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Showing posts with label <b>Besmilr Brigham</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Tuesday, March 18, 2014</span></h2>

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<b style="mso-bidi-font-weight: normal;"><a href="https://www.facebook.com/pages/Besmilr-Brigham/190358107709278"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Besmilr</span></a>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/03/14_18.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-03-18T00:00:00-04:00'>Tuesday, March 18, 2014</abbr></a>
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Labels:
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          <div class="date-outer">
        
<h2 class='date-header'><span>Saturday, December 14, 2002</span></h2>

          <div class="date-posts">
        
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<div class='post-body entry-content' id='post-body-85988400' itemprop='description articleBody'>
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<span style="font-family: Arial;">Like George Stanley&#8217;s
forthcoming selected poems, <i style="mso-bidi-font-style: normal;">A Tall,
Serious Girl,</i> Besmilr Brigham&#8217;s selected short poems, <i style="mso-bidi-font-style: normal;">Run <span class="GramE">Through</span> Rock</i>, derives its title from
the final poem in the volume. The book has a spare, almost austere beauty to
its design. The front cover is a color photograph printed in landscape format
about two-thirds up the page, behind which runs a vertical band of gray that
holds (above the photo) the book&#8217;s title and (below the photo) subtitle, author
&amp; editorial information. You can just barely discern that this pattern
forms a cross. The photo itself is of a rock atop some exceptionally dry &amp;
tire gouged red clay earth &#8211; in the deep background, so soft focused as to be
open to interpretation, are either clouds or hills underneath the deep blues of
a storm sky. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The back cover presents the
same pattern &#8211; the photo is now a color negative &#8211; as the front. Underneath the
photo, printed in the grey column (that same subtle cross) are some lines from
one of Brigham&#8217;s poems. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Run <span class="GramE">Through</span> Rock </span></i><span style="font-family: Arial;">is a careful, professional project in book design &#8211;
its only flaws (&amp; you will see that I&#8217;m reaching to find any) a couple of lines
here &amp; there that are ambiguously leaded, making it not quite clear whether
or not a new stanza is upon us. As is equally evident with its 2000 reissue of
Frank Stanford&#8217;s <i style="mso-bidi-font-style: normal;">The Battlefield Where
the Moon Says I Love You, </i>Lost Roads has become one of the premier
publishers of American poetry. Every attention to the detail of the book is
taken &amp; the eye to presentation is exact. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The cover of </span><st1:city><st1:place><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Battle</span></i></st1:place></st1:city><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">field </span></i><span style="font-family: Arial;">uses black, white &amp; red very carefully to achieve
a message of visual power. An African-American male stares out from behind a
black foreground that is shaped with just enough of an angle to suggest a book
that has been opened (it may be a public monument of some sort). Atop this
monument or book, which takes up a little more than the bottom half of the cover,
just to the left (and to some degree in front of<span class="GramE">)<span style="mso-spacerun: yes;">&nbsp; </span>of</span> the young man is a metallic ball,
just slightly smaller than a basketball &#8211; if you pay close attention, you will
see the photographer reflected in the ball, the background behind her &#8211; the
photographer being Lost Roads publisher C.D. Wright&#8217;s sometime collaborator,
Deborah Luster &#8211; suggesting a farm field. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Thrusting up from the bottom
of the front cover &#8211; I&#8217;m choosing my words carefully here &#8211; is the same sort of
column that appeared beneath the photo on the Brigham cover, with the author&#8217;s
name dropped out in white toward the bottom and the book&#8217;s title above it as
the column moves from black to a rich deep red. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The back cover has a small
square photo centered roughly three-quarters up the page: two toddlers,
Caucasian, playing with a slightly older African-American boy in some kind of </span><st1:place><st1:placetype><span style="font-family: Arial;">camp</span></st1:placetype><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">setti</span></st1:placename></st1:place><span style="font-family: Arial;">ng &#8211; there is a tent in the background. The boy on
the left, it turns out, is the author. The photograph is very much a retro
snapshot, almost surreal in its fuzziness. It&#8217;s surrounded with a thick bright
