is, how they become power moves in a field of power, even when meant sincerely. And here’s a basic ideological map of how I often see that working.

1) A man says, “The best poets writing today are men.” Or, more likely, a man says, “The claim that the best poets writing today are women is ridiculous.” Here, a man defends the value of the writing of men or attacks the value of the writing of women. A significant number of male writers will side with him, and these men will often gather ranks against what they perceive as an unfair assault. Not all male writers however will side with them, and the man who makes such a statement is likely to find very few women writer allies, although he may discover some among those women writers who dislike feminism.

2) A man says, “The best poets writing today are women.” This man is ideologically siding with women, and is likely to receive positive feedback from women writers. He will seem to be allying himself with an understanding of women’s social conditions and an awareness of male oppression. But his statement also has an effect on men. It puts him in a position of critical superiority to the writing of other men; he has seen through its weakness and has in effect become master of it. He thus manages to present himself simultaneously as a successful male judge of men and a supporter of women. This will anger the men fond of statement 1, but will make him allies not only among women writers but also among male writers who believe that there are advantages to being aligned with a similar position.

3) A woman says, “The best poets writing today are women.” She will be seen as supporting and understanding the cause of women, and will have many women writers as allies as a result. Some women writers (I can’t begin to say how many) may be skeptical of the quantifying and objective nature of the claim and may think it’s not be the best way to approach the problem, while simultaneously appreciating and sympathizing with the goals of the claim, that is, with the attempt to create more and better attention to women’s writing. And obviously, men of group one will refuse the claim, while men of group two will side with it.

4) A woman says, “The best poets writing today are men.” I imagine women writers believing such a claim would be very few, if they exist at all. Such a claim certainly can’t help women’s writing in any broad way. Even women who are anti-feminists may not be likely to say such a thing. It would be seen favorably by some men, and so a woman making such a claim may receive more positive attention from those men, but those men would be the ones (in various degrees) least likely to be understanding or supportive of women’s writing (that is, men of group 1). And obviously such a claim would be highly unpopular with other women writers, although I can’t rule out that one or two might grant the woman making such a claim a degree of courage or iconoclasm.

I’m sure it will be taken by some that in saying all this, I am slyly siding with group 1, but I myself don’t see it that way. For me, the flaws regarding quantifiability and supposed objectivity mean that I believe that there are other more preferable ways of approaching gender problems than through assertions of whose writing is “great” or “best.”

It’s arguable I suppose that given the situation of the world, women writers and writers from cultural contexts who have historically had less power to control others through claims about an objective and quantifiable “best” need to seize such terminology for themselves, to take the rights that come from quantifying and objectifying and make them their own. That reminds me though of the infamous Ron Silliman claim, so given who I am, I think such a claim should come from others. But I think also that self-awareness about what’s involved in that power move would be crucial.

Finally, the other argument you make, that it’s “experience” that leads to the best writing, seems uncertain to me. The history of writing contains writers with all sorts of relationships to their own experiences. I think it’s likely that readers will often (though not always) gravitate towards writers whose understanding of experience they share and whose relation to the world feels more powerful and convincing to them, although I have to admit that I’m one of those readers who often likes reading work from or about people very much not like me. I fully believe in and would support your ideological position regarding what writers you like and why. I just wonder whether using terms like “great” or “best” actually causes more difficulties than it solves.

Sorry for the longwindedness. I had to say the whole thing or not at all.

Mark

Tuesday, October 20, 2009

Anne Boyer’s new review blog: Books of Poetry



While I’m still finishing up my final round of Summer Quick Takes (coming next week), I wanted to point those of you who don’t already know about it to Anne Boyer’s excellent new book review blog, Books of Poetry.

So far, Anne’s reviews have been tremendously insightful and lively, very much like her poetry. Not quite standard full-length reviews, but longer and more developed than my own recent Quick Takes, Anne’s reviews also raise important issues about what’s going on in contemporary poetry while providing helpful information about some of the most exciting recently published books.

Her emphasis on reviewing books of poetry by women writers makes the blog a particularly useful forum for writers, readers, students, and teachers. A class I’m currently teaching, Studies in Contemporary Literature, asks all the students to review one book of contemporary literature, and Anne’s blog is an excellent resource for finding books worthy of reading and receiving further reviews.

Authors whose books Anne has reviewed include Anne Waldman, Ann Lauterbach, Alice Notley, David Lau, Renee Gladman, Shanna Compton, Susana Gardner, Rebecca Wolf, Stacy Szymaszek, Gina Myers, K. Lorraine Graham, Sandra Simonds, and Cathy Eisenhower. That’s quite a list. Thanks, Anne.

Monday, October 5, 2009

This is What a (Pro)Feminist [Man Poet] Looks Like


The discussion forum “This is What a (Pro)Feminist [Man Poet] Looks Like” is now up at the Delirious Lapel website, a connected side project of the ongoing feminist forum website Delirious Hem.

Danielle Pafunda invited me to co-host this special satellite to the Delirious Hem project after an online discussion regarding my blog post on Post-Millenial Feminist Poetry back in May, and it has been a great experience. As I say in our brief co-introduction to the forum, I’ve never before been involved in a large scale public discussion among men about feminism, and I think the opportunity to do so has been very important. I really had no idea what any of these men was going to say.

The co-introduction written by Danielle and me also discusses briefly the reason that the forum came to have the name it does. Let’s hope though that people actually spend their time thinking about issues other than the basic descriptive terms.

A few new essays a day will go online between now and Friday October 9, at which point I hope the discussion will continue to extend.

I hope you’ll check it out and respond with your thoughts, either after the essays themselves, at the introduction or, if for some reason you prefer it, here on my blog, although I very much hope you’ll respond over there.

And if you comment about it or link to it on your own blog, will you let me and Danielle know?

Wednesday, August 26, 2009

Versal Magazine and the Concept of the Translocal



Pictured Above:

Michelle Noteboom introducing the K. Lorraine Graham and Mark Wallace reading at Le Next, Paris, July 7, 2009

Megan Garr, Sarah Ream, and myself at Cafe de Balie, Amsterdam, July 15, 2009


The concept of the translocal calls into question a few of the assumptions often made about the split between what is commonly called the local and the global. “Think locally, act globally,” a worthwhile political slogan that points out that political activity needs to develop in specific places while keeping in mind world scale issues, tends to accept the normal division between a smaller, clearly defined locality (and the activity found there) and an all encompassing world condition that is both real and yet difficult to picture specifically in its “totality,” as those inclined towards Marxist and Situationist terminology often put it.

