Studies on American poetry by ten contributors. Notes at the end of each chapter.

In this overview of twentieth-century American poetry, Jennifer Ashton examines the relationship between modernist and postmodernist American poetics. Ashton moves between the iconic figures of American modernism - Stein, Williams, Pound - and developments in contemporary American poetry to show how contemporary poetics, specially the school known as language poetry, have attempted to redefine the modernist legacy. She explores the complex currents of poetic and intellectual interest that connect contemporary poets with their modernist (...) forebears. The works.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Whose New American Poetry? Anthologizing in the NinetiesMarjorie Perloff (bio)In the two-year span 1993–94, no fewer than three major poetry anthologies appeared that featured the poetry of what has been called “the other tradition”—the tradition inaugurated thirty-five years ago by Donald M. Allen’s New American Poetry: 1945–1960. These three anthologies are, in order of publication, Eliot Weinberger’s American Poetry since 1950: (...) Innovators and Outsiders, Paul Hoover’s Postmodern American Poetry, and Douglas Messerli’s From the Other Side of the Century. A New American Poetry 1960–1990. 1 In 1994, moreover, there were two other large anthologies of alternate poetries by “younger” poets, 2 these two in the tradition of Ron Silliman’s In The American Tree: Language, Poetry, Realism and Douglas Messerli’s earlier ‘Language’ Poetries: An Anthology. They are Peter Gizzi, Connell McGrath, and Juliana Spahr’s two-volume anthology called Writing from the New Coast, 3 and Dennis Barone and Peter Ganick’s The Art of Practice: 45 Contemporary Poets.Five volumes, then, of the “new” alternate poetries. And a sixth—this time a real blockbuster—is in progress: Jerome Rothenberg and Pierre Joris’s two-volume Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry, which differs from all of the above by covering poetry and poetics of the entire twentieth century and from around the world. The first volume of Poems for the Millennium, From Fin-de-Siècle to Negritude (1995), takes us from such “forerunners” of Modernism as Blake, Hölderlin, Dickinson, and Rimbaud through the Futurisms, Dada, Surrealism, and Objectivism, along with complex “galleries” of individual poets, while the second—and sure to be more controversial—volume (1997) brings us up to the global present.A new avant-garde thus seems to be in the making—indeed, oxymoronic as it may sound, a new avant-garde consensus. Yet the countercanonizing of the recent anthologies is not without its own aporias. What these are is my subject here.The Modest OppositionMy starting point is that of the avant-garde anthologists themselves: Donald Allen’s New American Poetry of 1960. From the vantage point of 1995, the most startling thing about the Allen anthology—still acknowledged by all later anthologists as the fountainhead of radical American poetics—is its modesty. The New American Poetry runs to 454 pages, including statements of poetics, biographical notes, and a short bibliography; it contains forty-four poets, all of them having come to prominence in the period between 1945 (the [End Page 104] end of World War II) and 1960 (the date of publication). The four-page preface opens as follows:In the years since the war American poetry has entered upon a singularly rich period. It is a period that has seen published many of the finest achievements of the older generation: William Carlos Williams’ Paterson, The Desert Music and Other Poems, and Journey to Love; Ezra Pound’s The Pisan Cantos, Section: Rock-Drill, and Thrones; H. D.’s later work culminating in her long poem Helen in Egypt; and the recent verse of E. E. Cummings, Marianne Moore, and the late Wallace Stevens. A wide variety of poets of the second generation, who emerged in the thirties and forties, have achieved their maturity in this period: Elizabeth Bishop, Edwin Denby, Robert Lowell, Kenneth Rexroth, and Louis Zukofsky, to name only a few very diverse talents. And we can now see that a strong third generation, long awaited but only slowly recognized, has at last emerged.[xi]Note that Allen introduces the “new” American poetry, not as an “alternative” to anything else but as the successor of two preceding generations. He does not quarrel about the Moderns: if Eliot isn’t included in the above list, it is because he had stopped writing lyric poetry after Four Quartets and had turned to the theater. The cited second generation, moreover, is more “diverse” (Allen’s word) here than it will ever be again in the anthologies: Bishop and Denby, Lowell and Rexroth and Zukofsky. And the third generation, presumably following in the footsteps of the first and second, is now said to... (shrink)

