Look for blue angels over the bay early in October. Look for wave-worn sailors craving vast rolling softness in the piss-stained streets of the Tenderloin. Santa Rosa’s burning to the tips of the tree roots calls are coming in from all over San Francisco: “my bedroom/living room/building is full of smoke but I can’t figure out what’s burning” “Ma’am/Sir calm down calmate it’s 200 miles north of you don’t worry it won’t effect you”. An artist is creating an exact replica of the Golden Gate Bridge to put next to the Golden Gate Bridge. My friend says “Good, maybe Sharkzilla will get confused and bite that one instead”
and I had a dream last night that my cousin who thinks the U.S should bomb North Korea off the face of the Earth is actually a really nice guy
“Chomsky remarks that when one speaks a language one knows a great deal that was never learned. The effort of criticism is to teach a language for what is never learned but comes as the gift of a language, is a poetry already written- an insight I derive from Shelley’s remark that every language is a relic of an abandoned cyclic poem.” – —- Harold Bloom
“I can’t worry about Masculinist geeks who don’t read books by women on principle, any more than I worry about lit-snob dweebs who don’t read genre literature on principle. I don’t write for bigots.” — Ursula K. LeGuin
“It is only shallow people who do not judge by appearances. The mystery of the world is the visible, not the invisible.” —Oscar Wilde
…nothing is absent. all you could know is here in front of you- everything is in the visible . elemental and ancestral knowledge are at the tip of your tongue, literally…
“In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world- in order to set up a shadow world of “meanings”. It is to turn the world into “this world”. (“This world”! as if there were any other.)” — Susan Sontag
“In place of a Hermeneutics we need an Erotics of Art.” —Sontag
“Decorative style has never existed. Style is the soul, and unfortunately with us, the soul assumes the form of the body.” — Jean Cocteau
“Even if one were to define style as the manner of our appearing, this by no means necessarily entails an opposition between a style that one assumes and ones “true” being. In fact, such a disjunction is extremely rare. In almost every case our manner of appearing is our manner of being. The mask is the face.” — Sontag
“In art, “content” is, as it were, the pretext, the goal, the lure which engages consciousness in essentially formal processes of transformation.” — Sontag
“The complex kind of willing that is embodied, and communicated, in a work of art both abolishes the world and encounters it in an extraordinary intense and specialized way. This double aspect of the will in art is succinctly expressed by Bayer when he says: “each work of art gives us the schematized, disengaged, a memory of a volition. Insofar as it is schematized, disengaged, a memory, the willing involved in art sets itself at a distance from the world. All of which hearkens back to Neitzsche’s famous statement in the birth of tragedy: “Art is not an imitation of nature but its metaphysical supplement, raised up beside it in order to overcome it.” —- Sontag
The idea that all great art is founded on distance on artificiality, on style, on what might be called “dehumanization”… But- the overcoming or transcending of the world in art is also a way of encountering the world and of training or educating the will to be in the world…
“Every style is a means of insisting on something.” — Sontag
“In what language can impudence be spoken? A national language? Which one? A crossbreed language? How so?” – Julia Kristeva in Colette
“Colette, who knew nothing of politics, dreamt only of revealing feminine jouissance. In fact, her alphabet of the world is an alphabet of feminine pleasure, subject to the pleasure of men but marked by an an incommensurable difference from it. There is no emancipation of women without a liberation of women’s sexuality, which is fundamentally a bisexuality and a polyphonic sensuality: That is what Colette continually proclaims throughout her life and works, in a constant dialogue between what she calls “the pure” and “the impure”, describing herself from the outset as a ‘mental hermaphrodite’. ” —Kristeva
“The formality of style is only an aspect of her participation in Being.” -Kristeva, Colette
*Illustration by G.F Marlier
Cyclical time, how you mock me. Time moves from past to present to future, but it also moves from future to present to past. I’ve gone westward to succulents and packed dust fire-trails and that must mean… that I am again 17 years old, in a saltmisted and sandswept sailor’s grave-yard, Provincetown, overlooking the dunes and the chopped lichen-green high surf with Conor Sullivan, the weekend of the Hurricane, and I say “don’t worry, we’ll sleep under an overturned boat”…
Part of morality is to not be at home in one’s home…
“Poetry is the one permissible way of saying one thing and meaning another” -Frost
“I should like to be so subtle at this game as to seem to the earnest person altogether obvious. The earnest person would assume I meant nothing, or else came near enough meaning something he was familiar with to mean it for all practical purposes. Well, well, well.” -Frost
Pound’s exhortations to the poet- objectivity, and again, objectivity. “Direct treatment of the thing”. Clarity and precision.
the “emotion of art is impersonal”, and “Permanent literature is always a presentation” -Eliot.