The concept of the “translocal,” both in terms of translocal writing and other kinds of social and political activity, might be described as the work of people who live not just in one local and not in some global “everywhere” either. People who have lived, significantly, in more than one place. People who are not from the place that they are nonetheless now in, or, having grown up or lived in multiple places, for whom the idea that one is necessarily “from” a place can grate uncomfortably.

The notion of “translocal” raises a few worthwhile questions about what turns out to be in some ways an overly schematic separation. Certainly the “local” exists (after all, places are where they are), but it’s obvious enough that local environments are also hardly separate from larger resource and population flows moving through them from elsewhere. There’s no static, untouched local, although I sometimes suspect that some nostalgic cultural studies leftists wish there was. Even those people who have never lived anywhere other than where they currently do are hardly immune from the outside conditions that move through and alter localities. Similarly, no matter how wide one’s travels have been, no one ever lives in some global “everywhere” and experiences some totality of global effects free of the specific differences of local places. No matter how many places you go, you’re always specifically somewhere.

As a concept, the “translocal” isn’t just a 21st century version of the expatriate, although it certainly shares features with that. Nor do I think it’s the same as the kind of life discussed in Pico Iyer’s fascinating, insightful, if ultimately tedious and frustrating book The Global Soul, about those individuals, multicultural and not, who fly from place to place on wings of capital, living in airports and airport hotels and the fanciest neighborhoods of the cities they move through and whose delights they sample but who sometimes feel more isolated than they like. Translocals aren’t necessarily rich. Poet Michelle Noteboom, for instance, who hosted the Ivy Writers Paris reading that K. Lorraine Graham and I gave in Paris, and whose books Edging (scroll down linked page) and Uncaged I’ve been reading with pleasure, told me that she originally came to Paris to work as a nanny.

Many translocals live in circumstances between Iyer’s capitalist Global Souls and their mirror opposites, displaced borderless subcitizen refugees and migrant workers. Translocals have moved for work or family or love or just because they wanted out of something and into something else. They’ve moved from wealthier places to poorer ones or vice versa. Some of them stay in new locations because, like earlier expatriates, they just think life is better in Paris or Amsterdam or wherever they’ve come to live. Having just returned to my translocal life in North County San Diego, where health care and education are in danger of collapsing, I see their point. But others are also still living temporarily in places from which they will move on soon enough.

Versal is an English-language literary magazine published in Amsterdam (and here are links to the Versal website and Versal blog). While in Amsterdam Lorraine and I met Megan Garr, the editor of Versal, Sarah Ream, the managing editor, and on a different occasion a former editor of Versal’s poetry, Cralan Kelder. All of them had their own fascinating stories to tell which it’s not really my business to repeat here, but Megan has lived in Montana, Sarah came from England, and Cralan was for a time first a student and then later a teacher at University of California at Davis.

Megan Garr’s brief editorial at the beginning of Versal 7, the most recent issue, raises some intriguing concerns around the idea of translocal writing:

Up to now, most of the monologue I’ve seen about translocal literature is restricted to the relationship between the author and his (yes, his) narrative text: observations of a street scene in Prague by a long-time former resident (the author)—the locality itself becoming protagonist to the poem. This either reduces the self-sufficiency of a piece alone on the page—i.e. it is the author’s biography that makes a piece translocal or not—or it limits it to narrative surveillance. Certainly not all poetry is traceable to a particular mise en scéne, nor is all prose a story. The very pivot of translocality would indicate that there are many, many kinds of localities, and we need not focus solely on where our (or the author’s) feet are standing.


Among other points, Garr goes on to ask a few questions about consciously translocal writers and writing:

How do they invite (or force) interdependence between a string of vocabularies from two (or more) languages within a single stanza? How is the distance in the line of poetry crossed in a translocal sensibility? How is this distance ever crossed?

Garr answers some of these questions, at least for herself, concluding, as just one for instance, that “I’ve come to see the translocal line as bearer of the familiar and the unfamiliar at the same time.”

There are some essays and short fiction in Versal 7, and also some striking visual art. In contrast to the more aesthetically extreme work I encountered in some other contexts while in Europe, the poetry in Versal 7 is mainly lyric, ranging from poems with a more fragmented, elliptical line to more straightforwardly narrative poems. Many of the poems are overtly or implicitly feminist. Versal 7 looks a bit like certain U.S. poetry magazines that highlight more aesthetically challenging notions of what lyric might be, while the topics and themes are more consistently international and translocal than would be the case if it really was a U.S. magazine.

Having lived for several years now in a place which I like well enough (in some ways, on some days) but am unlikely ever to consider home or to define myself as local in relation to it, it was helpful to talk with people for whom that kind of displacement is a feature of life that they’re aware of sharing with others.

Sunday, August 9, 2009

from Dead Carnival: The Disjunctions and Conjunctions of the Fragments and Unities



Kenny Goldsmith’s typically provocative but also typically incorrect claim recently that “Disjunction is Dead,” and the intriguing follow up post and discussion on Nada Gordon’s blog, reminded me of the following section from my novel Dead Carnival.

The issue I take up in it has to do with the problems of fragmentation and unity both in fiction and in philosophy, of focus and distraction, argument and digression. But I think they resonate pretty closely with dynamics of disjunction and conjunction in poetry, synthesis and the rejected, and also even with recent discussions around the notion of the hybrid as something that either disrupts genres and traditions or unifies them. It also highlights the problem of what used to be called, back in the Golden Days of Theory, a binary opposition.

This section of the novel was probably written 10 or 15 years ago. It’s one of the many essay moments in a novel that includes essays, plays, poems, and multiple story lines. A hybrid monstrosity that connects and disconnects various genres (the essay here is a fairly good description of some aspects of the novel). I might now change one or two of the ways that I said things in the section (my conventional and questionable use of the metaphor of blindness now bugs me), but its ideas still ring true to me.


What does it mean to be distracted? What does it mean to digress?

Looking around, it's hard not to conclude that distraction is a bad thing. Perhaps more than ever, the supposedly civilized human mind exists in a constant state of distraction. It's practically impossible to focus on anything. At any given moment, there's something else waiting to grab your attention. It's not just a matter of entertainment, a question of what to do with free time, whether to watch movies, exercise, go out for dinner or drinks, take drugs, develop a hobby. It's that focus has become increasingly impossible even in the work one wants to do. We never seem allowed more than a little time to concentrate on anything. Now that jobs have become so unstable, how much more time do people spend thinking about what their next job will be? It's hard to focus today on the job you were hired for when you know you may need another tomorrow. Besides, it's hard to focus on things one needs to do on a job when those things always change too; here's the new computer system, the new rules and regulations, the new competition. And maybe we shouldn't even speak about those whose world is not so simply divided into jobs and entertainment. What can we say about those who think of their real work as something not a job, that can't be defined by wages and possibility for advancement, but by the chance for creation? What can we say about those who see entertainment, however entertaining at times, as simply a displacement of a more significant human value, which is play? How does one play anymore, if one means by play the chance to participate in games that might change who you and others are, whereas entertainment is simply the things you do in the time you have off from the work you don't want to do? How easy it is to be distracted from that creative work that is perhaps the same as creative play. You want to create, but your bank book is empty, or you have to go to dinner with someone you don't like. So creation will have to wait.

