Critical Obscurantism

Bob Dylan mania is upon us like so much hard wind blowing off an hot and angry sea, and the scrutiny, in the form of documentaries and a wave of yet more books on the songwriter , focuses almost exclusively on six years in the Sixties. Critic David Greenberg wrote a fine essay in 2005 why Dylan's later work, much of it as brilliant as anything he created earlier, is mostly ignored by cultural historians who want to make a case for greatness. Read it here at Slate.

History is not just written by the victor, but also by those who live the longest, and in that sense it's small wonder that Dylan's dynamic six years in the Sixties, spanning the albums Another Side of Bob Dylan through John Wesley Harding are the ones that are poured over again and again. For otherwise bright and brilliant literary commentators and keen minds like Todd Gitlin and especially Greil Marcus, Dylan's career is ceases to be about the way he fused separate musical traditions or broadened the scope of how song lyrics could address experience and more about the good old days when things were smoking.

Marcus, who above all others is the most chronic of the prolix Dylan obsessionists, has adapted Dylan's poetic tricks of not saying what he means, offering allusion, metaphor and other bridges to nowhere as he discusses the work. Rather, he discusses everything that is around the work, seemingly to create historical context and situate the words of "Desolation Row" or "Like a Rolling Stone" in relation to leftist politics, Hegelian zeitgeist, and counter cultural virtues, but that is abandoned quickly enough as Marcus's endless stream of essays become, suddenly, the equivalent of a forced tour of the old neighborhood.

As well as he writes and as keen as he can sometimes be as an commentator, there's something like Granpa Simpson in how Marcus talks about Dylan; there is a propensity for anecdote, political aphorism, mentions of high and mass culture icons, a cursory reference to seminal past avant gard movements, and then....vapor!, nothing at all, a sudden halt or a radical change in direction. Marcus perhaps wants to lead the pack in this industry of Sixty-something Dylan critics by molding his remarks in the cryptic diffusion that has always characterized Dylan's lyrics and is hopeful, perhaps, that yet another generation of furious scribblers will fill their hard drives with essays trying to parse what it was Greil Marcus was trying to get across about Dylan's deep-imagery before he was distracted. It's an intriguing idea that so much of the commentary rising from the bright , the brilliant and acerbic, in the guise of Marcus, Christopher Ricks , Gitlin and endless others, become fuzzy, drifting and vague at the center of their commentaries when Dylan and his art are the subject.It might be that to say what you think, or at least make what you mean clear, would blow their game altogether.

Some blues harmonica

By Ted Burke

Faulkner goes down the rabbit hole

By Ted Burke

Catherine Pierce wants to get to the initial ache of teen sexual arousal with her poem "Reading Faulkner at Age Seventeen, You Forsee Your Reckoning". One can, if they wish, outline what they recognize from the novel under the narrator's young scrutiny, but that is the least interesting thing one can parse. I rather enjoy the idea that the book is the seduction, that thing one gives them self over to when one's present tense is, for the moment, too inane and ill-winded to remain in. This seems like advertising in one sense, that a few words describing a place with the right words might make you want to max out your credit cards and take a trip to someplace you’ve never been—suggestive selling indeed. But here we deal with a life that is just coming into its own and is hungry for the kinds of experience that they may someday use as that raw material from which to write stories like Faulkner—teenagers reading anything that makes sense in the moment or seems to give voice to emotions they didn’t know they were experiencing; this poem is about the spark of awakening, the sudden jab of metaphorical daylight in a personality that had been, shall we suggest, slumbering and ambling and otherwise getting along with the comforts of their parents’ home and their friends’ conformity. Bang, you read the passage, and then there’s a word, an adjective that takes you at once into the world you’re encountering only on paper;

The harvest moon hangs heavy,
a gourd. Your desires heave inside you
like a blood wave. Ignore the cat

pulling on your trousers. Ignore
the cicadas bossing you from the elms.

See yourself in this hot gold light.

You are the brother in love with Caddy.
You are the idiot son. Your mouth dumb.

Your mind lucent. Everything you want
sharp as the cat's bite at your ankle. You pull
your foot back. A yowl, pointed as teeth.

The moon is what will fall on you.

