Monday, December 23, 2019

WE WILL NOT COWER BEFORE KAUR



There was a time not long ago when I'd write an easily composed 1000 or so word diatribe eviscerating mediocre poets, which is to say poet tasters I eccentrically considered subpar, egocentric without compensating genius, bombastic without ballast, cryptic without elegance, or elegant without grit.The truth of the matter is that it's nearly easier to write, with verve, negative reviews than to write positive notices for those bards I actually enjoyed. Of course, former pleasures become burdens and for the last few years my talent for impaling the poetically inept bored me to something less than a puny yelp. There are too many rank poets to bother with; I am outnumbered and outgunned.What does raise my hackles a bit these days are generous essays by bright writers extolling the virtues of the god-awfullest scribe in our midst.  Perhaps I'd should mention as well that in those former times when I desired to be the scourge of half-baked versifying I was speaking too loudly for little insight to be heard;it's been my goal to tone down my rhetoric a few notches, although I cannot guarantee that I won't turn my amplifier up to the eleven mark yet again as tripe is served. 

A long piece by Rumaan Alam in the New Republic makes a case for the stick figure poetics of Canadian Instagram poet Rupi Kaur. Though softly insisting that her verse is not to his taste, he argues that there is validity in the kind of platform she is using, the self-obsessed imagery she posts to accompany many of her finicky line breaks, of her treating legitimate issues for women in such a way that reduces them to the most obvious sort of pandering. His article can be read hereOften there is a weird equivocation that goes on among those I ask if they think whether Kaur is any good. Not to generalize too broadly, but often they pause, clear their throat, and speak of her in terms that have no relation to the quality of her poems. Funny how we can agree that Rod McKuen, say, was an awful poet, and even some of us with strong feminist sympathies can admit that Erica Jong was a lackluster poet all this time, but when Kaur comes up in conversation she is handled with kid gloves. More power to her for using Instagram to get readers. It's a shame this poetaster serves up the thinnest gruel to the unsuspecting and naive.Make no mistake, Kaur is an awful, even dreadful poet when one of her works is made to suffer a critical examination. Sometimes you're left wondering if she read poetry at all. What I see is a young scribbler whose accomplishment has been to professionalize the very real concerns of struggling against a male patriarchy that, alas, still runs things. She has over three million followers, I hear tell, she has books that sell in the millions, and she resonates with readers who have read her work who, in turn, do not seem interested in reading poets who exceed the typically brief magazine captions that are the true literary worth of most Instagram posts. 

This the poetry for the age of the anxiety cursed I Phone owner, a failure of the attention span on a massive level. The writer here believes that her lack of literary essentials is beside the point, and that her greatness is in matters metaphysical, which is too say, intangible and unprovable. I don't see what she does as in anyway mastering the beast of the internet and social media. Kaur has been consumed by it. Her role in this all, perhaps, is that she like the band playing music on the Titanic while it slips under an icy sea.