Advancing Medical Posthumanism Through Twenty-First Century American Poetry places contemporary poetics in dialogue with posthumanism and biomedicine in order to create a framework for advancing a posthuman-affirmative ethics within the culture of medical practice. This book makes a case for a posthumanist understanding of the body—one that sees health and illness not as properties possessed by individual bodies, but as processes that connect bodies to their social and natural environment, shaping their capacity to act, think, and feel. Tana (...) Jean Welch demonstrates how contemporary American poetry is specifically poised to develop a pathway toward a posthuman intervention in biomedicine, the field of medical humanities, medical discourse, and the value systems that guide U.S. healthcare in general. (shrink)

Jason Lagapa’s Negative Theology and Utopian Thought in Contemporary American Poetry tackles a question that has been a difficult one to address for critics attempting to discuss contemporary experimental poetry in the line of “ Language writing.” This is a tradition that claims to be politically engaged but which nevertheless does not tend explicitly to exhort its readers to take concrete political actions. How can we thus judge this poetry’s political efficacy when there are no clear (...) or obvious political actions associated with it? Lagapa’s recourse to negative theology and utopian thought tells us that we should pay close attention to matters... (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

In this essay, after a brief decolonial analysis of the concept of “poetry” in Indigenous communities, I will investigate the poetic-philosophical implications of Cherokee culture, more specifically the poetic essence of the Cherokee language, the poetic aspects of Cherokee myth (pre-history) and post-myth (history), and the poetic-philosophical powers of Cherokee ritual. My first section analyzes the poetic essence, structure, special features, and historical context of the Cherokee language, drawing on Ruth Holmes and Betty Sharp Smith’s language textbook, Beginning Cherokee. (...) My second section considers poetic aspects of the pre-history and history of the Cherokee Nation considered as a text, using Robert J. Conley’s The Cherokee Nation: A History. And my third section investigates the poetic nature of the Cherokee rituals’ myth-ontological background and its existential psychological implications, via J. T. Garrett & Michael Tlanusta Garrett’s The Cherokee Full Circle: A Practical Guide to Ceremonies and Traditions. Collectively, these analyses will suggest that, just as the Cherokee and other tribes are the slandered, disenfranchised, suppressed and covered-over Indigenous peoples of the North American continent, so poetry writ large (including Indigenous philosophy) is the slandered, disenfranchised, suppressed and covered-over arche of western philosophy (as I have previously explored via a new interpretation of Nietzsche). In short, I will argue that both poetry and Cherokee culture can be understood as indigenous “absences” which are in truth vital and enduring presences. (shrink)

Octavio Paz conceives of authentic philosophical reflection as ‘thinking a la intemperie’. This conception involves his idea that our contemporary historical and philosophical situation is one of intemperie espiritual. Based on the dual sense of the term intemperie for Paz, I propose that ‘thinking a la intemperie’ means: (i) Exposing our beliefs to the weathering effects of our vital, concrete experience; and (ii) apprehending reality in communion with others through poetic experience of the ever-flowing present. That is, authentic philosophical reflection (...) means making our home thinking and living without rigid, stifling ideological systems, in communion with our neighbors and with our places, here and now, in the unity of present place and present time that we create together. This mode of reflection belongs within a broad American tradition of philosophizing and, for Paz, responds to concerns compatible with those of the pragmatists. (shrink)

Frontiers of Consciousness is a study of the problem of consciousness in a historic period of revolutionary change, and an authentic example of “interdisciplinary studies.” The book contains a wealth of insight into the conceptual interrelationships between the work of the American philosophers who have been called the Builders (William James, Josiah Royce, Charles Peirce, and John Dewey) and the work of three great modernist poets (T. S. Eliot, Wallace Stevens, and William Carlos Williams).