This works because what was being sought was a fast, hard and fleeting sensation that somehow one has received special knowledge from a voice speaking from across history, not just the page to the reader’s eye. There is that rush, that feeling of what’s described somehow being your own experience; defying logic, you assume there’s a link, a fatedness to the sensation that’s quite a bit more than momentary euphoria. But it is such that it comes in flashes, slices, bits and pieces of tactile things recalled from both real experience and the writer’s power to suggest imaginary people and their homes as though they lived across the way: what one assumes they are feeling as they lay the book down and become lost in the world that unfolds for them and which vanishes so rapidly is the recollection an old person who has their narrative in vivid fragments drawn over along decades. All this becomes the young reader’s domain, an intimate knowledge of a world that is yet become real for them; only living long enough can provide them with the actual feeling they think they’re feeling now.The taut images, the half-heard snatches of conversation, the close-up iconography of night images amount to an intriguing assemblage by the poet; I would complain a bit that there is too much dependence on the title to explain this otherwise curious string of associations and wish that we could see a reworking where the conceit is less mechanical, deus ex machina . But I do like the tone, the flow, and greatly appreciate the absence of pretention.

A message from MoveOn.org

A note received, a note worth passing on:



Dear MoveOn member,

If you're an Obama supporter, watching the polls or reading the news can feel pretty good right now. And we should feel good—progressives have worked hard to get this far!

But we can't listen to the pundits who say it's over. Can you share these "Top 5 reasons Obama supporters shouldn't rest easy" with your blog readers—and encourage them to volunteer for Obama between now and Election Day?

TOP 5 REASONS OBAMA SUPPORTERS SHOULDN'T REST EASY

1. The polls may be wrong. This is an unprecedented election. No one knows how racism may affect what voters tell pollsters—or what they do in the voting booth. And the polls are narrowing anyway. In the last few days, John McCain has gained ground in most national polls, as his campaign has gone even more negative.

2. Dirty tricks. Republicans are already illegally purging voters from the rolls in some states. They're whipping up hysteria over ACORN to justify more challenges to new voters. Misleading flyers about the voting process have started appearing in black neighborhoods. And of course, many counties still use unsecure voting machines.

3. October surprise. In politics, 15 days is a long time. The next McCain smear could dominate the news for a week. There could be a crisis with Iran, or Bin Laden could release another tape, or worse.

4. Those who forget history... In 2000, Al Gore won the popular vote after trailing by seven points in the final days of the race. In 1980, Reagan was eight points down in the polls in late October and came back to win. Races can shift—fast!

5. Landslide. Even with Barack Obama in the White House, passing universal health care and a new clean-energy policy is going to be hard. Insurance, drug and oil companies will fight us every step of the way. We need the kind of landslide that will give Barack a huge mandate.

If you agree that we shouldn't rest easy, please sign up to volunteer at your local Obama office by clicking here:

We're just two weeks away from turning the page on the Bush era—but we can't afford to take our eye off the prize. We've got to keep pushing until the very end.

By posting this Top 5 list on your blog and encouraging folks to volunteer for Obama (and signing up to volunteer yourself), you can make a big difference and help Obama win.

Thanks for all you do.

–Adam, Lenore, Adam G., Patrick S., and the rest of the team

Ashbery, John

(Daniel Pritchard has a lively discussion about John Ashbery going on at his blog The Wooden Spoon, the subject of which seems to be another bout of head-scratching over the purpose of the poet's work. Respondents, sympathetic and contrarian, offer up their views. Here are my comments.)

That's what MacLeish said and that's what Ashbery holds to, which places it smack in the middle of a tradition in American poetry that's been with us since the rise of Modernist practice with Pound, Eliot, and especially the esteemed Wallace Stevens. I find it puzzling that there are those who continue to harp on Ashbery's difficulty and summarily dismiss him as an enemy of “meaning”; it's hardly as if the poet is a foe of the capacity of humans to make sense of their lives through language, and that such use can furnish oneself and one's community with purpose and, perhaps, an ethical structure that would instruct and aid said community against expressing its worst instincts. What Ashbery would oppose, if he were a polemicist (which he isn't) is the idea that the “meaning” that language is capable of creating through writing and, in this instance, poetry, is the final destination, the last stop on the route. Ashbery isn't interested in the hidden meanings that one might pull from a text like it were an archaeological artifact, but rather in the fluidity of perception; his poems are filled with man-made things in a natural world, and it's here his power as a writer, for me, takes hold. Our homes, our cars, factories, the shape of city streets, are custom designed with purposes to help us settle and “conquer” a raw landscape, nature, who's metaphysical presence eludes our conventionally dualistic approach to dealing with the world.