Looking around, it's hard not to conclude that distraction is a good thing. Perhaps more than ever, the human mind is constantly in a state of tunnel vision. I must organize my present, future, past. I must have goals I can clearly express to others. Anything that doesn’t fit the pattern, that can't be immediately centered around the goal at hand, must be rejected, denied, eliminated. If the need to function increasingly takes up all human time, then anything that lies outside that functionality gets perceived as being in the way. In such a situation, distraction becomes a necessary reminder that human life is about more than functioning. Distraction points out how much lies beyond the state of tunnel vision. Distraction reminds us that the things we're trying to forget might be the most interesting of all, it reminds us that some things can never be organized or unified in the name of the goal. Here I was trying to develop a new credit card, but somehow I find myself listening to music. Distraction reminds us that the urge to unify, to control the world in the name of what we intend, can never be the whole story, that it’s crucial to have one's mind wander, to recognize there are things one does not know, to understand that perhaps we are most alive when we are discovering, not when we are controlling.

Some thinkers will have it that all these distractions are leading to a world where people never take any significant action, because they are buffeted relentlessly by this and that. To these thinkers, human beings are becoming dangerously fragmented. These thinkers want a way to avoid fragmentation, so people can be returned to feelings of unity.

To other thinkers, the attempt to impose unity, to see everything in terms of the tunnel vision of the goal, has made the world unlivable. To these people, fragmentation is the savior of a world that has become too controlled. They want fragmentation to break down the illusion of unity.

It's hard not to see that both types of thinkers have a point. But I can't help believing that both of them also miss the point. Because the question seems like it can't be whether one is pro-unity or pro-fragment. Rather, the question seems when does unity help us, when does fragmentation help us? And the question seems also, isn't it true we will always have unity sometimes when it doesn't help, always have fragmentation sometimes when it doesn't help?

One can hardly be in favor of a world, for instance, in which someone's mind is bouncing from one thing to another so fast that they can't think, work, love, even tie their shoes. Similarly, one doesn't want to live in a world where people are so obsessed with their goals that they kill everything that doesn't fit the picture.

Perhaps we've all known people who digress because they have no idea what they're saying. Such people don't even know they don't know what they're saying; people who knew they didn't know what they were saying might be interesting to hear, because one could hear them discover what they're saying. But people who don't know what they're saying, and don't know they don't know it, are at best boring, and at worst deadly.

But perhaps we've also known people who seem so certain about what they're saying that they're not believable for an instant. Such people don't digress; they know, apparently, everything already, and all that remains is to tell us about it. But their certainty makes them blind, for whenever they come across something that doesn't fit with what they're sure they know, they can't see it. People who think they know everything, and who ignore anything that differs from what they know, are at best boring, and at worst deadly.

People who don't know they don't know what they're saying, and people who think they know everything they're saying, turn out often to be the same people.

What most interests me, here, is the idea of conscious digression. Conscious digression prevents any simple unity between things. It doesn't try to make the world add up to a new tunnel vision. But it is equally not the chaotic words of people who can’t help anyone because they're so busy being distracted they don't even know when someone is listening. Conscious digression suggests there are times when certain things might almost be unified, that, if no exact unity exists, similarities do, and those similarities matter. But it also suggests that one must not make too much of similarity; one must remember to digress precisely at that moment when it would be a mistake to tie up all loose ends.

A narrative of conscious digression would be one in which there is not one story but many, but those stories would be related. But it would also be a narrative in which the moment one tried to say it all added up, that everything was similarly headed in the same direction, one would find that the pieces didn’t fit, that some things could not be made to belong. Even when things did belong, they would not belong in order to tell one story with one meaning, but to say that many stories together might have many meanings. There might even be a central story, but it would not be the only story, nor would it be one that could exist without the others. And it would not be a story easily made complete.

Now that I'm thinking about all this, it reminds me of something else...

But I digress.

Tuesday, July 28, 2009

Sound Poetry in Belgium and The Netherlands






Photos (Top to Bottom):

Olaf Risee at Gallerie Link (Ghent)
Tine Moniek at Gallerie Link (Gehnt)
Philip Meersman at Gallerie Link (Ghent)
Frank Keizer and Samuel Vriezen at Cafe de Jaren (Amsterdam)
Rozalie Hirs and Jaap Blonk at Cafe de Jaren (Amsterdam)


One of the most interesting elements (if not entirely unexpected, given who we were meeting) of my reading and poetry tour with K. Lorraine Graham was the prevalence of sound poetry and sound poets in both Belgium and Amsterdam. After our reading in Ghent, we were given in the improv portion of the evening a performance of a number of poems that highlighted sound effects as an additional element to the words themselves or that dispensed with words entirely, replacing them with sound and gesture.

That evening opened a conversation about sound poetry that continued through our stay in Ghent and expanded when we went to Amsterdam. There, we met with Dutch poets (as distinguished from the international English-language poets we also met in Amsterdam, whom I’ll say more about later), Jaap Blonk, Rozalie Hirs, Samuel Vriezen, along with a younger protege Frank Keizer. They said they thought of much of what they did as being at least as much music as poetry, and they referred to themselves as musicians and composers as well as poets.

For a few years now I’ve been living in San Diego without an active community of writers that understands itself as a community (a scattered handful of creative writing professors transplanted from other parts of the country doesn’t quite a “community” make). In that time I’ve felt more and more in my many visits to different cities and their writing communities that I can distinguish a few regional features in most of the many writing communities I’ve visited.

It’s not accidental that I’ve discussed film and visual art with poets in Los Angeles, that poets in DC tend to see politics as part of the fabric of daily living instead of as a platform for polemic, that poets in Vancouver often worry about the relationship of the city to the region’s Native American heritage, or that innovative poets in Portland tend to see themselves as trying to move away from a tradition that, as Mary Rose Larkin said when we were there, historically emphasized “salmon and feelings.”