Recent discussion, both in the academia-related popular media and in some professional academic venues, about the current state and role of mainstream Anglo-American analytic philosophy among the humanities, has revealed a certain uneasiness expressed by both champions of this approach and traditional adversaries of it regarding its perceived isolation from the other fields of humanities. The fiercer critics go as far as to claim that the image of this type of philosophizing in the contemporary world is one of a (...) discipline that is disconnected from reality, a veritable inbreeding academic cottage industry of empty scholasticism. Though I am unsympathetic to the critics who would question the very essence of how this kind of philosophy is pursued, myself being a representative of it, I nevertheless present some admittedly sketchy but, in my opinion, interesting and revealing statistical data on the evolution of several top journals of analytic philosophy over the last hundred years in terms of the style of papers that get published, which might also justify to some extent the above mentioned complaint against analytic philosophy. (shrink)

What is the significance of that loose collective enterprise, sprung up in the aftermath of the sixties, known as L=A=N=G=U=A=G=E Writing? To answer this question I will be taking, initially, a somewhat oblique route. And I shall assume an agreement on several important social and political matters: first, that the United States, following the Second World War, assumed definitive leadership of a capitalist empire; second, that its position of leadership generated a network of internal social contradictions which persist to this (...) day ; third, that this postwar period has been characterized, at the international level, by an extended cold war shadowed by the threat of a global catastrophe, whether deliberate or accidental. Whatever one’s political allegiances, these truths, surely, we hold as self-evident.Postwar American poetry is deployed within that general arena, and to the degree that it is “political” at all, it reflects and responds to that set of overriding circumstances.1 In my view the period ought to be seen as falling into two phases. The first phase stretches from about 1946 to 1973 . This period is dominated by a conflict between various lines of traditional poetry, on one hand, and the countering urgencies of the “New American Poetry” on the other. In the diversity of this last group Donald Allen argued for a unifying “characteristic”: “a total rejection of all those qualities typical of academic verse.”2Of course, this representation of the conflict between “tradition” and “innovation” obscures nearly as much as it clarifies. The New American poets were, in general, must moe inclined to experimentalism than were writers like Richard Wilbur, Anthony Hecht, Louis Simpson, or Donald Justice. But Allen’s declaration can easily conceal the academic and literary characteristics of the innovators. Robert Duncan and Charles Olson, for example, key figures in the New American Poetry, can hardly not be called “literary” or even “academic” poets. If they opened certain new areas in the field of poetic style, no less could and has been said of Lowell, even in his early work. And if Frank O’Hara seems the antithesis of academic work, John Ashbery is, in his own way, its epitome. Yet both appear in Allen’s New American Poetry anthology. Moreover, who can say, between O’Hara and Ashbery, which is the more innovative of the two—so different are their styles of experimentation? 1. Black and feminist writing in the United States often confines the focus of the political engagement to a more restricted national theater. Nevertheless, even in these cases engagement is necessarily carried out within the global framework I have sketched above.2. The New American Poetry: 1945-1960, ed. Donald M. Allen , p. xi. Jerome J. McGann is Commonwealth Professor of English, University of Virginia. His most recent critical work, Buildings of Loss: The Knowledge of Imaginative Texts, will appear in 1987. “Some Forms of Critics Discourse” and “The Religious Poetry of Christina Rosetti” are among his previous contributions to Critical Inquiry. (shrink)

“Poetry, art, religion are precious things.”The American philosopher John Dewey is an iconic figure. A prolific writer, his scholarly attention variously focused upon philosophy, education, democracy, economics, and aesthetics. It is not commonly known, however, that behind the scenes in his private office at Columbia University, Dewey also wrote poetry.2 Without his knowledge or consent, ninety-eight poems were collected from his wastebasket in 1930 by a custodian. Additional “scraps” and poems were found in his office desk after (...) his retirement, bringing the total to 101. In 1977 these poems were published and made available to the public for the first time in The Poems of John Dewey, edited by Jo Ann... (shrink)

