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Showing posts with label <b>Allen Curnow</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>Allen Curnow</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>Wednesday, November 06, 2002</span></h2>

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<span style="font-family: Arial;">I was reading an Allen
Curnow poem from the early 1960s, &#8220;A Small Room with Large Windows,&#8221;* when the prosody
of its fourth section struck me:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">A
kingfisher&#8217;s naked arc alight<br />
<span class="GramE">Upon</span> a dead stick in the mud<br />
A scarlet geranium wild on a wet bank<br />
A man stepping it out in the near distance<br />
With a dog and a bag<br />
<span style="mso-tab-count: 3;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style="mso-spacerun: yes;">&nbsp;&nbsp;&nbsp; </span>on a spit of shell<br />
On a wire in a mist<br />
<span style="mso-tab-count: 3;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>a gannet
impacting<br />
Explode a dozen diverse <span class="SpellE">dullnesses</span><br />
Like a burst of accurate fire.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">This passage, by no means
Curnow&#8217;s best, stood out in contrast to the section immediately preceding,
which carried an AABBCC&#8230; rhyme scheme, a relatively rare occurrence for the
late </span><st1:country-region><st1:place><span style="font-family: Arial;">New
  Zealand</span></st1:place></st1:country-region><span style="font-family: Arial;">
poet. I like the prosody here, even if words such as &#8220;naked&#8221; &amp; &#8220;dead&#8221; in
the first two lines appear to have been inserted solely for the sake of sound. <i style="mso-bidi-font-style: normal;">I can</i> <i style="mso-bidi-font-style: normal;">hear it</i> &#8211; the music of this passage reaches me just fine. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Which reminded me of how
seldom this is the case for me with poets from English-speaking countries other
than the </span><st1:country-region><st1:place><span style="font-family: Arial;">United
  States</span></st1:place></st1:country-region><span style="font-family: Arial;">.
With the very notable exception of Basil Bunting, I find there to have been
shockingly few poets from the old Commonwealth on either side of the equator
whose work I would characterize as having a strong ear. More often than not, I
can&#8217;t hear it at all, not even in </span><st1:city><st1:place><span style="font-family: Arial;">Hopkins</span></st1:place></st1:city><span style="font-family: Arial;">&#8217; so-called sprung rhythms. Whatever the other values
the poem might propose &#8211; &amp; often enough they are many &#8211; the prosody of so <span class="GramE">much non-Yank</span> Anglophone verse strikes me as jumbled,
prosaic, &#8220;a dozen diverse <span class="SpellE">dullnesses</span>.&#8221;<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There are of course
exceptions, but I notice how many of them are poets who seem to have taken a
particular interest in the American tradition of poetry &#8211; </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;">, Thomas A. Clark, Fred <span class="SpellE">Wah</span>,
Jill Jones, Lee Harwood, <span class="GramE">Gerry</span> <span class="SpellE">Shikatani</span>.