Before anyone attacks me here for generalizing, let me emphasize that I understand these are overall impressions, hardly ones that account for what every single poet is doing in every single city. They come from the environment of those places, ones that varying poets pick up or not to various degrees. While in Europe, I found myself considering what it was about Belgium and Amsterdam that made sound poetry a key element of non-traditional poetry in those places.

Of course it’s crucial not to go overboard here. Part of the reason Lorraine and I heard so many sound poems in Ghent was simply hospitality to visitors. The poets performing in Ghent understood that their visitors wouldn’t understand poems in Flemish and so some of them presented work designed to include us, although it was fascinating how easily I could tell the difference between the content of sound poems and more traditional lyric poems in Flemish simply by how they sounded. And as reading series host Helen White pointed out, the prevalence of sound poetry was also simply a function of the particular communities of poets with whom we were meeting. Obviously there are many poets in Belgium and The Netherlands who have no interest in sound poetry.

And yet, given all that, I still think that interest in sound poetry has something to do with the region in question, a place where multiple languages interact daily and the political and cultural issues implied by those languages have long been pressing questions.

Ron Silliman is fond of saying that all sound poetry really explores the same aesthetic question, which he calls “the excess of the signifier.” That is, sound poetry always calls attention to those aspects of language and vocalization which go beyond being merely words that provide identifications with things. It’s not so much that Silliman’s point is wrong than that it’s insufficient, a little like saying “music is organized sound” as a way of having the final word about what makes music interesting. As just one for instance in the nature of the problem, sound beyond words still does signify. Emotion, mood, pattern are just some of the ways that sound, like music, tells us something without conventional description.

In Belgium the train stations featured information in four languages, and the numbers of different languages in use by people moving through the stations were many more than that. Of course the fact that negotiating multiple languages is a fact of life in Belgium doesn’t mean that everyone speaks all the more common languages equally well, or that there are no cultural or political splits defined along language lines. The differences between the Flemish (closely related to Dutch) and French speaking portions of Belgium are only the most obvious of those splits and are partly what has made English a popular language among people in Belgium, especially younger, college-educated people. English allows Belgian citizens a way of communicating with each other that sidesteps cultural and regional bias, even while the growing international power of English remains an issue.

One advantage of the sound poem in such an environment is therefore not that it’s incomprehensible because it doesn’t use words, but that it’s comprehensible, almost to everyone. It doesn’t limit your work to the Dutch, French, English, or German speaking portion of your audience. Precisely because it relies on the emotive and structural qualities of sound and doesn’t use words, it’s cross-linguistic. Of course the meaning of sound is not universal, an obvious enough fact that Jaap Blonk’s theoretical work has explored in detail, but nonetheless it allows for some level of communication across languages that speaking to each other in different languages doesn’t

Blonk remains the most well-known of the sound poets we met, and was clearly much admired by many of the younger generation of writers I spoke with. His theoretical work has been globally rigorous in exploring the sounds created by multiple languages and the physical actions necessary to create sounds. His performances often feature interaction between sounds made in different languages, always in striking juxtaposition. CDs and other recordings by Hirs (who a few months back had actually been in San Diego and gave a performance sponsored by the UCSD music department; who knew?) and Vriezen ( see http://www.xs4all.nl/~sqv/ ) have also been providing me with fascinating post-trip listening.

In Ghent, before going to Amsterdam, we were treated to many different kinds of sound performances. Xavier Roelens gave a very funny performance of two words that took his in-character narrator a long time to finish saying. Jelle Meander performed a piece highlighting certain sounds of morning in Ghent. Tine Moniek performed a piece called “Tsunami” that, while we didn’t know what specific kind of tsunami her poem literally was about, followed the tsunami’s development sound-wise. Olaf Risee performed several lively poems that might well be considered Dutch slam-poetry. And Philip Meersman also performed a poem that was not technically a sound poem but that solidified my impression about the relation between sound poetry and cultural context. His poem was in six different languages, not all of which were known to any single person in the room except for him, with the result that at least some portion of his poem was only a sound poem for every member of the audience. It wasn’t meant as a display of language virtuosity, though it certainly was also that, but as a very pointed exploration of what it means to be able to understand other people or not.

The fact that sound poetry seems in tune with the cultural context of Amsterdam and Belgium hardly means though that such work is any more widely accepted there than it would be in the U.S. All the younger poets we met had a great deal to say about the difficulty of finding forums to publish or perform their most inventive work. Meersman, for instance, asserted that he wasn’t aware of a single poetry publication that would publish a poem in six languages. Are there maybe a few poetry publications that might prove his assertion wrong? Possibly, I told him, but I couldn’t say for sure. And interestingly enough, in one of those sudden role reversals that happen often enough in the world of poetry, one of the most successful young poets in Ghent, Lies Van Gasse, whose book I saw for sale in Amsterdam, didn’t read any poems. She said she didn’t think she could perform them well in a context so devoted to highlighting performance. Shyness in a writer, I suppose, has a difficult time when surrounded by boisterous sound poets.

I met many other poets on the trip, with whom I had many fascinating conversations, and I’m sure I’ll blog more about them later. For now, though, it’s safe to say that the sound poem portion of my trip was one from which I learned a lot. It was a pleasure, for awhile, to be in the company of innovative poets and performers for whom the all-too-commonly mentioned camps and theories of U.S. poetry were not the heart of the matter and also somehow transformed.


For further accounts of this trip, see Lorraine's blog Spooks by Me:

Paris portion of trip
Ghent portion of trip
Amsterdam portion of trip

And for some further related material:

http://www.archive.org/details/ahrart001aArtronicAnthologyVolume1Part1

http://www.nokturno.org/philip-meersman/sound-poems/

http://www.aslongasittakes.org/issue%203.html#MEERSMAN

Thursday, June 25, 2009

Terminal Humming



Terminal Humming
K. Lorraine Graham

ISBN: 978-1-890331-31-5

96 pgs, Cover by the author
2009


regularly $16.00

$12 direct from Edge Books, postpaid.


Click here for an interview with the author at Elisa Gabbert's insightful and entertaining blog.


Click here for earlier versions of some of the work that now appears in Terminal Humming.


For reasons that should be obvious enough, I’m a big fan of this writer and this book. I think people should buy and read Terminal Humming, especially people interested in challenging new writing. It’s energetic, original, perceptive, sensitive, and tough. I’m going on the assumption that my praise of it will be taken as an obviously biased given, so I thought what I’d do instead was to bring up a few ideas that this book makes me think about.