The main theme of this volume of selected essays on poetry and on history, written between 1938 through 2004, is suggested in Vierecks coined phrase 'strict wildness,'which suggests a balance between restraint and passion. The book explores questions of modernism and poetic craft with respect to American poetry. It discusses the controversy over Era Pounds politics and its relation to his poetics, and the nearly forgotten poet Vachel Lindsay. Viereck offers more general views on poetics, including the (...) fruitful tensions between form and content, and the impact of modern technology on poetic expression. This book also discusses history and politics, and contains essays on McCarthyism, the Cold War, political conformity of the Left and Right, and issues of historiography and culture that define Vierecks individual, often critical brand of conservatism. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year (...) saw the foundation of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his (...) class='Hi'>poetry are criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

The marginality of poetry in American culture has been taken for granted at least since the dawn of the modernist period, when Walt Whitman printed his first volume of poetry at his own expense. More recently, it has become an article of faith that there is a real popular audience for poetry, but somewhere else-in the East. Literary journals, the popular press, and publishers have made household names of a handful of Eastern European writers: Czeslaw Milosz, (...) Joseph Brodsky, Zbigniew Herbert. One is regaled with chestnuts about ordinary people in the Eastern bloc who care about "the Word," manuscripts passed from hand to hand, even poems preserved orally. Inevitably, the questions are revived: Where are the great American poets? Has American poetry been reduced to private confessions and personal trivia? Why is it that our poetry lacks that public, political relevance? The answer to such questions is often that we do not have the weight of History on our backs, the state oppression under which, as Milosz says, "poetry is no longer alienated," no longer "a foreigner in society," and can become more important than bread.1 But what has not surfaced in the vaunted "poetry and politics" debate is the extent to which our homage to victims of censorship everywhere has become a fetishization of totalitarianism, and a self-serving one at that. The mythology of our freedom, unbounded and unmediated, depends precisely on this other world, on what happens over there. 1. Czeslaw Milosz, The Witness of Poetry , p. 95; hereafter abbreviated WP. Bruce F. Murphy's work has appeared in the Paris Review, Pequod, and An Gael. He has completed a manuscript of poems and with Friedrich Ulfers is writing a study of Friedrich Nietzsche. (shrink)

W. H. Auden, the sometimes Greta Garbo of twentieth-century poetry, once told Stephen Spender that he liked America better than England because in America one could be alone. Further, in his introduction to The Criterion Book of Modern American Verse Auden remarked that while in England poets are considered members of a “clerkly caste,” in America they are an “aristocracy of one.” Certainly it does seem to be the individual poet—Whitman, Williams, Olson, Plath, O’Hara, Ginsberg—who has altered the (...) landscape of American poetry and prosody, not the group. And most American literary “movements,” as Robert Creeley has pointed out, are simply comprised of a few people who on occasion drink together, and who are as likely as not to end the evening in violent argument over an aesthetic or political point. Yet the notion of schools or movements remains, in mainstream historical criticism at least, a vital one. How many introductions to anthologies of American poetry, for example, continue to use such rubrics as the Transcendentals, the Populists, the Black Mountain poets, the Beats, the New York group? And while established poets often rebel from any sense that they are part of a larger community, which by definition is self-limiting, they are often complicit in their initial categorization. For poets as well as critics the idea of a school is often a useful fiction serving as both a kind of protective hothouse and a platform for getting a hearing.The most recent “group” of American poets—the first since the anthology wars of the early sixties really to be of more than passing interest and perhaps to be actually capable of bringing about a major shift of attention in American poetry and poetics—is the so-called “Language” school. Individual volumes by poets often considered part of this group number well into three figures now and there have been important journals and anthologies produced in a serious and sustained fashion by these writers. Yet in part because of what seems the essentially hermetic character of the project , there has been little notice of this activity by academic critics or reviewers.1 What I’d like to do here is briefly map a few major aspects of the territory, describing some of the practical and theoretical questions which seem to occupy many of these writers in their ongoing critique of the “workshop poem.” 1. Two important exceptions are discussions of some of this work in Stephen Fredman, Poet’s Prose: The Crisis in American Verse and Marjorie Perloff’s review “The Word as Such: L=A=N=G=U=A=G=E Poetry in the Eighties,” American Poetry Review 13 : 15-22. All further references to Perloff’s article, abbreviated “WS,” will be included in the text. For a discussion of the various Language poetry journals and anthologies, see my chapter “American Poetry, 1940s to the Present” in American Literary Scholarship: An Annual/1983, ed. Warren French , pp. 349-74. Lee Bartlett, an associate professor of English, has directed the University of New Mexico’s creative writing program for five years. Coeditor of the critical journal American Poetry, his Talking Poetry: Conversations in the Workshop with Contemporary Poets will be published this fall. Currently he is writing a biography of William Everson. (shrink)