 The contradiction between our ready-made distinctions and Nature whose essence is constant change, unmotivated by rhetoric comes clear. We age, we change our minds about ideas, our store of memories expands, and we cannot view the same things again the same as we had; Ashbery's is a poetry of the concrete world, solid, dense, of itself, and the consciousness taking it in, associating sights, smells, gestures, personal possessions in conflations, synthesis. Wallace Stevens imagined the Supreme Fiction and wrote of the balances the perfect shapes of the objects and attending senses in his most ecstatic work, and Ashbery effectively extended the project. The supreme fictions and the imperfect physical things that represent them commingle, inhabit the same space. The result is not the easiest of writings to parse , but what the poet is doing is less undermining the province of language to provide meaning and structure useful for both community stability and expression than it is an affirmation that the singular idea of “meaning”, oftentimes spoken of as if such a thing were a monolith on which all communities and individual sensibilities can ride, does not quite exist. Social constructions have a stronger hand than some folks would care to examine. Examine Ashbery does, and brilliantly at that, if confounded so.

For me, poetry is very much the time it takes to ;unroll, the way music does..it’s not a static, contemptible thing like a painting or a piece of sculpture.– John Ashbery

Exact meanings of things, of this world we live and grow old in, changes with the introduction of both our years and new social arrangements brought on by new technologies, wars, any number of things. But the aim of Ashbery’s poems isn’t to declare that legitimate meaning cannot be had; he wants to instead inspect the way an interaction between our thinking, our interior life, and the world external to it exists as a kind of permanently placed negotiation between our expectation and the change that comes and which is inevitable. Ashbery embraces process more than anything else, but not at the sacrifice of a meaning that makes what’s desirable and repugnant to us recognizable. He wrestles with the still-engaging problems of Aristotle's metaphysics, that the things in the world are only the expression of an Idea of that thing, which exists before manifestation. It's a slippery metaphysics, a guarantor of headaches, but Ashbery wears the difficulty loosely; he pokes, prods, wonders, defers judgment and is enthralled by the process of his wondering. Reaching a conclusion for him seems to mean that he is done writing, and no poet wants to think that they've used up their vocabulary.

What Poetry Is

John Ashbery

The medieval town, with frieze

Of boy scouts from Nagoya? The snow

That came when we wanted it to snow?

Beautiful images? Trying to avoid

Ideas, as in this poem? But we

Go back to them as to a wife, leaving

The mistress we desire? Now they

Will have to believe it

As we believed it. In school

All the thought got combed out:

What was left was like a field.

Shut your eyes, and you can feel it for miles around.

Now open them on a thin vertical path.

It might give us--what?--some flowers soon?

This poem talks about representations of things captured at moments of aesthetic iteration and speaks to our expectation that things, as we actually experience them, adhere to a narrative we’ve assigned them. But where some readers despair at how real places, things, people stray from the fine lines that tried to get at their essential nature, Ashbery wonders and finds something remarkable. There is that “it” that we’ve been instructed to seek, the moral, the lesson to be learned, but the poem asks us, in oblique yet alluring images, are we to give up the quest for meaning because the world is not the static place one might have assumed it was the goal of poetry to confirm? He calls it here, as close as he ever has in his career, when he writes “In school /, All the thought got combed out: / What was left was like a field. “ We have been trained to quantifying the content of our experience, we have been instructed in many ways of quantifying sense perception and turning into data that, in turn, is given over to endless narrative strategies –literary, scientific, ideological, economic—that promise a lump sum of a Larger Picture. The task after that, the obligation of the poet afterward, is to know something more about the experience by gauging the fluid nature of our responses to it. Ashbery in his many good moments gets the dissolution perfectly, beautifully. Confounding, but beautiful.

Not Ballistic Enough

By Ted Burke

Ballistics
poems by Billy Collins (Random House)

Billy Collins writes poems that are literate, elegant, artfully crafted, and utterly coherent in the point he wants to get across , the feeling he want to evoke, the irony he wants to convey, and his ability to achieve all this in successive books in equally successive poems is both the attraction to his writing and what bores me silly. His new book, "Ballistics", is the writing of someone who wants to take the starch out of the image of poets and the willfully abstruse poems they compose. Rather, he pulls back the curtain and lets you see the process. Often enough he'll set up the scene, paint a picture, and then address the reader directly, aware that he writes verse that will be read by thousands of book buyers, and includes them in on the joke.