I’ve finally concluded that there is indeed an approach to literature that might be called DC School, although it’s still a little difficult for me to describe all its features. It doesn’t highlight theory/poetics quite to the degree of language poetry, nor is it as closely wedded to style as New York School writing. It has a lot to do with the city of Washington, urban, international, informed, uptight, backwards, bourgeois. Where politics is a matter of daily life, an ordinary, all-too-human business, the thing people talk about so much it feels like you never want to hear about it again. It’s a city of riots, where rich and poor, white and non-white people mix uneasily. Where the best bars always close and the ones that survive always deeply suck but the poets go to them anyway. Where the city government is bankrupt and the other government is morally bankrupt.

Edge Books is, without doubt, the home base of DC experimental poetry, even as it also publishes writers from other places and contexts—Kevin Davies, Jennifer Moxley, Anselm Berrigan, Leslie Scalapino, Lyn Hejinian, Tom Raworth among them—some of whom share more in common with DC poetry than others. DC, on Edge Books or otherwise, and whether in the past or now, is particularly a central location for some of the most energetic and challenging women poets working today: Joan Retallack, Tina Darragh, Beth Baruch Joselow, Heather Fuller, Cathy Eisenhower, Leslie Bumstead, Jean Donnelly, Mel Nichols, to name only a few who live or have lived there and have certainly written with the idea of DC as a place.

Because I no longer live there, I think I can see more clearly some things that mark contemporary DC poetry, the experimental wing of it especially. A fractured, off-kilter lyricism, a concern with both the international and the daily, an almost pathologically anti-naive skepticism, a humor (whether deadpan or high-pitched) inseparable from the desire to strangle, an insistence on politics as constant fact, one with an often hyper-awareness of how language functions as part of its sense of the daily and full of a bitterly ironic recognition of how facts become the poker chips of diplomacy. Where diplomacy and the breakdown of diplomacy are essential metaphors, and taking sides is rarely more than the first and easiest move. Structurally, it’s probably a genuinely hybrid experimental poetry, one not recognized as such by any of the usual taxonomies and power players. Narrative and anti-narrative, documentary and anti-documentary, lyrical and splintered. It’s about buildings, corridors, faucets, loneliness and love and the stink of knowing that your major export may be death. It’s about how locality and displacement are part of the same larger global processes and there’s no home to hunker down in.

Somehow, the city whose experimental writing most resembles that of DC is Vancouver. Anybody who can explain that to me please step forward.

The first long sequence in Terminal Humming, “If This Isn’t An Interview I Don’t Know What to Say,” presents the world of DC international think thank politics and office life through the lense of a knowing but desperate alienation, the voice of a writer who can be neither an insider or an outsider to what’s going on but has to work there anyway.

Here’s a list of places, supplied by the author, where K. Lorraine Graham has lived: Carlsbad California, Washington DC, Harbin (Peoples Republic of China: PRC), Singapore, Beijing, Sedgwick Maine, Guangzhou PRC, Mexico City, New Zealand, Tabubil (Papua New Guinea), San Jose California, La Serena (Chile), somewhere in Minnesota she can longer name, Norfolk, VA.

The places where she’s worked—national and international political think tanks, corporate export companies, art schools, foreign language schools, and lots of others—would need an even longer list.

Terminal Humming is also about sexual longing and sexual violence and the often schizophrenic pathologies of gender. It’s about putting yourself out there, being on the make and being made. It’s about a young woman in a world where monitoring the exchange of high-powered international weapons is Happy Hour post-work boy talk that leads to awkward attempts at love, while every apartment building has its share of lunatics and drunks who feel that the whole world is watching.

I find the book funny and startling and nasty and more than a little creepy. At times, visually and because of what it says, it seems like it’s going to spin off the page. I also think it fits quite well with most of the definitions of the gurlesque that I’ve seen floating around. If this book is an indication, DC has as much room for female gothic as any Ann Radcliffe castle.

These are poems that bring back, for me, a time and place where I no longer live while at the same time they remain absolutely contemporary. I remember when I first heard some of them and who was there. I can’t go back to those times and places. They aren’t there. Quite a few of the people aren’t either. DC is a place where a lot of people leave, even those of us who are from there. I can’t read these poems without thinking about all that. You can though.

If you’ve seen K. Lorraine Graham’s work around, and more and more of it is getting around, you’ll be surprised to find how much of it isn’t in this book. But this long overdue first full-length collection doesn’t feel skimpy for those who already know her work and it’s a more than significant chunk of it for those who don’t.

There’s no reason to believe me about any of this, obviously. I’m sure you're more than capable of deciding whether you want to find out for yourself.

Wednesday, June 24, 2009

Les Figures Blog Mini-Portraits of Writers

It shows how much I've not been paying attention lately to the world of blogs that I'm just now discovering that the Les Figues blog has been recently publishing weekly "mini-portraits" of writers.

The writers they've covered so far include many personal favorites of mine, people whose work certainly deserves attention, including Renee Gladman, Renee Angle, Robert Mittenthal, David Abel, and Maryrose Larkin.

Well-worth checking out, so I hope you will.

Tuesday, June 23, 2009

Stan Apps on the Flarf/Conceptual Issue of Poetry Magazine

I find Stan Apps' take on the very odd latest issue of Poetry Magazine intriguing.

Competence and incompetence, refinement and vulgarity are only a few of the concepts that Stan believes are called into question by this certainly one-of-a-kind issue.

Wednesday, June 10, 2009

Talking the Sherlock Holmes-General George A. Custer Blues (conclusion)





Talking the Sherlock Holmes-General George A. Custer Blues

(AKA Women and Indians at the Limits of Induction)

Part Three (Conclusion)

(Parts one and two can be found at the blog posts on June 3 and June 7)


It might seem therefore that the Sherlock Holmes-General George A. Custer blues all adds up to one lesson: letting cultural stereotypes stand in the way of careful inductive reasoning is a mistake, sometimes a fatal one.

It turns out that the lesson isn’t that simple.

In fact Custer’s thinking about Indians was in many ways not one-dimensional. Politically, Custer opposed Grant’s policies of 1876 requiring the Lakotas and Cheyennes to report to reservations or be attacked. Custer testified on behalf of the idea that Indians were being abused on the reservations and that the policy was unfair, a political stand that further earned Grant’s enmity and nearly cost Custer the chance to die at the Little Big Horn. He was, that is, a fairly thoughtful observer of Indian life on reservations. He could see that reservation life was exploitative and awful, and he was willing to say so publicly in a way that risked his military career.

It was just that as a man finally most devoted to making a name for himself through the military, one used to acting under orders even if he didn’t agree with them, Custer was willing to fight the Indians if that’s what the military required. In fact he was eager to do so because he believed it would improve his public image, the thing which to him mattered most.