In contemporary American poetry, poets practice open form. Charles Olson, Robert Duncan, Paul Blackburn, Robert Creeley, Jack Spicer, Denise Levertov, Gary Snyder, Allen Ginsberg, Edward Dorn, Louis Zukofsky, John Ashbery, and Frank O'Hara belong to this school of open form. Their open form advocates creative spontaneity, fragmentation, and juxtaposition. It repudiates thematic and formal closure and requires of its readers a willingness to value a poem as process and event. Recent studies of open form inform us that in (...) both theory and practice they descended from Pound and Williams. However, my intention is to establish the foreground of open form in the poetics and poetry of Yeats, Pound, and Eliot. My major objective is to establish Yeats as the precursor of the poetics of open form, and then to apply his poetics to his poetry, and to those of Pound and Eliot. ;Part I, with the aid of the theories of language by Paul de Man, Jacques Derrida, Jacques Lacan, and Martin Heidegger, examines the linguistic turn revealed in Yeats's A Vision which manifests the poetics of open form through the rhetoric of prophecy. Chapter One defines the concept of the Unity of Being. Chapter Two illustrates how Yeats disciplines himself in his poetic quest for the Unity of Being. Chapter Three defines prophecy and the rhetoric of prophecy. Exergue, an inter-chapter, surveys and assesses contemporary theories of language in an attempt to relate metaphor to rhetoric. Chapter Four closely examines A Vision in the light of the rhetoric of prophecy and poetics of open form. ;Part II demonstrates how the poetry of Yeats, Pound and Eliot provides the praxis of Yeats's poetics. Conclusion discusses the poetics of Duncan, Olson, and Levertov and show how they reflect Yeats's, thereby demonstrating the continuity between the poetry of modernism and postmodernism. (shrink)

Although not exactly continuous, the Native American challenge to the canon, as I have tried to show, has been of comparatively long standing. Nonetheless, inasmuch as Native American literary production and Euramerican writing influenced by it have only barely begun to enter the courses in and the anthologies of general American literature, that challenge cannot be said to have been effective as yet. No doubt it will take more time for poets and teachers to recognize what Native (...) American literatures aboriginally were and, to some extent, still are; to recognize when and if the influence of these literatures is present in work by Native and non-Native writers. It is only since the 1950s and 1960s that philological and structural work has begun to make this recognition possible in any case.It is only more recently still that an adequately sophisticated criticism for these literatures has begun to develop, with the publication of Abraham Chapman’s basic and eclectic collection of essays, Literature of the American Indians: Views and Interpretations ; Karl Kroeber’s uneven but valuable introduction to the subject, Traditional Literatures of the American Indian: Texts and Interpretations ; and Hymes’ “In Vain I Tried to Tell You”: Essays in Native American Ethnopoetics , a collection of Hymes’ seminal and indispensable work. The broadest and most sophisticated collection of essays—gathering work by Hymes, Tedlock, Toelken, Kroeber, and others—has only just appeared: Smooting the Ground: Essays on Native American Oral Literature is edited by Brian Swann, a poet and translator of Mative American song.61 These developments are encouraging for Native American literatures. As American society continues to move away from anthropocentrism and textual authority, the Native tradition may for the first time effectively assert its claim upon the canon of American literature. 61. For his translations, see, for example, Swann’s Song of the Sky: Versions of Native American Songs and Poems . Swann works from texts, not performances, from English language versions, not transcriptions of Native languages; as a result, he has made a point of insisting, “These poems of mine are not translations” but instead “versions” of Native American poetry. Although he has given up specific claims to authenticity, Swann has nonetheless shown how much can be done by the non-Native poet and scholar responding to the Native tradition as a powerful source. Arnold Krupat is a member of the literature faculty at Sarah Lawrence College. He is the coeditor of the University of Nebraska Press’ Native American Autobiography Series and is currently completing an anthology of Native American autobiographies, Indian Lives. His previous contribution to Critical Inquiry, “An Approach to Native American Texts,” appeared in the December 1982 issue. (shrink)