This is charming , of course, and one admires the grace with which Collins writes his lines--a better balanced set of free verse I've never seen, really--but for all the pleasure he provides for the painless duration of his poems and the usually flawless what-the-!@@1 surprises he offers up for the final stanza, a formulaic tedium sets in. Disguised as the essence might is, there are trace elements of journalistic efficiency here ; one notes the style, the arranging of details, how the poems start with an announcement of the poet beginning his day futzing around the house, walking into rooms, staring out the window, and then the intruding thought that distracts and manages to make the banal yet telling details of his home life and his community take on a more somber (or alternately, a giddier ) tone, a final, spare description of an item that eludes the metaphorical devices he's deployed, and then the twist, the coda, the pay off that makes you go ahhhh
as though his poems were nothing more than a fast swig from a cold soda. There is so little range to Collins' work that one thinks of a world stuck in one of those Mobius Strips MC Escher was wont to draw compulsively.


Collins writes poems about poetry, especially about the poet in the act of seeing something of the world as if for the first time, certainly as though a veneer had been stripped away and there was Truth Laid Bare, just the essentials of things and activities in themselves with their invisible ironies and vague meloncholies. So much of this is larded with self mystification that Collins, a wise cracker at heart, cannot help but but mock the poet as as lait priest; he gives you the nod and then the wink, and repeats until you get it.

August In Paris

I have stopped here on the rue des écoles
just off the boulevard St-Germain
to look over the shoulder of a man
in a flannel shirt and a straw hat
who has set up an easel and a canvas chair
on the sidewalk in order to paint from a droll angle
a side-view of the Church of Saint Thomas Aquinas.

But where are you, reader,
who have not paused in your walk
to look over my shoulder
to see what I am jotting in this notebook?

Alone in this city,
I sometimes wonder what you look like,
if you are wearing a flannel shirt
or a wraparound blue skirt held together by a pin.

But every time I turn around
you have fled through a crease in the air
to a quiet room where the shutters are closed
against the heat of the afternoon,
where there is only the sound of your breathing
and every so often, the turning of a page.

There is an efficiency of scene setting, tone and delivery of punchline that makes this a close cousin to prose, and there at times that one might mistake Collins, poet, for Dave Barry, humorist. He writes about being in Paris, at the cafe, in such an engaging way that it is possible for the untraveled among his readers to think what he does, or at least what he writes about, is the most natural thing in the world. One would nevermind that Collins scarcely writes about jobs he has had, rarely quotes those he has spoken with, or suspends or restrains the sense of his poised (but proclaiming) persona and concentrates on treating a set of ideas without his usual filter. He's mastered his tools and he cannot seem to go beyond the effects he's learned to create so flawlessly. Their dependability, though, is what makes them unmemorable once their page satisfactions have been had. I nod my head, I turn the page, I forget what I've just read.

It's like driving through an old neighborhood a few too many times; the ambivalence and nostalgic rushes no longer come after familiar buildings are viewed a hundred times too often. With the facile use of the names and pet phrases of Chinese poets, mentions of jazz greats, the sustained gazing upon still objects in and of themselves (doing nothing), the revitalization and one-dimensional ironizing of cliche, we arrive at a poet who has the mark of The Professional, "professional" in the same sense that a newspaper columnist is , a writer who is constantly preparing for the next piece, the race against a set deadline, the marshaling of all notes and ideas in the rush toward a finished set of statements. I remember I used to marvel at how elegant and spontaneously brilliant George Will seemed to be when his columns appeared two or three times a week, but after a while of reading him I recognized the formula he used to sustain his writerly flow. Collins, although not as prolific as Will is required to be, still produces an occasionally splendid poetry that does not challenge the mechanics required to write it at the same level of consistency; monotony is the result.

Numbskull philosophy, and Concept Albums

By Ted Burke


I have a softness for the numbskull profundity that marked alot of truly awful albums in the 60s. The best is "The Beat Goes On" by Vanilla Fudge there is not one complete song on it, but there is a lot of rapping, sound collages, the history of music and war and what not, and a "rap' session Q and A that where someone asks the keyboardist questions like

Q:What do you think of black power? A:I think its a bad use of some very good energy? Q:What do you think of trips? A:For a quarter you can take one on the subway.. Q:What do you think of Ice

Cream? A:I like ice cream!
It goes on like that, inane , glib patter lamely modeled after the Beatlisms from "A Hard Days' Night", with lots of cheesy organ oscillating in the background. Only Yes, some years later, would equal the pure gall for pretentiousness.

