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Showing posts with label <b>Alexander Pope</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Alexander Pope</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Sunday, December 15, 2002</span></h2>

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<span style="font-family: Arial;">On the Poetics List, there
was a certain to-do over the <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html%2385722414">wink</a>
I suggested was absent in the poetry of Jennifer Moxley. This was not, as I
noted at the time, a criticism, but rather an observation, an index of her
willingness as an author to write precisely what she believes needs to be
written, regardless of fashion. Any number of commentators rushed in to rescue
Moxley&#8217;s reputation from sincerity or even earnestness, with Steve Vincent &#8211; a
friend of this blog for over 30 years &#8211; suggesting that I had been &#8220;pulled into
the wax.&#8221; </span><st1:personname><span style="font-family: Arial;">Aaron Belz</span></st1:personname><span style="font-family: Arial;"> goes this way &amp; that &#8211; he feels like Edgar </span><st1:personname><span style="font-family: Arial;">Allan</span></st1:personname><span style="font-family: Arial;"> Poe on the issue when he&#8217;s not feeling like Bugs Bunny. Many ideas were
thrown into the hat, no doubt causing the rabbit to feel crowded. Some of the
more pertinent ones were:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">The wink is a necessary
&#8220;courtyard of emotion,&#8221; an idea I&#8217;d like to endorse just so I can use that
phrase a few times.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">The wink is a
postmodern twitch.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">The wink is a </span><st1:place><st1:placename><span style="font-family: Arial;">New York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;"> thing (with some hint that there&#8217;s relatively little winking between </span><st1:street><st1:address><span style="font-family: Arial;">14<sup>th</sup> Street</span></st1:address></st1:street><span style="font-family: Arial;"> &amp; </span><st1:city><st1:place><span style="font-family: Arial;">Columbia</span></st1:place></st1:city><span style="font-family: Arial;">, where it is again permitted). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">James Tate
does/does not wink. Unless of course those messages that mentioned only the
surname were referring to Allen Tate, a man whose poetry has been known to
glare.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Wingdings; mso-bidi-font-family: Wingdings; mso-fareast-font-family: Wingdings;"><span style="mso-list: Ignore;">&#167;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">There is such a
thing as a &#8220;bad wink,&#8221; implying of course that its opposite might also exist. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">At this very same moment,
the Gertrude Stein list has been going on about what Stein meant when she said,
sometime in the early 1930s, that Adolph Hitler deserved the Nobel Peace Prize.
&amp; a fellow at </span><st1:city><st1:place><span style="font-family: Arial;">Buffalo</span></st1:place></st1:city><span style="font-family: Arial;"> emailed to ask if &#8220;Franzen&#8217;s boast in his 30
September <i style="mso-bidi-font-style: normal;">New Yorker </i>article that he
defied the intentions of Coover and Pynchon by reading them to identify with
their characters militate against your interpretation of the J-Franz/Oprah <i style="mso-bidi-font-style: normal;">contretemps</i>?&#8221; <o:p></o:p></span></div>
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<span style="font-family: Arial;">My answer to that latter
question would be that, no, it confirms my interpretation, because it reveals
Franzen to be consciously operating on exactly that set of presumptions. And I
would have thought that we have all learned by now that Franzen&#8217;s style vis-à-vis
media <span class="GramE">inquiries into his process is</span> to obfuscate &amp;
dissemble to the max. But, as the Stein quote suggests &#8211; it&#8217;s being employed
apparently by Holocaust deniers &#8211; humor doesn&#8217;t necessarily travel well. If the
wit is dry enough, it may in fact scrape. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I would characterize irony &#8211;
the ability to say one thing while communicating something quite discordant to
the denotation &#8211; as one aspect of humor &amp; an especially important one in
this epoch in the </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> (I don&#8217;t want to generalize here.) Context is so important in humor
&amp;, by definition, so pliable &amp; subject to change, that it is almost
impossible to ensure that what is uproarious in one setting will remain so over
time.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Almost certainly, everybody
has had the experience of writing some <i style="mso-bidi-font-style: normal;">bon
mot</i> in an email only to discover that your recipient has been horribly
offended, perhaps justifiably.* The very same communication in person might not
have had the equivalent impact because it would have been presented, with body
language &amp; tone, in such a way as to situate its reception. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Much of Stein&#8217;s humor &#8211; in <i style="mso-bidi-font-style: normal;">Tender Buttons </i>and the portraits, for
example &#8211; does travel well over the decades. But I&#8217;ve always thought as well
that Pound believed <span class="SpellE"><i style="mso-bidi-font-style: normal;">Mauberly</i></span><i style="mso-bidi-font-style: normal;"> </i>to be a barrel of chortles &amp; there
is more wit in Eliot&#8217;s </span><st1:place><st1:placename><span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Prufrock</span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> </span></i><span style="font-family: Arial;">&amp; <i style="mso-bidi-font-style: normal;">Waste</i></span></st1:placename><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> </span></i><st1:placetype><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Land</span></i></st1:placetype></st1:place>
<span style="font-family: Arial;">than was noted when we were in high school.