red border against the otherwise black field of the cover. Below, as with the
Brigham volume, a few lines of poetry &amp;, at the very bottom in a different
type, the ISBN data.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">As moving a graphic design as
the cover of <i style="mso-bidi-font-style: normal;">Battlefield </i>is, it may
be tame in comparison to the one printed on the 1977 first edition of the
volume, back when Lost Roads was the name of a magazine &#8211; </span><st1:city><st1:place><span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Battle</span></i></span></st1:place></st1:city><span class="SpellE"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">fied</span></i></span><span style="font-family: Arial;"> was technically issues 7 through 12, all in one
volume &#8211; and the publisher was then called Mill Mountain. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The books aren&#8217;t even the
same size: the 1977 edition taking up 542 pages, the 2000 edition offering the
same number of lines in just 383 pages. While the two volumes are different
dimensions &#8211; the 1977 edition is <span class="GramE">more squat</span> &#8211; the
primary difference is that the earlier edition is <i style="mso-bidi-font-style: normal;">typed</i></span> <span style="font-family: Arial;">&amp; not typeset. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">If the interior of the 1977
edition looks rough, it&#8217;s nothing in comparison to its cover &#8211; the same color
ensemble as the 2000 edition, but used to radically different effect. The
background is white, not black, the typeface all in lower case red &#8211; another
way of emphasize the rawness of the book. <span class="GramE">And the photograph.</span>
Well, the photograph. Uncredited &amp; perhaps lifted from a newspaper, it
shows a stack of corpses half covered by a tarp, all </span><st1:country-region><st1:place><span style="font-family: Arial;">Vietnam</span></st1:place></st1:country-region><span style="font-family: Arial;">ese women &amp; children, their faces bloodied, eyes
open seeing nothing. Cowering in the upper right hand corner of the photograph
are two other women overcome with terror &amp; grief. At the upper left, a
single leg (foot pointed away from the bodies) to suggest a larger context &#8211;
someone is still paying attention to something else. The verso says only
&#8220;Photograph taken the last day of the war, </span><st1:place><st1:placename><span style="font-family: Arial;">Tan</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span style="font-family: Arial;">Son</span></st1:placename><span style="font-family: Arial;"> </span><st1:placename><span class="SpellE"><span style="font-family: Arial;">Nhut</span></span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Airport</span></st1:placetype></st1:place><span style="font-family: Arial;">, </span><st1:place><span style="font-family: Arial;">Saigon</span></st1:place><span style="font-family: Arial;">, </span><st1:date day="29" month="4" year="1975"><span class="GramE"><span style="font-family: Arial;">April</span></span><span style="font-family: Arial;"> 29<sup>th</sup>, 1975</span></st1:date><span style="font-family: Arial;">.&#8221; Of the 4,000 volumes of avant &amp; post-avant
writing I have lying about the house, none &#8211; not even the Clay Fear collection
of Kathy Acker imitations with the blow job on the cover &#8211; comes close to this
one for its evocation of an involuntary visceral response. <o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: Arial;">Frank Stanford was still
alive when the first edition of <i style="mso-bidi-font-style: normal;">Battlefield
</i>was issued &amp; it may even be his design &#8211; no credit is given. The cover
of this edition foregrounds the word &#8220;battlefield&#8221; in the title, where the 2000
edition is more ambiguous &amp; points to that ambiguity established by a noun
phrase that includes not only &#8220;battlefield&#8221; &amp; &#8220;love,&#8221; but also &#8220;moon&#8221; &amp;
the possibility of address. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">There is something so
extreme about a 542 page book that is typed rather than typeset &#8211; its
characters equal in width, the page unadorned to the point of a stark ugly
beauty. The design of the first edition accentuates everything about the text
itself that can be called raw. This is worth noting for a couple of reasons.
One is that by 1977, when this book was coming out, Stanford had been in
college for several years &amp; was well on his way to writing pretty standard
MFA mill poetry. Committing to this &#8220;early&#8221; work was much more than playing on
his precociousness as a teenager, it meant admitting the legitimacy of this
completely <span class="GramE">Other</span> vision of what poetry could be. In
1977, there was nothing you could find even remotely close to what Stanford was
doing &#8211; the surrealist scene around Franklin Rosemont, for example, or the Beat
variant around Philip Lamantia, are both quite tame in comparison to <i style="mso-bidi-font-style: normal;">Battlefield</i>. Further, in the age of the
internet, after Bill &amp; Hillary, &amp; after Lucinda Williams &amp; C.D.