Yet the whole idea of poetry&#8217;s relationship to spoken English &#8211; &amp; through
speech to sound &#8211; is one that invariably leads back to Wordsworth &amp;
Coleridge. This makes me wonder if there isn&#8217;t some disability within me that
just can&#8217;t hear it, whatever &#8220;it&#8221; might in this instance be, rather like the
Kansan watching a British film with </span><st1:place><span style="font-family: Arial;">North Country</span></st1:place><span style="font-family: Arial;">
accents who longs for subtitles. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">I also wonder if there isn&#8217;t
something specific about </span><st1:country-region><st1:place><span style="font-family: Arial;">U.S.</span></st1:place></st1:country-region><span style="font-family: Arial;"> verse &amp; its history that isn&#8217;t turned toward
sound &amp; might not be peculiarly tuned to the tones &amp; rhythms of speech
&#8211; at least of American dialects. While Whitman clearly had some desire to
relate his writing to speech, </span><st1:city><st1:place><span style="font-family: Arial;">Dickinson</span></st1:place></st1:city><span style="font-family: Arial;"> had a more charged push-pull relationship towards
the possibility. In fact, the often intrusive editing that her work received
can be viewed as an attempt to normalize her poetry on a model more
identifiable as speech. Pound &amp; Stein likewise bring their own strong sense
of <i style="mso-bidi-font-style: normal;">melopoiea </i>to the party<i style="mso-bidi-font-style: normal;">, </i>though incommensurate with one
another&#8217;s. Where Stein often seeks <span class="GramE">a cubism</span> of the
ear, Pound&#8217;s remarkable prosody turns on a wide range of models, from Beowulf
to the Bible, proposing speech as such usually as satire: <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial;">&#8220;an&#8217;
<span class="SpellE">doan</span> you think he chop an&#8217; change all the time<br />
stubborn <span class="SpellE">az</span> a mule, <span class="SpellE">sah</span>,
stubborn as a MULE,<br />
got <span class="SpellE">th</span>&#8217; eastern idea about money&#8221;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Something Josephine Miles
once said to David Melnick &amp; myself jumps out at me here. Recalling William
Carlos Williams&#8217; poetry in the 1930s &amp; &#8216;40s, she noted that she could not &#8211;
these were her words &#8211; &#8220;hear him,&#8221; she and her friends had no idea how to read
those texts that today seem so self-evidently the paradigm for spoken English.
The very features of his verse that today seem so obvious as to be boring &#8211; a
level of acceptance that has come to hurt Williams&#8217; reputation &#8211; were in fact
impenetrably opaque not that long ago.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In fact, in spite of his own
critical comments, these features may have been somewhat opaque to Williams as
well. Robert Creeley, one of the first to recognize Williams&#8217; poetry as an
apotheosis of transcribed speech, has commented on how surprised he was to
discover that Williams himself did not respect his linebreaks when reading the
poems in public.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Olson in theory took care of
that. With the Projectivists proposing a hard or rigorous version &amp; the New
York School and the Beats offering &#8220;soft&#8221; ones, U.S. poets from the 1960s
onward have had a ready toolkit available for what speech might look like
translated into line &amp; stanza. &amp; for the past 20-odd years, these have
been supplemented by a variety of post-avant text strategies intended to
problematize a too simplistic one-to-one correlation, ranging from sound poetry
at one extreme to visual poetics at another<span class="GramE">.*</span>* What these
various interventions have not done is to add significantly to the prosodic
vocabulary of the poem.*** The number &amp; potential combination of sounds in
English is not infinite, even though the number of possible meanings &amp;
utterances is. Thus the elaboration and expansion of poetic forms over the past
30 years, impressive as it has been, has not been accompanied by much in the
way of a new cadence. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The limits of prosody are a
major motivator behind the technological augmentation of poetry, substituting a
divergence in lieu of an advance. To paraphrase Robert Grenier, all
technologies say the same thing: <span class="SpellE"><i style="mso-bidi-font-style: normal;">hummmm</i></span><i style="mso-bidi-font-style: normal;">.</i> The
margins of poetry have been littered with attempts at expanding the terrain of
verse at least since Hugo Ball and the Russian <i style="mso-bidi-font-style: normal;">zaum </i>poets aimed at writing <i style="mso-bidi-font-style: normal;">beyond
language</i>, but to date no one seems to have noticed that such projects age
at an accelerated rate, moving from startling to quaint in something less than
30 years. This difficulty is not coincidental and promises only to get worse