Eliot the ponderous was largely a critical fiction up until the <i style="mso-bidi-font-style: normal;">Quartets </i>showed that he&#8217;d begun to
believe his own reviews. <o:p></o:p></span></div>
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<span style="font-family: Arial;">But if you go back further
into the recesses of the canon, what you find is that humor carries forward
most effectively when it is most fully contextualized &#8211; in drama, for example,
or in poetry that proposes its own contexts, like the </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Canterbury</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"> Tales</span></i><span style="font-family: Arial;">. But the humor in </span><st1:place><span style="font-family: Arial;">Po</span></st1:place><span style="font-family: Arial;">pe
comes across now as stilted &amp; clunky &#8211; which may be why he is not dealt
with as seriously as he deserves, particularly when you consider how close he
came to inventing the prose poem. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="GramE"><span style="font-family: Arial;">Which
makes me wonder about the eventual fate of our current moment, long after we
too have exited stage left.</span></span><span style="font-family: Arial;"> Irony
today serves an important social &amp; historical function &#8211; as an index of our
own lack of innocence. It&#8217;s a confession that we expect our leaders to lie
&amp; all our social institutions to fail us, to do so systemically, &amp; to
do so cynically. When the FDA declares Claritin safe for over-the-counter
sales, &#8220;making it available for everyone,&#8221; what that action really does is
separate out one of the most common costs insurers have had to cover. Last
month&#8217;s $10 co-pay for your prescription will be next month&#8217;s $30 charge at the
cash register. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Many tendencies in poetry,
not just the </span><st1:place><st1:placename><span style="font-family: Arial;">New
  York</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">School</span></st1:placetype></st1:place><span style="font-family: Arial;">, have relied more than a little on humor &amp; irony
&#8211; the actual figure of Maximus in the Olson poems is pretty funny. There is a
lot of wit in </span><st1:personname><span style="font-family: Arial;">Robert
 Kelly</span></st1:personname><span style="font-family: Arial;">&#8217;s poetry &#8211; read <i style="mso-bidi-font-style: normal;">Axon Dendron Tree</i> if you don&#8217;t believe
me &#8211; and in Jackson Mac Low. Clark Coolidge&#8217;s humor is one part Phil Whalen,
one part Jonathan Williams. Dorn&#8217;s <i style="mso-bidi-font-style: normal;">&#8216;Slinger</i>
is a long philosophical poem built on the model of a comic book. &amp; no
language poet does more with humor than Barrett Watten. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">But identifying someone
else&#8217;s humor on the page can be as problematic as taking excerpts from the work
of Leslie Scalapino at random and knowing why this page is a &#8220;comic book&#8221; and
that is an &#8220;opera.&#8221; Humor is always &#8211; &amp; only &#8211; in the eye of the beholder.
&amp; what that eye sees depends very much on context &#8211; the moon at the horizon
is big, but at the peak of the sky it&#8217;s very small </span><st1:state><st1:place><span style="font-family: Arial;">ind</span></st1:place></st1:state><span style="font-family: Arial;">eed. This I think is at least partly why so few
readers actually understand Ginsberg to have been primarily a satirist. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">So while I am willing to
concede the conceivability of </span><st1:personname><span style="font-family: Arial;">Stephen Vincent</span></st1:personname><span style="font-family: Arial;">&#8217;s
suggestion that I have been &#8220;pulled into the wax,&#8221; I really doubt it. More
important, I doubt that in the long run it will make any difference. If for any
reason Moxley did not intend her statements in that poem (or any other) to be
taken at face value today, there will come a time in the future when that is <i style="mso-bidi-font-style: normal;">exactly</i> how they are understood. The
same will apply &#8211; ironically &#8211; even to John Ashbery &amp; Charles Bernstein. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Which makes me wonder about
the fate of the poetry of poetry today &#8211; it may very well be that we are
creating a collective <i style="mso-bidi-font-style: normal;">oeuvre</i> that
will age at greatly differential rates down the road. Jonathan Mayhew the other
day in his blog characterized H.D.&#8217;s Hellenism as &#8220;kitsch&#8221; &#8211; yet its function
during her lifetime was diametrically opposed to that very idea. Even now, if
you look at the diverse poetics of, say, the early modernist period, it makes
you want to scratch your head. If I thumb through an anthology like Harriet
Monroe&#8217;s <i style="mso-bidi-font-style: normal;"><a href="http://www.bartleby.com/265/">New Poetry</a> </i>(Macmillan, 1917 &amp;
1923), the so-called &#8220;revolution of the word&#8221; is almost entirely absent. While
the founder of <i style="mso-bidi-font-style: normal;">Poetry </i>includes Pound
&amp; Williams, and even such radicals as Carl Sandburg &amp; John Reed, there
is no Stein, no Loy, no sign of the Baroness, no Hartley, not even Hart Crane.