-------------
The Beatles succeeded with "Sgt.Pepper", "Magical Mystery Tour", and, and "Abbey Road" ( easily their most consistent set of material, I think) because they never abandoned the idea that the album needs to be a collection of good songs that sound good in a set: over lapping themes, lyrically, are absent in the Beatles work, unless you consider the reprise of the the Pepper theme song on a leitmotif of any real significance (it's use was cosmetic), although musical ideas did give the feel of conceptual unity track to track, album to album.

Lennon and McCartney and Harrison's greatest contribution to rock music was their dedication to having each one of their songs be the best they could do before slating it for album release. For other bands, the stabs at concept albums were routinely disastorous, witnessed by the Stones attempt to best their competitors with the regrettable 'Satanic Majesties Requests". The Who with "Tommy" and "Whos Next" and the Kinks , best of all, with "Lola", "Muswell Hillbillies" and "Village Green" , both were rare, if visible exceptions to the rule. "Revolver" and "Yesterday and Today" are amazing song collections, united by grand ideas or not. I buy albums , finally, on the hope that the music is good,the songs are good, not the ideas confirm or critique the Western Tradition.

Revenge of the Lawn

Odes to Spring are usually those bits and ditties where the earth is celebrated for the miracle of life itself, that despite what turmoil one is confronted with, fresh starts can always be had. It is one of the persistent cliches of literature, I suppose, but there is always room for another take that is less hopeful, downright depressed in fact, as one can read in Joseph Campana's poem "Spring Comes to Ohio", featured this week at Slate. It doesn't work as a poem for my taste--it seems more of a stream of conscious ramble from a novel when an author artfully enters a character's interior life-- but it does give a sense from a young man's point of view as to how the sunny and the colorful can excite an urge for violence.

This is a poem of submerged, sublimated, passively enacted revenge against the sunnier season that makes the world thaw from it's hard, icy encasements and to bloom and become green under a nurturing, breezy air. One is invited to inspect the world one had known as grey and cold and to see what was buried under all those layers of ice and slush; seeds grow and produce flowers, lawns grow and become long and green.

But one thing conflates into the other and some disguised hurt associates the sunny disposition, the natural activity of nature renewing it's life cycle with an awakening of some trauma that had been inert, hibernating. There is the feeling in the description of this skewed landscape of someone gritting their teeth while they pull the stitches from a recently mended wound

All the evening flowers

are coffins bursting with 

possibility. Why not pick 

one, why not let your 

sorrow sink into the dirt

where it will die? The first

gesture is the hope that it

will die before you will

or that you will learn to

read it like a book. Come 

read, come to the flower 

beds and the mowed-down

fields where the heads of

yellow soldiers burst in

the grass. If anyone ever

gave you something, that

gesture of fading beauty

was the first sign that

the price of generosity 

is the flower that would

rather not be ripped from

its heart

Young boys are flowers and flowers are things that are planted in place and at the mercy of whatever rogue set of fingertips chooses to pick them at random , and with the author adroitly altering the point of view to simulate a child's reality-bending fantasy. Dandelions are soldiers being vanquished brutally with a decapitating lawn mower; the violence is senseless, the very things that we are invited to inspect, to read remain secrets only a skilled therapist can interpret and disarm. But the meaning of it seems clear enough, which is that the world, in the traumatized narrator's view, is a series of layered appearances, one hiding a secret, power thing or fact, with the reward being only pain and punishment for the curious.

Come read your heart

which has shriveled 

into a flower receding

before night. If the sun

ever will come back here

the first thing you'll do is 

reach right out to touch

This poem sees the seasons as a serial sucker punch, winter is the time when betrayals, fights and other states of disagreeable experience are put in stasis and the young man return to their homes to nurse their wounds, shore up their psychic armor, prepare for the coming thaw; when the thaw comes, the pain starts anew, one may fall for the old trick again and experience the stabbing sensation of recollection. Something primal kicks in, aggression grows that becomes a lifetime habit. The reflex is that this life exists only to torment us, and one must proceed with a determination to carve it up, engrave one's name on the soil, to have the planet yield to one's will or be devastated.