Sunday, December 15, 2019

NoMo PoMo

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The online journal The Chronicle Review does the worrying population of undecided readers a favor in their current edition with a forum entitled 
"The Birth, Death and Birth of Postmodernism".  It's a forum of ten contributors with varying stakes in the floating crap game that is the postmodern condition each attempts to essay forth on. What has happened since Fredric Jameson essay Postmodernism, or the Cultural Logic of Late Capitalism”  from the New Left Review and the publication of Lyotard's groundswell book The Post Modern Condition , published years ago. Without recycling some notions of my own that are available elsewhere on this blog, we can say that the idea of postmodernism arose from the relativistic rigors--ironic, no?--of late  20th century philosophy , an ambiguous set of arguments and anti- arguments -that sought to undermine the whole notion of authority, meaning-giving, and power, essentially setting out to disrupt and overturn The Enlightenment (or advance it, depending on which seat you were sitting in some of the frothy debates of the time). It was a set of ambiguities that applied to every topic that would come to your tongue, something that would explain/unexplain everything, it was a term that joined the term "existential" as a go-to word when middlebrows, those readers who skim  or depend on book reviews for their book information, would drop like a  bag of nickles whenever they wanted to sound like the beneficiaries of a college education.  Like existential, as well, it soon enough became a buzz phrase that singled the presence of the middlebrow conversationalist who hadn't more than an in-lawish relationship to concepts, names and books under discussion. Using it seemed pretentious. It died, and academics moved to new ways to confound others and themselves. And yet the term now has currency again, it is reborn , revived, and more hated than it ever has been. So we have ten bright people giving an overview the history of postmodernism, its use in academica, how  misreading ruined political action.  The fascinatingly Chicken Little-ish Jordan Peterson was rummaging around his desk full of 80s tropes and happened upon the ever sexy and ambiguous phrase "Postmodernism" and set it aside for use as a strawman , a concept to blame for why everything has gone wrong with our culture. He tosses in the term 'Cultural Marxism" to sweeten his little vat of ill-tidings,and has handily reintroduced some basically obsolete terms back into the daily discussion of Big Ideas. It is , though, an old game blamed long and vainly, empty of real concepts. Peterson is a smart guy, a cunning debater, but what he's selling an empty box, basically repackaging the Fall From Grace , the expulsion for the Garden of Eden. His problem is that he and his fans presuppose there was a time when things made sense, were normal, were stable and adhering to the Way Things Ought to Be. Normal, stable for who? Post modernism had been a term that had currency once, was over used in all media sectors, and soon enough fell on the pile of academic words, like "existential" , that cannot not be used in any meaningful way to address our current mess, lest one provoke sneers , laughs, and parody. This is a little forum comprised of many interesting thinkers , writers, intellectuals who offer their view on the current state of what we mean or don't mean by the use f the term "postmodernism" and cultural Marxism, and the many infinite ways a useful term became garbled in a culture that cannot function without loud noise , friction and bull horned assholism.

Thursday, December 12, 2019

LYN LIFSHIN RIP

Image result for lyn lifshin poems

I've heard from what others have posted that Lyn Lifshin, a very good poet I've read for sometime, has passed away. I haven't located more details, but I will offer instead that she was a wonderful lyric poet, with sharp observation shown in spare but powerful images, with a frame of mind to observe, contemplate and find parallels between ideas and objects that wouldn't inhabit the same sentence. Her poetry was not skeletal, not minimalist, it had rhythm , pace , a real pulse , but it was not cluttered; her best poems had the remarkable resonance of one those things a friend says to you in passing, a story, a notion, something that was observed, something actually uttered , which had the accidental genius of having the right words for an idea that could just as easily been talked to death. Lifshin was a remarkable poet, and we are poorer both as readers and poets alike for the loss of her. Two poems:

MOVING BY TOUCH


that afternoon an
unreal amber
light 4 o'clock the
quietness of
oil February blue
bowls full of
oranges we were
spreading honey, butter
on new bread our
skin nearly touching
Even the dark wood glowed


BUT INSTEAD HAS GONE UNDERGROUND

A woman goes into the subway,
and for what reason
disappears behind rails
and is never heard from again.
We don't understand this.
She could have gone to the museum,
had cappuccino with a lover.
But instead has gone down the
escalator, without i.d., or
even a ticket and not
for clothes or flowers. It was
a grey humid day,
very much like today.
It was today. Now you might
imagine I'm that woman, it
seems there are reasons.
But listen, I don't live
anywhere near that metro stop
and who I am is already
camouflaged behind
velvet and leather

Thursday, December 5, 2019

WHAT IS HIP?

Among the miscellaneous debris, The Seventies have given rock and roll is the chance for a new artist to regurgitate and, at times, imaginatively retool the many over-incubated cliches of Pop and rock music.Older critics who long for their youthful heyday (first cigarette, first sexual encounter, first visit to the doctor’s office without informing one’s parents) as something in the vanguard of the movement, a ...fresh and invigorating voice that outlines the future of rock and roll.. ." We seem stuck in a state, perhaps permanently, where we have given way to unavoidable nostalgia and have taken to wallowing in recollections of an Ideal Past. 