The strong word and stance issue only from a strict will, a will that dares the error of reading all of reality as a text, and all prior texts as openings for its own totalizing and unique interpretations. Strong poets present themselves as looking for truth in the world, searching in reality and in tradition, but such a stance, as Nietzsche said, remains under the mastery of desire, of instinctual drives. So, in effect, the strong poet wants pleasure and not (...) truth; he wants what Nietzsche named as "the belief in truth and the pleasurable effects of this belief." No strong poet can admit that Nietzsche was accurate in this insight, and no critic need fear that any strong poet will accept and so be hurt by demystification. The concern of this book, as of my earlier studies in poetic misprision, is only with strong poets, which in this series of chapters is exemplified by the major sequence of High Romantic British and American poets: Blake, Wordsworth, Shelley, Keats, Tennyson, Browning, Yeats, Emerson, Whitman, and Stevens, but also throughout by two of the strongest poets in the European Romantic tradition: Nietzsche and Freud. By "poet" I therefore do not mean only verse-writer, as the instance of Emerson also should make clear. Harold Bloom is DeVane Professor of the Humanities at Yale University. This article is the first chapter of his new book, Poetry and Repression, to be published by the Yale University Press. The book completes a tetralogy, of which the earlier volumes are The Anxiety of Influence, A Map of Misreading, and Kabbalah and Criticism. See also: "Formalism, Savagery, and Care; or, The Function of Criticism Once Again" by Jerome J. McGann in Vol. 2, No. 3; "The Poet as Elaborator: Analytical Psychology as a Critical Paradigm" by David D. Cooper in Vol. 6, No. 1. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has (...) no image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This essay explores the utility of critical pedagogy by looking at competing definitions and considering the response of Turkish-American Afghanistan War veteran, Eymen, and his Introduction to Poetry classmates to interviews with Afghan Nobel peace laureate Malala Yousafzai and poetry written by Taliban fighters. Students develop profoundly negative feelings about the Taliban through specific sources, if they did not already feel that way; then, are exposed to a sentimental side of these fighters, who use the medieval ghazal (...) poetry form to express loss of their beloved homeland in registers that ring overtly Occidentalist and distinctly dystopic. The essay concludes with a discussion of the difficulty of teaching about the September 11th attacks, the aim being to get students to hold two contradictory viewpoints in their heads and try to retain the ability to be objective. (shrink)

In Latin America Cardenal is generally regarded as an enduring poet. He brought a recognizably Latin American material into his poetry, and he introduced to Spanish-language poetry in general such poetic techniques as textual collage, free verse lines shaped in Poundian fashion, and, especially, a diction that is concrete and detailed, textured with proper names and the names of things in preference to the accepted poetic language, which was more abstract, general, and vaguely symbolic. But what is (...) notable in Spanish-language poetry is not only Cardenal’s “craft,” in the sense given this word by Seamus Heaney to mean manipulation of poetic resources; there is also this poet’s “technique,” which in Heaney’s sense means a “definition of his stance toward life.”2 Cardenal’s characteristic poetic stance has been admired because he addresses the political and social pressures that shape—and often distort, damage, or destroy—life and feeling. This is apparent even in the earliest poems Cardenal has chosen to preserve. “Raleigh,” for example, is a dramatic meditation from 19493 in which the treasure-hunting explorer marvels at the expanse and wealth of the American continents and out of sheer pleasure recounts some of the triumphs and hardships of his travels. Although his alertness and wonder make him sympathetic, this Raleigh’s vision of the New World as a limitless source of wealth is forerunner to the economic exploitation of the land and people.One might ask, What are the political and social circumstances which, rather than distorting and damaging life and feeling, nurture and preserve them? Perhaps one might answer that, paradoxically, destructive conditions of life have many times proven insufficiently powerful to prevent the creation of poetry. And some poetry has even arisen in reaction to the destructive: such conditions produce resistance, which, if it cannot heal the spirit, can lend it strength. One might answer further that it is not Cardenal’s or any artist’s responsibility to establish what circumstance will form a fruitful matrix for art, but only to work as honestly and as hard as political, social, and artistic circumstances will permit. 2. Seamus Heaney, Preoccupations: Selected Prose, 1969-1978 , p. 47.3. The date is from Joaquín Martin Sosa, “Breve guía de lectores,” preface to Poesía de uso, p. 9. Reginald Gibbons is the editor of TriQuarterly magazine and teaches at Northwestern University. His most recent books are his third volume of poems, Saints, one of the winning books in the National Poetry Series , and two edited collections of essays—The Writer in Our World and, with Gerald Graff, Criticism in the University. He is at work on a critical study of modern and contemporary poetry, as well as new poems and fiction. His previous contributions to Critical Inquiry, “Poetic Form and the Translator,” appeared in the June 1985 issue. (shrink)