Wright, it is difficult, if not impossible, to imagine just exactly how removed
from mainstream literary culture </span><st1:state><st1:place><span style="font-family: Arial;">Arkansas</span></st1:place></st1:state><span style="font-family: Arial;"> was in the 1970s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The 1977 design of <i style="mso-bidi-font-style: normal;">Battlefield</i> appears calculated to make
the book leap out at the reader from every possible angle. 25 years later, in
an era when college students in </span><st1:place><span style="font-family: Arial;">Western Massachusetts</span></st1:place><span style="font-family: Arial;">
conduct daylong readings of the entire volume, the 2002 design may very well be
the right one to permit readers to pick up new threads &amp; possibilities in
this dense work. Each edition shows why it&#8217;s a wise book that understands its
cover. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Sunday, September 29, 2002</span></h2>

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<span style="font-family: Arial;">In 1969, Jonathon Williams&#8217;
Jargon Society published a volume of Lorine Niedecker&#8217;s poetry entitled <i style="mso-bidi-font-style: normal;">T&amp;G</i>. The book&#8217;s subtitle was <i style="mso-bidi-font-style: normal;">The Collected Poems (1936-1966)</i>.
Unpaginated, the text ran all of 60 pages, a number of which were devoted to A.
Doyle Moore&#8217;s plant prints. Thirty-three years hence, it seems stunning that we
can now have a book entitled simply <i style="mso-bidi-font-style: normal;">Collected
Works</i> (University of California, 2002) whose gathering of Niedecker&#8217;s poems
and prose totals 362 pages, with over 100 additional pages of notes and indices
to lend the volume heft. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In
my mind, I had linked Niedecker with <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2002_09_01_ronsilliman_archive.html%2382087760">Besmilr
Brigham</a>, connecting the pair to a larger <span class="SpellE">Dickinsonian</span>
tradition of women writing in isolation. But now I think that the parallel
feels forced. Brigham &amp; Niedecker share two important dimensions:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; 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;">Each lived
precariously on the economic margins at a considerable geographic distance from
major literary centers<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 75.0pt; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo2; tab-stops: list 75.0pt; 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;">Both held a
visible relation to the Pound/Williams tradition &#8211; more to Williams than to
Pound &#8211; and connected to the scene primarily through the mail.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Beyond
that, though, they are profoundly different poets. Part of it may just be
generational &#8211; Niedecker was ten years older, having been born in 1903, with
her earliest poems have been written in the 1920s and her connection to
Zukofsky and the Objectivists dating from the early 1930s. Brigham may have
been a late starter by comparison &#8211; her first publication in <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span> </i>in 1966 occurs when she is 53 (although
apparently telling people that she was ten years younger). <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">It&#8217;s
worth considering what the curious history of the Objectivists meant not just
to Niedecker but to all of the writers usually associated with that rubric &#8211;
active and working together in the early 1930s, but not quite jelling in terms
of public response, followed by an erasure from public view in the 1940s &amp;
&#8216;50s, only to return again, this time triumphant, in the 1960s. For one thing,
Niedecker&#8217;s own position vis-à-vis the participants in the famous February 1931
issue of <i style="mso-bidi-font-style: normal;">Poetry</i> &amp; subsequent anthology
had changed by the mid-1960s. Fully mature as a poet, she was in no way outside
the circle by the time of their collective re-emergence. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Furthermore,
Niedecker had benefited from the long silence as did several of the
Objectivists as they became a far more disciplined and cohesive group of poets
than they had been in the early 1930s. Without any wider audience for so many
years, the Objectivists had only themselves and a few others as readers for
nearly 20 years.* The work that came out of the long silence was more spare
than that which had gone before. Consider the florid tone of this passage by
Carl Rakosi, which actually led off the Objectivist issue of <i style="mso-bidi-font-style: normal;">Poetry, </i>the first stanza from a piece
entitled &#8220;<span class="SpellE">Orphean</span> Lost&#8221; from a larger serial poem