This is Fall-From-Grace stuff, a perverse funk for a generation that barely has the right to call itself middle age; as it has for some years now, we continue to search for the next Dylan, the new Hendrix, the next Beatles; overpraise and hypercritical rejection are the two polarities the new blood is greeted; the middle position did not hold in these surmising discussions. Bruce Springsteen combines elements from Phil Spector records, old rhythm, and blues tracks, and basic 4/4 backbone of rock and roll, wrapping a Dylanesque, free-associating surrealism around it. The result is a pastiche of styles that sounds forced.The motivation is obvious to a disinterested observer, but Springsteen’s movements do not move me beyond recognizing that he is influences will remain hipper than he could hope to be. 

What constitutes the ephemeral, mystically conferred essence of hip on someone, I admit, is a mystery that is and will remain the subject of engrossing discussions and debates that will not find a resolution. But I know it when I see/hear/read it, and Bruce Springsteen appears fated to remain an earnest hipster, another face in the chorus protesting the same hard knocks and cold soup. Patti Smith wants to merge early Sixties rock, all Stones and "Louie Louie" with the legends of dead poets, sounding in the end merely silly. Tom Waits combines black jazz hep jive with Jack Kerouac and sounds stupid.From this parade of pretenders, the more jaded among us are leery of anyone trying the same thing. My Aim is True by Elvis Costello, takes one by surprise. Like Springsteen, the backbone 01 Costello's music is old rock and roll. But apart from that, they differ radically. Springsteen has a tendency to stretch his material to the breaking point, pouring crescendo upon toughness, and Costello's sing• crescendo. verse upon verse, ing, similar to Springsteen's trying to create an epiphany but more tactful, is full of that never culminates into pro- buoyancy, emotion, and conviction.

 Costello, though, is without any overkill. What he loves about tin pan alley, the Brill Building, the hack songwriters of all callings, genres, convictions, was their mastery of craft. Mr. Costello knows when to be poetic and deliver a sequence of lyrics that manage to weave narrative elements and spare details that contain a beginning, middle, and end, his poetry, though influenced by Dylan and John Lennon, is under control; he doesn’t mistake a verse as an occasion for wildly opaque analogies, but for vivid items that logically follow one another in tone, temper, plot; one might not make sense of the songwriter’s word use, but you have a sense of the narrator’s situation, an element that makes this artist’s songwriter all more seductive and alluring. The stripped down to a vernacular (songs number twelve in all on the disc, unusual for a rock disc, and each exists as polished lyrical gems of a cynical, penetrating working-class intelligence. Costello's strength, a virtue that Springsteen, Smith and Waits lack, is his ability to use rock cliches for their full value. Instead of brandishing them like a set of museum pieces that one is supposed to bow to in historical awe and respect, Costello gets the heat to the meat. The make takes ownership of them and does with them as likes. 

The rockabilly stuff is done with a verve that equals Buddy Holly, his use of reggae captures the required anguished, sinister mood, and his boogie material does a lot more than plot the course for the band. His lyrics, though, are imbued with a seventies sensibility, an awareness of absurdity works minor miracles with the clichés. Though not notable for originality or innovation, My Aim Is True is an honest piece of work, and Elvis Costello has an intelligence that can develop into something more complex and rewarding. My Aim, for now, suffices as an excellent example of how old forms may be revitalized, even reinvented from scratch, with the basic elements and energy renewed, if for a time, and be metaphorically capable of making the vulgarity , self-seeking and tangible afflictions that make life a cruel waiting room all melt into air and make you happy for the voice you hear next to you and the voice he or she is singing, grateful for the breath your taking, and feeling fully alive , if briefly, knowing that you and yours are not the only ones seeking transcendence. That is what great art does, if briefly.