It’s possible to be a careful inductive reasoner who sees through the ideologies and stereotypes of others and still be full of your own unexamined stereotypes.

The case of Holmes, and Doyle who created him, is maybe even more complex, yet it too reveals a similar problem.

In “A Scandal in Bohemia,” it’s important to note that Holmes, referring to Irene Adler as “the woman,” defines her as unique. Her existence disproves Holmes’ theories about women and even shows her to be a superior inductive thinker. Yet there is no indication that Holmes believes she is one of many such women. As the exception that disproves the rule, she is also the exception that proves that the rule remains true in most cases. It’s crucial to remember that in the story, even she behaves as Holmes expects women to do. What Holmes misses is that she herself realizes that she has been caught acting as women do, and can respond by not acting that way. This realization and response leads to her success. She still behaves like a woman but is capable of rising above it when the situation demands.

Holmes, of course, is a fictional character who may not may not reflect the attitudes of the author. Given the lesson Holmes learns in “A Scandal In Bohemia,” it’s fair to say that Doyle’s attitude was not that of Holmes. And in fact the Holmes stories are full of brave, tough, intelligent, steadfast women of firm moral convictions, women who under the laws of England often find themselves at the mercy of corrupt, mercenary men but who are willing to fight back for their own liberty and lives as well as for those they love.

Of course the stories also feature women who are dangerous villains, or who are weak, cowardly, stupid or vacillating. Women are hardly idolized in the Holmes stories.

Still, by all accounts Doyle seems to have greatly admired and respected women.

Doyle was also, later in life, firmly opposed to the idea that the women he so admired should have the right to vote. In an interview of his daughter Dame Jean Conan Doyle, she suggests about her father’s often discussed attitudes towards women that Doyle believed that the division of men and women into public and domestic spheres was proper, that women should have political power but only by exercising good influences upon their husbands.

Like many Victorian men, that is, Doyle believed both in admiring women and that their proper place was the home. Dame Doyle also suggests that her father was appalled by what he considered the lengths to which the woman’s suffrage movement had gone, and particularly deplored any incidents of violence with which it was associated. In fact in some Holmes stories the women’s suffrage movement appears as another of the many dangerous political conspiracies that he personally abhorred and that made for exciting fiction: the Mormons, the Italian Mafia, and Russian Communists primarily.

And while Doyle’s portrayal of women is complex, his portrayal of cultural others is full of the standard stereotypes common in British culture of the era. Members of other cultures are frequently portrayed as passionate, vengeful, duplicitous and scheming, although some are portrayed as passionate, loving, and honest in their scheming.

It turns out, that is, that it’s possible to believe in the value of inductive reasoning and the authority of data, to reject stereotypes and write a story showing the problems of the limits of stereotypes, and even to understand how induction is often limited by ideology, and still be deeply committed to common ideological limitations and stereotypes from a given era. It’s possible to criticize stereotypes and simultaneously believe in or at least frequently portray stereotypes as the truth about people’s behavior.

It’s possible, that is, to write a literature and live a life in the belief that inductive thinking can critique ideology, and is a way of getting beyond ideology, and even to know how often inductive thinking is mired in ideology, while still revealing that ideology—that complicated nexus of beliefs, some articulated, some not, some individual, some group-oriented and historical—remains far more powerful than we know in shaping how we see the world.

One conclusion here could be that inductive reasoning needs to be even more cautious and thorough, that it needs to be more relentless than ever in its dismantling of pre-determined beliefs and ideologies and theories. In so doing, it could enable us to live a life free of ideological bias, a claim, it seems, that a number of our own contemporary poets and critics are making.

But the other conclusion is that this previous conclusion is a fantasy, an ideological limitation masquerading as its opposite. In this view, a rational induction-based pragmatism can never free itself entirely of other kinds of ideological baggage. There’s no value free, neutral objectivity to be had even when one is a careful inductionist. Further, pragmatic inductionism cannot get beyond ideology because it is itself an ideology, one full of its own beliefs and methodologies based on those beliefs.

The problem with Holmes’ statement that one should never theorize without facts and therefore avoid all bias in theorizing is that the idea of being able to do so is not only already a theory, but probably also a fantasy. Inductive reading of the facts suggests that the likelihood of maintaining such a point of view in a person’s actual behavior is microscopically slim at best.

A good inductive reasoner should never believe in something that can be shown inductively to be a fantasy.

Still, the notion of a radically pure pragmatic inductionism is a theory which despite its limitations has worthwhile applications. As “A Scandal In Bohemia” shows, insisting on a pragmatic examination of our beliefs is profoundly necessary. But denying that we have values because we believe only in practicality is a conclusion that induction itself cannot support.

That said, what this story of Holmes and Doyle and Custer and induction finally shows is not simply the old point (though still necessary, it seems, given many recent discussions of poetry) that it’s impossible to escape ideology. It’s not simply that pragmatic method and an understanding of how ideology functions are useful counterbalances, in that pragmatic method can sometimes successfully critique ideology and that understanding the power of ideology can provide a useful critique of pragmatism. In fact, it shows that we can know all this and still not understand the ways in which ideology is shaping our thinking. An understanding of how ideology functions is not the same as understanding our own ideological investments.

As it turns out, what Holmes and Doyle and Custer also show us is that the ideology whose limits we may be least likely to recognize is our own.

Sunday, June 7, 2009

Women and Indians at the Limits of Induction (Part Two)



Talking the Sherlock Holmes-General George A. Custer Blues

(AKA Women and Indians at the Limits of Induction)

Part Two (Part One can be found on the blog post for Wednesday, June 3)


In “A Scandal in Bohemia,” the story opens with Watson discussing the admiration Holmes has for one particular woman, Irene Adler, in contrast to Holmes’ often generally dismissive view of women.

Holmes, in this story, is going to be defeated by Irene Adler, precisely because his view of women clouds his inductive capacity when he encounters a woman whose inductive and other skills are at least as great as his own.

At a key moment in the story, Holmes bases his attempts to retrieve a photograph from Adler on his stereotyped conception of women’s behavior. As he explains to Watson, “ When a woman thinks that her house is on fire, her instinct is at once to rush to the thing which she values most. It is a perfectly overpowering impulse, and I have more than once taken advantage of it. In the case of the Darlington substitution scandal it was of use to me, and also in the Arnsworth Castle business. A married woman grabs at her baby; an unmarried one reaches for her jewel-box. Now it was clear to me that our lady of to-day had nothing in the house more precious to her than what we are in quest of. She would rush to secure it. The alarm of fire was admirably done. The smoke and shouting were enough to shake nerves of steel. She responded beautifully. The photograph is in a recess behind a sliding panel just above the right bell-pull. She was there in an instant, and I caught a glimpse of it as she half-drew it out.”