Jean-Michel Basquiat

Metallica drummer Lars Ulrich, a capitalist despite his band's tendency to dwell at the edgier margins of anxiety resulting from living a life in a faceless corporate society, has decided to place his Jean- Michel Basquiat painting "Untitled(Boxer)" up for sale at Christie's auction house. Not surprising for a millionaire rebel who sued the original free-download version of Napster for allowing Metallica's albums to be gathered by poachers without a dime of remuneration; art is about more than making a living, it's about making a profit. He says that his art collecting has now gone in the direction of gather emerging artists, which is fine, though I'd be more impressed if he just said that was tired of looking at an ugly canvas.The thing about ugly objects that one has paid alot of money form is that as much as one pretends to love their purchase, said objects don't love you back. Yes, the painting is powerful and emotionally wrenching to witness, but so is a car accident; it's not an experience I try to recreate. 

Had I the funds to hang some paint-brushed screaming against on my wall, I'd opt for the late British artist Francis Bacon; his human subjects , in the way they seem to be morph from 

classically defined features to a blurring, bleeding dissolution are more the stuff of art than are Basquiat's kvetching stick figures. I've been reading a rather lavish and well-tuned book on the late artist Jean-Michel Basquiat, Basquiat, edited by Marc Mayer, rich in selection from the painter's brief career. All the same reactions and responses arise, the combination of rank amateurism and visionary determination, broom remains and waste basket scrawls combined with an idealized sense of tribal totem ism that nearly excuses Basquiat's failings as a draftsman.

The late Jean- Michel Basquiat's best trick in his short ascendancy as a painter was that he managed a fusion of street credibility and the gloss of high culture faster and more authentically than did his formally trained mentors. His mentors and inspirations Warhol, Schnabel, DuBuffet and Twombly , among many others, learned the traditions and the techniques of Western Art History in order to undercut them with the cranky, jazzy, electric vibe and artifacts of contemporary urban life. The aim overall was to blur, if not completely destroy the line between a culture's high art practice and accompanying aesthetic and the reality it was created in. Beauty, harmony, balance, and revelations of essential Truths about the Human Spirit were not the motivations for an art created in bombed out neighborhoods and abandoned factory lofts. It was praxis , an applied theory of revolution.Basquiat had no theory other than his instinct for what happened to fit his moment of composition and was interested less in fusion of cultural arrogance than in things he saw that he could use in his work. It definitely was a Hip Hop art, not unrelated to the DJs spinning the music of others in endless mixes, speeds and pitches and speeds to produce something completely new and in the moment. Basquiat appropriated their mannerisms, their studied sense of the incomplete and canvases that are "under construction", and effortlessly, it seem, applied it a graffiti style that was suited for the sides of buildings and freeway overpasses, not gallery walls.

I was never a big fan of Basquiat's paintings, and the praise he's received is , as is the estimation of artists, musicians and or writers who die young, is overblown and overstated. The body of work does not support the complexities ascribed to it; it's a more grand case of reading things into works rather than drawing things from them. Everyone loves a young, beautiful and dead artist if for no reason other than it's a handy way to keep our tenuous definitions and tropes of genius, beauty and justice ( of a kind) in place.

If we may say that someone of a particular gift passed on too young but left evidence of the best expression that the race is capable of, things that live beyond their life, we can maintain our certainties a little longer. The metaphysics of presence is shored up until the next crisis of global conceptualization.

Basquiat's work, though, has a charm that is anything but phony; he has the hallmarks of what is called "outsider" art , or "naive expressionism", the art making of the sensitive but untrained and unprofessional whose awkwardness of line and contour is something genuine in mass culture. It is an interesting display of artists thinking about the world that's given them to draw their energies and phobias from. Basquiat hit the payday, of course, but the faith of graffiti remained at the center of his paintings, which is to say that his bright and garish forms and highlights haven't made the city any prettier or revitalized old notions of harmony.

Rather,it was a way of making the city right-sized, not decoration but instead a note that says that this where he lives, this is what he has passed through, and this location of every nuanced joy and agony a life in Manhattan can give you.

The past gets better to more I talk about it.

By Ted Burke


A friend phoned from Los Angeles called down last week to discuss movies, books, politics, stuff in that order, and in the course of a long talk Ridley Scott's movie Gladiator came up; I enjoyed the film, thinking that Scott's undeniable but erratic talents found a suitable epic tale, while my friend, a reader of history, a precise noter of detail, derided for being inaccurate. "It's bad history" he said, and I , not a history buff but a lover of a good yarn told well, replied half-assedly "It's not history, it's a movie."