Yet <i style="mso-bidi-font-style: normal;">New Poetry </i>does include Thomas
Hardy, Edward Arlington Robinson, Wilfred Owen, Rupert Brooke, even Joseph
Campbell and John G. Neihardt. Perhaps the most telling inclusion is Walter
Conrad Arensberg, he of the &#8220;<span class="SpellE">Ing</span>? Is it possible to
mean <span class="SpellE">ing</span>?&#8221; There is some interesting work to be found
in Arensberg, but </span><st1:city><st1:place><span style="font-family: Arial;">Monroe</span></st1:place></st1:city><span style="font-family: Arial;"> is having none of that.<span style="mso-spacerun: yes;">&nbsp; </span>Here is the shortest of his five poems in the
anthology, &#8220;To <span class="SpellE">Hasekawa</span>&#8221;:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Perhaps
it is no matter that you died.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">Life&#8217;s
an <i style="mso-bidi-font-style: normal;">incognito </i>which you saw through:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">You
</span><st1:state><st1:place><span style="font-family: Arial;">nev</span></st1:place></st1:state><span style="font-family: Arial;">er told on life &#8211; you had your pride;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">But
life has told on you.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It&#8217;s not self-evident whom <span class="SpellE">Hasekawa</span> might have been &#8211; a search on Google turns up
nothing &#8211; but what is evident is the humor here. Without any context, it&#8217;s not
funny, so that the husk of its structure is all that remains. It&#8217;s like a deaf
person watching dancers with no hint of the music. In this case, it would seem
that the dancers are a little clumsy, but that&#8217;s about all you can say. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Literature evolved away from
the vision that Harriet Monroe held &amp; while some Arensberg poems are still
read today, this one mercifully is not. It would be easy enough to argue that
Monroe&#8217;s sensibility was pedestrian at best, but I suspect that the reality is
that it was not as pedestrian as it might now appear. Rather, it is merely that
<span class="GramE">large portions</span> of the work she favored and printed
seems &#8211; 75 years later &#8211; terribly antiquated. Now there are poets from the 19<sup>th</sup>
century &#8211; all of Dickinson, much of Whitman &#8211; that don&#8217;t seem half as ancient
as much of the writing in <i style="mso-bidi-font-style: normal;">New Poetry</i>.
The problem isn&#8217;t time &#8211; it&#8217;s the variable rate at which poems age. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">If the wink is in fact the
ticket into our contemporary &#8220;courtyard of emotions,&#8221; it comes at high risk.
While I like humor &amp; wit, I think that a writer needs to recognize &#8211;
presume even &#8211; that, of all the colors in his or her pallet, the ones that will
fade fastest are the bright, funny ones. If you want some sense of how your
work might read 70 years hence, just ask yourself what will remain of your
poetry when none of your readers get the jokes.<span style="mso-spacerun: yes;">&nbsp;
</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">* My own
most recent experience of this came on Friday the 13<sup>th</sup> when one of
the readers of the <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_12_01_ronsilliman_archive.html%2385941804">blog</a>
thought that I was comparing J.H. Prynne to the music of John <span class="SpellE">Tesh</span> or <span class="SpellE">Yanni</span>. In fact, what I
was suggesting was that the problem of the &#8220;regional ear&#8221; was different from
that of distinguishing good art &#8211; figured into that discussion as Anthony
Braxton &#8211; from kitsch. If I had been making a Raworth is to Prynne as Braxton
is to X kind of comparison, I probably would have said someone like John Zorn.
I instinctively &#8220;get&#8221; Braxton in a way that I don&#8217;t Zorn, but I wouldn&#8217;t then
suggest that Zorn was kitsch.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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