It’s important to understand that Holmes’ generalization about women in this instance does lead to temporary success. Adler acts as Holmes suggests women do by definition. Holmes manages to witness all this because he has disguised himself as a clergyman who came to Adler’s aid and was wounded when her carriage was surrounded by street toughs (themselves actually also acting on Holmes’ orders). She brings him into her house to help him.

Holmes’ mistake is that, while watching her behavior, he is unaware that she is watching his just as capably. After the incident, Adler realizes that Holmes has figured out her secret, and she succeeds in escaping him.

Not only is Adler as capable an inductionist as Holmes, she is also equally adept at another of Holmes’ key methods for solving crimes: acting ability. Adler disguises herself as a man, a “slim youth” as Watson describes her, in order to follow Holmes and find out what he’s doing. In a letter to Holmes that he receives after her escape she notes: “But, you know, I have been trained as an actress myself. Male costume is nothing new to me. I often take advantage of the freedom which it gives.”

Holmes is defeated by a woman with the capability of disguising herself as a man. A woman who has all the talents he has, with one great advantage over him. She does not underestimate her opponent, as he has, based on stereotypes of gender. As she implies in her letter, gender is less a condition of biological fact and limitation than one of costume and performance. She defeats Holmes because she understands gender better than he does.

Holmes’ astonishment at her ability and her defeat of him genuinely leads him to rethink his attitude towards women. Watson concludes the story by noting, “And that was how a great scandal threatened to affect the kingdom of Bohemia, and how the best plans of Mr. Sherlock Holmes were beaten by a woman's wit. He used to make merry over the cleverness of women, but I have not heard him do it of late. And when he speaks of Irene Adler, or when he refers to her photograph, it is always under the honourable title of the woman.”

Custer encountered a similar problem to Holmes, a moment when his inductive abilities were undone at least partly by stereotyping an opponent. His mistake took place in the real world and the consequences were much worse, leading to his own death and that of more than 200 of his men.

Up to the day of his death at the Battle of the Little Bighorn, Custer’s role in the Indian Wars had been complicated and troubled by some of his behavior and by political difficulties. He was suspended from command for a year after being accused of going AWOL to visit his wife. After the end of the Civil War, Custer had supported the policies of President Andrew Johnson, earning him the longtime enmity of the General who soon became President, Ulysses Grant. In Washington DC, Custer was at a one point accused of perjury. It was only by begging Brigadier General Alfred Terry for reinstatement that Custer was allowed to lead the 7th Cavalry to the Battle of the Little Big Horn. In fact some people have suggested that Custer’s desire to regain his command, his image, and freedom from Terry’s patronage contributed to his reckless approach on that particular day.

There was however at least one other key difference that contributed to his fate. Custer did not think of the Lakota Sioux and Cheyenne warriors he was facing in the same way he thought of the Confederate Troops he had faced during the Civil War. Perhaps because of bravado, but more so probably because he really did believe it, Custer claimed that he could "could whip any Indian village on the Plains" with the 7th Cavalry. He even turned down an offer from General Terry for an additional four companies from the 2nd Calvary. Custer believed he didn’t need those troops because he was only fighting Indians.

Custer was less thoughtful about his inductions in this particular war context. He allowed his ideological convictions about Indians to overcome his usual reasoning. If he had been facing an army of white men, he likely would have behaved differently.

It might seem therefore that the Sherlock Holmes-General George A. Custer blues all adds up to one lesson: letting cultural stereotypes stand in the way of careful inductive reasoning is a mistake, sometimes a fatal one.

It turns out that the lesson isn’t that simple.

(End of Part Two)

Friday, June 5, 2009

Ryan Walker on Felonies of Illusion


My long-time Washington DC poetry compatriot Ryan Walker (pictured above reading at the DC Arts Center) says the following about my latest book Felonies of Illusion on a recent blog entry:

I have some poetry juices lately for reading and maybe a little for writing, eh? I like mark’s book. it is one of about 5 poetry books that I’ve looked at this year. felonies of illusion. hi mark. it is a strange book because… of its persistence and there is a machine-like craziness to it. frankenstein. it reads like a book that maybe a human started but then it started going of its own. it’s a long poetry book. there’s a brutality, methinks, to how it persists in a uniform (kinda) way. when I reed it, sometimes it occurs to me that the author maybe was not aware of that quality of persistence even tho to me that quality is hard to miss… for anyone except, possibly, the author, I imagine, for some reason. brutal machine-like persistence.

I like Ryan's take and continue to be fascinated by the differing kinds of reactions and non-reactions I've received for the book. Certainly I've long loved both Frankenstein and his monster. I think it's right to talk about the inhuman and the brutal in much of my writing. As for persistence, what else have I got? The world stuffed most of my imagination a long time ago.

If you don't know it, Ryan's blog is one of the most unique blogs around. A relentless persistence in exploring his own inner processes and their relation to the outside world is how I would describe what he does. It's not really a poetry blog as such although he often discusses poetry. But he often discusses everything that might very well be on his mind or that just turns out to be on his mind when he starts writing. It's interesting that Ryan and I both have persistence but of completely different kinds.

Thanks, Ryan.

Wednesday, June 3, 2009

Talking the Sherlock Holmes-General George A. Custer Blues (Part One)




Talking the Sherlock Holmes-General George A. Custer Blues

(AKA Women and Indians at the Limits of Induction)

Part One

In the story “A Scandal In Bohemia,” Sherlock Holmes tells his friend Watson, “You have not observed. And yet you have seen.” According to Holmes, while Watson is surrounded by the same sense data as Holmes, he does not register and process the details. Watson, unlike Holmes, is insufficiently attuned to his own senses and the data obtainable from it.

Holmes’ great attention to sense data is one of his key detecting skills and is displayed at the beginning of most Holmes stories. In a common opening to the stories, he notices people’s physical features, expressions, clothing and possessions and draws many inferences about those people based on what he notices. He is similarly observant about all aspects of material reality and uses his observations of them throughout the stories to determine how crimes have been committed and who committed them.

Although the Holmes stories speak of this process as deduction, in fact it’s an act of induction: Holmes reaches likely conclusions based on his prior observations.

As he also tells Watson in that same story, "I have no data yet. It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts.” Holmes only theorizes when the data is sufficient to support his ideas. Although he acknowledges that error is possible in drawing conclusions, the conclusions he draws are nonetheless based only on facts, never on pre-defined suppositions or ideologies. Given a small margin for error, his conclusions are therefore themselves almost always facts as well. One might say that—in theory—Holmes never theorizes. Instead he moves from one clue to another until he can draw a correct conclusion.