Movie it is, but I do understand someone for whom accuracy matters tiring unto death of college kids and their aging icons looting the historical archive in order to give us tales that can easily turned into computer games. We become disconnected from our past in terms have having an sense of where we came from, and quite easily clouds any sense of a better future--a destiny, if one prefers--that can lay ahead of us. We're left in a static present, where there is only the motion of distraction, the anxiety of cabin fever, a room you cannot leave.
The postmodern habit of mind is skeptical of the idea that History can be recounted in any neat formula: what has been useful in the deconstructive era has been the realization that written history, the record we refer to for a grounding, is no less a narrative structure than are novels and poems. Elements are arranged in interesting alliances and oppositions, conflicts are stated as plot lines in a convoluted drama, and the virtue being fought is made to seem as if it emerges, self evident, from the facts.

This tendency to make our past one long historical novel has been recognized, and we've at least an awareness of a buried political agenda being worked out. This clearing-of-the-playing field may, in fact, allow the marginal populations, the less-promoted cultures, to come to the center and have their narratives eventually woven into the story so far. But it comes back to good writing, which is the problematic element of postmodern criticism: discussions of the aesthetic, the poetry, the emotional accuracy of great literature is performed little, if at all, replaced by a critical cement, dense as the tax code, that pretends to be the theoretical prep-work that is readying the populations for a stalled insight. Living up to their own conceits, judgment to the quality of work is delayed, deferred, because such elements we use to define the artistic worth of a work are ultimately indivisible given their ultimate un-prove ability. What this results in is bad writing that travels quite a distance without anyone being able to yell tripe when tripe is served.

An unfair dismissal of a Walter Savage Landor epigram

By Ted Burke

Slate's poetry editor (and former U.S.Poet Laureate) Robert Pinsky joins those of us on the Poems Fray forum to discuss his most recent selection for the weekly poem, Walter Savage Landor's "On Love, on Grief". I don't think much of epigram, but I take my hat to Pinsky for rolling up the sleeve to discuss the poem with the board's regular participants. It's a pleasant surprise to have an editor descend from the mountain and shoot the breeze. He seems like a good chap.

On love, on grief, on every human thing,
Time sprinkles Lethe's water with his wing.

Slight, compact, dense with associations that come in the form of end notes or paragraphs of prefatory remarks, this epigram does little for me as a piece of writing. What pleases one person as euphonious phrasing , an ideal aligning of vowels and consonants that keep a beat and a lift, I find instead to be sing-song and nearly trite.

The verse has an appeal for the classicist, the marm, the relentlessly erudite who recognize what is disguised by Sandor's compressing sensibility and who take a special joy in excavating the terms and elaborating on original context and usage, but this effort seems , to me, to be in service to cracker-barrel distillations of kinds of wise adages that have become cliches and platitudes; Shakespeare's quips continue to surprise, Oscar Wilde skewers us continuously , Donne can still be counted out to make you consider present circumstance in larger terms, but this?
Two lines that seem like the joined limbs of a twig, caught in the Lethe's waters, battered along the shoreline, battered by rushing rills, drowned in the crashing foam.

A forum participant, a resourceful writer writing under the name Mary Ann, posted a counter example of an epigramtic poem where what is seen is more important than what one thought about what was seen:

BECAUSE YOU ASKED ABOUT THE LINE BETWEEN PROSE AND POETRY

by Howard Nemerov

Sparrows were feeding in a freezing drizzle
That while you watched turned into pieces of snow
Riding a gradient invisible
From silver aslant to random, white, and slow.

There came a moment that you couldn't tell.
And then they clearly flew instead of fell.

The Nemerov poem is disciplined enough to leave the abstractions alone and concentrate instead on the details and their movements, in their space, in their context. Although no poet can truly escape the trap of loading their images with the subjectivity that attends their word selection, Nemerov at least keeps his rhetoric under control and comes as close as one might at a poem when perception of the thing itself is before us. Sandor sounds poised to settle an argument with a verse that tries to make all parts of a problematic sensation surrender to a harmonious relativity, while Nemerov isn't interested in debating points but rather in seeing what's in front of him, understanding it , perhaps, without his regular filters in place. This is all that Pound extolled, that we have to rid ourselves of the lard and concentrate on the right words to get the perception right, in the sharpest focus.