Yeats and ideas of the audience-
“For Yeats, poetry couldn’t exist without an actual, defined audience to ground it. Just what that audience was vacillated in his mind between the peasantry and the aristocracy, from writing “as an Irish writer and with Ireland on my mind”, to writing for an elite international audience, “fit though few”, which is “greater than any nation, for it is made up of chosen persons from all”. At other times he declared that his ideal audience was, respectively, “the town of Sligo”, “Young men between twenty and thirty”, “a few friends for whom one always writes”, and “A man who does not exist,/a man who is but a dream.” -Michael Ryan
“Man is the only animal that laughs and weeps; for he is the only animal that is struck with the difference between what things are, and what they ought to be.” -Hazlitt
The poet as an “unacknowledged legislator of the world”… (Shelley)
Civilization is a “botch”. Poetry can do something about it (?)
“A multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and, unfitting it for all voluntary exertion, to reduce it to a state of almost savage torpor. The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident which the rapid communication of intelligence hourly gratifies…reflecting upon the magnitude of the general evil, I should be oppressed with no dishonorable melancholy , had I not a deep impression of certain inherent and indestructible qualities of the human mind, and likewise of certain great and permanent objects that act upon it, which are equally inherent and indestructible.” -Wordsworth
Memory and Imagination
Eliot working in a bank…into his old age…wrote “Waste Land” essentially during a 2 week vacation from his job. Pound trying to fund-raise a little pension so Eliot could quit the bank to write poetry.
the “best thoughts of mechanics and farmers” that “wait unspoken, impatient to be put into shape” (Whitman)…
to go out every day among the people. essentially a Whitmanian research and development methodology for poetics. No ordinary, everyday person, but a poet who, in Yeats’ words, is “never the bundle of accidence and incoherence that sits down to breakfast; he has been re-born as an idea, something intended, complete.”
Once, beautiful girls serenaded my blue jeans in a bar, their faces gathered to splendid bouquet above a puddle of well-vodka on the round linoleum table. There were no stages though there should have been. Instead, a dusty couch in the corner where cobwebs held the pipes as gently as we held each other. we kissed and intertwined our limbs and dozed, our brows together, til first light.
the idea of VOCATION.
from Whitman’s “deathbed edition”, 1888:
“I have had my say entirely my own way”…
Whitman’s certainty that America would become a nation of poets and prophets.
The PERSON who has to live the poet’s life, and what he suffers in the service of a grand creative undertaking. Whitman’s anonymous review of his own book, where he says the poems have “fallen stillborn on this country”, and “certainly wrecked the life of their author.”
Why is it considered an inexcusable crime to be Utopian? Particularly post-WWI?
Being a poet is like being a monk of a forgotten order- a druid in the 21st century- keeping knowledge and form alive because you yourself would suffer too much without them.
“Paradoxically, by virtue of the material worthlessness of his product, the poet has a unique chance to become a free agent with a free imagination. He doesn’t have to tack on happy endings or direct his message to urban dwellers between the ages of thirty-four and thirty-nine who make over a hundred thousand dollars per year. Knowing how important it is to have “worthless” art in a market-driven economy, some foundations, endowments, and universities do not want the poet starved into extinction, although the poets they choose to support are not likely to be the ones who challenge the ideological premises by which they themselves exist.” – Michael Ryan
“how can I know what I think, until I see what I say?” -Forster
Eliot- try, as a poet, to look into “a good deal more than the heart…into the cerebral cortex, the nervous system and digestive tracts.”
to look very hard and very gently at things. observation is a serious activity. observe- towards keeping, for holding. Love desires intimate knowledge and shows itself in close observation. Self-definition as a “believer in total immersion” (Bishop).