One of America's most celebrated poets, Emily Dickinson was virtually unpublished in her lifetime. When a slim volume of her poems emerged on the American scene in 1890, her work created shockwaves that have not subsided yet. Famously precise and sparse, Emily Dickinson's poetry is often described as philosophical, both because her poetry grapples with philosophical topics like death, spirituality, and the darkening operations of the mind, and because she approaches those topics in a characteristically philosophical manner: (...) analyzing and extrapolating from close observation, exploring alternatives, and connecting thoughts into cumulative demonstrations. But unlike Lucretius or Pope, she cannot be accused of producing versified treatises. Many of her poems are unsettling in their lack of conclusion; their disparate insights often stand in conflict; and her logic turns crucially on imagery, juxtaposition, assonance, slant rhyme, and punctuation. The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments that are designed to convince. Dickinson exemplifies abstract ideas in tangible form and habituates readers into productive trains of thought--she doesn't just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy. All essays in this volume, drawn from both philosophers and literary theorists, serve as a counterpoint to recent critical work, which has emphasized Dickinson's anguished uncertainty, her nonconventional style, and the unsettled status of her manuscripts. On the view that emerges here, knowing is like cleaning, mending, and lacemakingL a form of hard, ongoing work, but one for which poetry is a powerful, perhaps indispensable, tool. (shrink)

American Indian Thought is a contemporary collection of twenty-two essays written by Indigenous persons with Western philosophical training, all attempting to formulate, and/or contribute to a sub-discipline of, a Native American Philosophy. The contributors come from diverse tribal, educational, philosophical, methodological, etc., backgrounds, and there is some tension among aspects of the collection, but what is more striking is the harmony and the singularity of the collection’s intent. Part of this singularity may derive from the solidarity among its (...) authors. In addition to the fact that all belong to Indigenous tribes, there is also a striking sensitivity to the interconnection between distinct Western disciplines—particularly between philosophy and poetry. I take the latter to be a thread which can be strategically woven into the center of the anthology’s weave. In this book discussion, I aim to draw out the poetic aspects of five of the anthology’s essays, which deal with philosophy, metaphysics, epistemology, ethics and aesthetics, respectively. In this way, I hope to illuminate a poetic quality at the heart of the collection, and thus also of the burgeoning field of Native American or Indigenous philosophy in general. In the process, I will also consider ways in which Indigenous philosophy resonates with the Western philosophical traditions of phenomenology and American pragmatism. With the latter tradition in particular this connection has become more fully appreciated, especially through the work of Bruce Wilshire and Scott Pratt. (shrink)

This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number of (...) German poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry. (shrink)

Poetry and History: The Value of Poetry in Reconstructing Arab History. Edited by Ramzi Baalbaki, Saleh Said Agha, and Tarif Khalidi. Beirut: American University of Beirut Press, 2011. Pp. xii + 459. $40.