After graduating last in his class of 34 cadets from the U.S. military academy in 1861, George Armstrong Custer would almost certainly have played no major role in U.S. history had the Civil War not just broken out, leading to a need for officers, even those who had performed in school as pathetically as class clown Custer had.

Once in active service, however, Custer distinguished himself quickly. He first made a name for himself in the Peninsula Campaign of 1862 after overhearing General Barnard say, in considering how to cross the Chickhamony River, “I wish I knew how deep it is.” Custer astonished everyone by riding his horse right into the river. “That’s how deep it is, General,” he is reported to have said from atop his horse mid-river. He was soon thereafter allowed to lead an attack across the river.

It was this moment of reckless induction that first gained attention for Custer and defined the key characteristic of his military career. As Evan Connell pointed out in his account Son of the Morning Star, Custer made his military fame through one battle tactic only. In battle, Custer charged. Yet as others have pointed out, the charges he led were always meticulously and inductively planned. Custer always studied details of the battlefield and enemy closely before deciding whether a charge was possible, and if so, where would be best to charge.

But make no mistake: Custer was committed to charging. Despite the fact that his flamboyant, foppish dress (he preferred cinnamon-scented hair oil that made his long blond hair sparkle as it hung down in ringlets below his hat) often alienated soldiers under his command, he won them over by his willingness to stand at the front of the charges he led, instead of lurking behind the troops as other military leaders often did. Custer managed to succeed repeatedly with his capable battlefield inductions and thoughtfully reckless charges. Careful inductionist that he was, however, he acknowledged that his success and survival were in some ways a matter of luck.

Both Holmes and Custer, in their entirely different and obsessive ways, are pragmatic inductionists.

One key difference, among many, between these men is that Holmes, as a fictional character, never had to put his methods to the test in the real world. Not so for Custer, unfortunately.

It’s incorrect, however, to think of Holmes as a superhero detective who solves every case and makes no mistakes and has no weaknesses. Along with the emotional torment he goes through when lacking an engaging case, Holmes turns out despite his belief in facts to have his biases and ideological pre-suppositions.

Perhaps his key bias is against women. In fact, the story “A Scandal In Bohemia” is designed for Arthur Conan Doyle to teach both Holmes and his readers a key lesson: generalized biases against others, stereotyping and dismissing their abilities based on considering them part of a general category of human beings, is an error. And it’s an error that careful attention to the principles of induction can correct.

In “Scandal,” the story opens with Watson discussing the admiration Holmes has for one particular woman, Irene Adler, in contrast to Holmes’ often generally dismissive view of women.

Holmes, in this story, is going to be defeated by Irene Adler, precisely because his view of women clouds his inductive capacity when he encounters a woman whose inductive and other skills are at least as great as his own.

(End of Part One)

Wednesday, May 27, 2009

Write About A Real Boy (The Poetry of Experience, Part Two)


When I was in fifth or sixth grade, can’t remember which, I and the other students were asked to write a short story.

I’d been writing short stories since about third grade. I can’t remember what story I actually turned in for this (let’s say) sixth grade assignment, but I began around then to write longer stores than I ever had before. At the time I was a frequent reader of Poe on my own, but had not yet read Lovecraft.

One story I wrote about the time of the assignment, but did not turn in, concerned a murderer in the hills of New England. Soon after the murder (which may have been at least partly provoked), the murderer passes out in the snow-heavy hills, wounded and losing blood, apparently on the verge of dying. When he wakes up, he finds he has been revived and captured by a strange group of people who always wear the hoods of monks over the faces, so he can’t see them.

After spending some weeks imprisoned by them, he realizes that these people aren’t human but alien, although he hasn’t seen them yet. Then he realizes, after several encounters with a strange odor that both repels and excites him, that they intend to mate him with one of their kind. Their goal: they cannot proceed in their desire for world domination until they have absorbed the human capacity for evil, which he, as an apparently unremorseful murderer, seems to represent for them.

At the end of the story, this main character, conflicted between the desire to commit suicide in order to save human beings and the overwhelming urge to mate with the alien creature, finally gives in to his sexual desires after recognizing that in fact he doesn’t really care to do good for other people and never has. Besides, he has no wish to save a species from whom someone like himself could have been created. He himself is the proof, that is, that there’s no particular reason to save the human race or to feel that doing so would be morally right. So he goes ahead and mates with the alien and unleashes destruction upon the human world.

Have all the fun examining the social and psychological underpinnings of the sixth grader writing such a story that you want, as I myself certainly have. But that’s not the point here.

The point has to do with the fact that I spent a lot of time discussing story writing with a friend in my neighborhood, a boy I’ve long since lost track of and probably can’t even name right. We had a lot of crazy ideas for stories.

After he wrote his own fantasy story, however, his parents told him that he couldn’t turn it in. Instead they took it from him and told him that he had to start over, and that this time he had to “write a story about a real boy.”

Hard to know what if anything he ever wrote after that. I’m the one who kept writing.

One of his parents was an English teacher. I’m sure they were giving him what they thought was very sophisticated literary advice. And what a great side effect that it must have corralled a little bit of his uncorralled imagination.

Sometimes, when I think about all this, I realize I was lucky to have parents who were not English teachers and did not try to give me the latest writerly wisdom for sixth graders.

But who knows? Maybe being told to “write about a real boy” didn’t drain the life from my friend’s creativity by teaching him that writing literature was just another way to do what you’re told, to figure out how to be a successful, responsible, conformist adult. Maybe he wouldn’t have been all that interested in writing anyway.

When I look at many of the critics promoting a “poetry of experience” or “literary realism” or any similar attempt to straitjacket literary imagination and inventiveness according to some weakly defined, supposedly pragmatic standard, I wonder about that bit of literary advice that I remember so vividly from my childhood. It was a bit of advice perhaps meant kindly, and with the benefit of significant reading in normative literary conventions, and with the helpful learning strategy of showing an excessive, fanciful young man that creating literature is another way of learning to deal in an organized manner with the practical facts of day-to-day life.

How much of our contemporary critical discussion, by creators of literature as well as critics of it, really is just a more developed embodiment of that same bit of perhaps well-meaning high school English discipline? A world of English teachers wrapping writers on the knuckles for their own good and telling them to get with the program?

And is part of it really perhaps not so well meaning? Isn’t part of it lazy, pedantic, and illogical, though it claims otherwise? Doesn’t it contain just a bit of the desire to gain control over the imagination of others?

And is the advice to write about a real boy or girl one you would give your own children, if you have any?