Saint Ignatius’ Jesuit meditation formula: Memory, Understanding, Will.
Bishop- showing the break between the object and the mind that perceives the object by using qualifications in the poems, i.e: “It was more like the tipping/of an object toward the light”; “If you could call it a lip”- etc.
“Making something secret gives it value. Indeed, a secret creates in us a sense of interior life” -Sisela Bok
smell of citrus on the warm wind, blowing through a glass door as it swings…
you have to observe something closely before you can render it vividly. The strangeness of identity, of the accident of being human.
“We think in generalities, but live in detail” -Whitehead
a formal exercise is sterile unless it uncovers some rich, unavoidable secret.
“I write the way I do, not because it pleases me, but because no other way pleases me.”-Stevens
Smell of citrus on the warm wind blowing through a glass door as it swings on Labor Day the jobless think that living is a job itself awkwardly, opportunity seems to elude all but the traveller who casts her lot with Luck
“I dream of an art so transparent you can look through it and see the world”-Kunitz
“One of my unshakable convictions has been that poetry is more than a craft, as important as the craft may be: It is a vocation, a passionate enterprise, rooted in human sympathies and aspirations.” -Kunitz
“If it were not for the poet’s dream of perfection, which is the emblem of his life-enhancing art, and which he longs to share with others, generations of men and women would gradually sink into passivity, accepting as their lot second-rate or third-rate destinies, or worse. If one is to be taught submission, in the name of progress or national security, it is redemptive to recall the pride of one (Keats), who averred that his only humility was toward “the eternal being, the principle of beauty, and the memory of great men”.” -Kunitz
The poet is “an embodiment of resistance”-
“resistance against universal apathy, mediocrity, conformity, against institutional pressure to make everything look and become alike- this is why he is so involved with contraries” -Kunitz
“The poet, in the experience of his art, is a WHOLE PERSON, or he is nothing… he is uniquely equipped to defend the worth and power and responsibility of individuals in a world of institutions.” -Kunitz
“The poet speaks to others not only through what he says, but through what he is, his symbolic presence, as though he carried a set of flags reading have a heart, let nothing get by, live at the center of your being. His life instructs us that it is not necessary, or even desirable, for everyone to join the crowds streaming onto the professional or business highway, pursuing the Bitch Goddess.” -Kunitz
POETRY IS A VOCATION INHERENTLY SUBVERSIVE TO CORPORATE IDEOLOGY
“Poets are subversive, but they are not really revolutionaries, for revolutionaries are concerned with changing others, while poets want first of all to change themselves. “-Kunitz
A LIFE OF INTERNAL EXILE IN A SOCIETY BUILT FOR PROFIT AND CONSUMPTION
“We have to fight for our little bit of health. We have to make our living and dying important again. And the living and dying of others. Isn’t that what poetry is about?”-Kunitz
The way you use language is inherently political- even apart from what you are saying. deliberate use of language AS gift. sincere use of language. A way of using language that is meant to share, and not to manipulate. These all challenge the dominant order, and a wide-spread and quite cynical understanding of, quite simply, what language is FOR.
the poets first obligation is survival. No bolder challenge confronts the modern artist than to stay healthy in a sick world.
“To squeeze the slave’s blood out of my veins” -Chekov
Yeats: “gaiety transfiguring all that Dread”
Dickinson: “My business is circumference”
Stephen Mitchell’s translation of The Tao Te Ching and the poems of Yeats. When pressed to re-locate only what I needed, these are the books I carried. the Tao Te Ching because its proven and re-proven truths need constant re-enforcement. There have been times I read it cover-to-cover every morning, and times when I traced and retraced parts of it on my forearms for easy reference. I have found it too easy when afraid or full of lust to let these truths fall by the way.