the more closely it attaches itself to </span><st1:city><st1:place><span style="font-family: Arial;">Moore</span></st1:place></st1:city><span style="font-family: Arial;">&#8217;s Law<span class="GramE">.+</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A by-product of this
phenomenon is that books that do think seriously about the question of poetic
sound, such as Charles Bernstein&#8217;s <i style="mso-bidi-font-style: normal;">Close
Listening: Poetry and the Performed Word </i>(Oxford, 1998) or Stephen <span class="SpellE">Ratcliffe&#8217;s</span> particularly excellent <i style="mso-bidi-font-style: normal;">Listening to Reading </i>(SUNY, 2000), have yet to tackle the problem
of prosody as it impacts the relative impenetrability of different variants of
English. It may be easy enough, outside of <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_10_01_ronsilliman_archive.html%2383008848">Boontling</a>,
Gullah or Hawaiian pidgin, to envision American English as <a href="http://www.geocities.com/Broadway/1906/dialects.html">one language</a>,
but the minute you cross national borders it patently is a problem of another
order, a larger &amp; radically different context. In <i style="mso-bidi-font-style: normal;">Close Listening, </i>the essays that do focus on the poetics of
specific communities do so in terms <span class="GramE">that are</span> more
social than linguistic, with the pointed exception of Dennis <span class="SpellE">Tedlock&#8217;s</span> &#8220;Toward a Poetics of Polyphony and
Translatability.&#8221; </span><st1:personname><span style="font-family: Arial;">Nick
 Piombino</span></st1:personname><span style="font-family: Arial;">, Marjorie
Perloff and Bruce Andrews all consider the role of sound within different
sectors of the U.S. poetry community, but nobody appears able to consider the
possibility that a poem by </span><st1:personname><span style="font-family: Arial;">Tom Raworth</span></st1:personname><span style="font-family: Arial;"> or
Allen Curnow, might mean something quite different in Oxford, UK, at the
Kootenay School of Writing in Vancouver, at New College in San Francisco&#8217;s
Mission District, at the Iowa Writers Workshop, in Algiers, Louisiana, or at the
Northern tip of the Southern island of New Zealand. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* <i style="mso-bidi-font-style: normal;">Early Days Yet: New and Collected Poems,
1941-1997 </i>(Auckland University Press, 1997), pp. 177-178.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">** &#8220;Who
would have thought that fewer than forty years after Olson celebrated the &#8216;LINE&#8217;
as the embodiment of the breath, the signifier of the heart, the line would be
perceived as a boundary, a confining border, a form of packaging?&#8221; <span class="GramE">Marjorie Perloff, &#8220;After Free Verse,&#8221; in <i style="mso-bidi-font-style: normal;">Close Listening: Poetry and the Performed Word, </i>edited by Charles
Bernstein (</span></span><st1:city><st1:place><span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">Oxford</span></span></st1:place></st1:city><span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">, 1998), p. 99.</span></span><span style="font-family: Arial; font-size: 10.0pt;"> But that was exactly the condition
that created this reaction. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** The two
writers who perhaps represent the most aggressive attempts to expand prosody
would probably be Ted Enslin with his endless (or very nearly so) variations on
the line in his long works from the 1970s and, somewhat more recently, Clark
Coolidge, whose sense of jazz rhythm, from bebop to <span class="SpellE">pomo</span>,
clearly informs his sense of line and stanza. <o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ In this
sense, the move away from something that is simply &#8220;the verse print bred&#8221; that
makes the most sense to me <span class="GramE">are</span> Grenier&#8217;s hand-lettered
<a href="http://www.thing.net/~grist/l&amp;d/grenier/lgrena00.htm">scrawl</a>
works. <o:p></o:p></span></div>
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_WidgetManager._RegisterWidget('_BlogView', new _WidgetInfo('Blog1', 'main', document.getElementById('Blog1'), {'cmtInteractionsEnabled': false, 'navMessage': 'Showing posts with label \x3cb\x3eAllen Curnow\x3c/b\x3e. \x3ca href\x3d\x22https://ronsilliman.blogspot.com/\x22\x3eShow all posts\x3c/a\x3e', 'lightboxEnabled': true, 'lightboxModuleUrl': 'https://www.blogger.com/static/v1/jsbin/4152225668-lbx.js', 'lightboxCssUrl': 'https://www.blogger.com/static/v1/v-css/368954415-lightbox_bundle.css'}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text4', 'sidebar', document.getElementById('Text4'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextListView', new _WidgetInfo('TextList1', 'sidebar', document.getElementById('TextList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_LinkListView', new _WidgetInfo('LinkList1', 'sidebar', document.getElementById('LinkList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text1', 'sidebar', document.getElementById('Text1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text3', 'sidebar', document.getElementById('Text3'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>