Yeats because my courage comes from him- his book a well of defiance and fearless craft. I must have it near to lower the bucket into when I’m parched. Whenever I think, briefly, that it’s useless to keep striving for intangible ends, he reminds me, as no-one else can, of vocation. That the poet is somebody, that what I do is necessary. Firefighters and Doctors save lives- so do poets. How many times has a writer long dead sent a sentence- a heroic combination of WORDS- into the burning house of my being, and rescued me, from one kind of death or another? How many times has a poem sewed up my gaping wounds and soothed insistent pain?
- painting by Liam Golden (www.liamgolden.com)
In her film ‘corps étranger’, Mona Hatoum brings us, with a special medical camera, literally inside her body. We enter more or less all of her orifices as an eye, and we see her mysterious, vulnerable, gross, beautiful, pulsing interior territories.
What a statement this film is (as I see it), about the bodies of women and about the bodies of the colonized (she is of Palestinian origin)- and not, by the way, unrelated to the current and ongoing waves of tragic murders of Blacks in America by police- these bodies subject to surveillance and suspicion, unlawful imprisonment, beatings, rape, murder, dehumanizing desire, rage, incomprehension, assumption, a range of questionable scholarship, debate, and regulation. All this and yet you will never see these pulsing pink opalescent passages, the pools of bilge and the blue capillaries, never hear the resounding, insistent- and yes, miraculous, awesome-passage of blood and air, unless, as Hatoum does, she invites you in, unless she decides to radically risk herself by taking you there and showing it to you.
Watch ‘Corps Etranger’ here.
Extraordinary- Andy Warhol interviewed in 1966. He is asked whether he cares what people think of him- that “they” have an opinion about him good or bad, and he literally refuses to answer. He tells the interviewer, “you tell me what to say and I’ll just repeat what you say”. He even suggests that the rest of the interview might proceed very well in this manner, with the television interviewer supplying both the questions and the answers, with Warhol merely mimicking the answers he provides. It strikes me as a profound (and yes, also playful) rejection of the artist’s prescribed role as exalted ego and anointed producer of cultural signifiers. What if the artist himself refuses to play along? And what if his modus operandi is far more consciously subversive than Warhol’s is commonly thought to be (his behavior often written off as whim, eccentricity, lack of seriousness)…The unacknowledged and unplumbed power of fey queer refusal/a sideways tactical advantage/you really don’t understand how dangerous we are, do you?
watch the interview here.
And lastly a couple quotes from The Fever by Megan Abbott, which I happened to be reading last week. I think these quotes jumped out at me because of Alton Sterling’s +Philando Castile’s murders, watching/listening to Ty Dolla $ign’s song “No Justice” that he recorded with his brother TC (watch/listen here)… Something about how these events, this ongoing violence and injustice makes me feel came through in these words:
“Gabby paused. Then her voice dropped low, like she was right there beside her. ‘There was this shadow’, she said. ‘I could see it from the corner of my eye, but I wasn’t supposed to look at it.’
Deenie felt her hand go around her own neck.
‘If I turned my head to look’, Gabby continued, ‘something really bad would happen. So I couldn’t look. I didn’t dare look.’
Deenie pictured it. That smile on Gabby’s face. After, when everyone surrounded her on the stage. Like something painted on her face. A red-moon curve.
‘I didn’t look, Deenie’, Gabby whispered, ‘but it happened anyway.’
I’m okay, she’d said. I really am. I’m fine.
That smile, not a real thing but something set there, to promise you something, to give you a white lie. “
-Megan Abbott, The Fever
“‘She didn’t faint,’ Deenie said. ‘But her body. What was happening to her body?’
The pensive look on Deenie’s face, like when she was small. Finding a cat drowned in the ditch by the mailbox. He didn’t know how long she’d been staring at it, her brother next to her touching it gently with a stick, hoping to nudge it to life. That night she’d had nightmares, her mouth was filled with mud. He’d tried to explain it to her, how accidents happen but we really are safe. But there was already the sense that nothing he said touched what was really bothering her, which was the realization that you can’t stop bad things from happening to other people, other things. And that would be hard forever. He’d never quite gotten used to it himself.”
-Megan Abbott, The Fever
“Bad things happen, and then they’re over, but where do they go? Deenie wondered, watching Gabby. Are they ours forever, leeching under our skin?”
-Megan Abbott, The Fever
*painting by G.F Marlier 2006