called &#8220;Before You&#8221;:<o:p></o:p></span></div>
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<span style="font-family: Arial;">The
<span class="SpellE">oakboughs</span> of the cottagers<br />
descend, my lover<span class="GramE">,</span><br />
with the bestial evening.<br />
The shadows of their swelled trunks<br />
crush the frugal herb.<br />
The heights lag<br />
and perish in a blue vacuum. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">This
overwrought text, which initiated a revolution, is not to be found in Rakosi&#8217;s <i style="mso-bidi-font-style: normal;">Collected Poems.</i>** If anything, the text
reflects a love-hate relationship with surrealism that shows up both in <i style="mso-bidi-font-style: normal;">Poetry,</i> which included two Rimbaud
translations by Emanuel <span class="SpellE">Carnevali</span> as well as a little
symposium on the &#8220;gratuitous and arbitrary&#8221; poetry of Parker Tyler and Charles
Henri Ford, and in the anthology where Zukofsky literally rearranged the lines
of a Kenneth Rexroth work in seemingly random order, to the latter&#8217;s
considerable vexation. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">All
that deliberate excess is gone by the 1960s. Thus we can identify a second
factor separating First and Third Phase Objectivism*** &#8211; a new emphasis on a
spare, unadorned style not always evident during the 1930s. This was reinforced
by the return to writing of George Oppen, who had had the most austere
aesthetic during that first decade<span class="GramE">.+</span> <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Niedecker
may have been isolated geographically, but she was integrally part of this
literary cabal and it is this community that created the foundation for her
broad acceptance, especially after her death in 1970. Brigham never had this &#8211;
the poets with whom she is said to have corresponded, Duncan &amp; Creeley, were already famous
by the 1960s. Older than either of them, Brigham never made the transition from
correspondent to peer. While the work of those two men was associated with </span><st1:place><st1:placename><span style="font-family: Arial;">Black</span></st1:placename><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">Mountain</span></st1:placetype><span style="font-family: Arial;"> </span><st1:placetype><span style="font-family: Arial;">College</span></st1:placetype></st1:place><span style="font-family: Arial;">, where each had taught, they had always been completely different poets
and, by the 1960s, each was evolving according to impulses and demands that had
little to do with one another, regardless of their mutual admiration. So it
turns out that it is Brigham far more than Niedecker who was truly the Outsider
poet.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">This
is true in other ways as well. Place is important to both of Niedecker &amp;
Brigham, but Niedecker inhabits the Wisconsin of her poems with a sense of its presence,
very nearly its omnipresence++<span style="mso-spacerun: yes;">&nbsp; </span>compared
with the far more tentative landscapes the peripatetic Brigham confronts in
Mississippi, Texas, Mexico &amp; Arkansas. I sense Niedecker truly in her
environment whereas Brigham carries the perspective of someone who appears to
have been an observer more than a participant, regardless of the context&#8230;just
passing through, taking notes. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">My
impression of this is heightened by the fact that Brigham is a poet of the eye,
whereas Niedecker thinks and proceeds by ear. A distinction like that is simply
a part of one&#8217;s human chemistry &#8211; it&#8217;s not a question of right or wrong
decisions &#8211; but the distinction plays out in important ways for poetry.<span style="mso-spacerun: yes;">&nbsp; </span>There is a tonal logic in Niedecker&#8217;s work,
as there is, say, in the poetry of Larry Eigner, which is extraordinary to
read. The poetry as a result possesses a cohesion that communicates as total
life prosody &#8211; you are never in doubt that you&#8217;re in the presence of a major
poet with Niedecker. Brigham&#8217;s poems are no less intense or intelligent, but
tonally they&#8217;re more diverse &#8211; the range is from straightforward narrative,
rather like the piece I quoted on September 25, to highly enjambed. You can see
&amp; feel all of her directions, but never quite sense that presence of an overwhelming
unifying force. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">On
the other hand, a true <i style="mso-bidi-font-style: normal;">Collected Poems of
Besmilr Brigham</i> might tell as different a story as Niedecker&#8217;s <i style="mso-bidi-font-style: normal;">Collected Works</i> does from <i style="mso-bidi-font-style: normal;">T&amp;G: The Collected Poems (1936-66).</i><o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">* &amp; even this overstates the case. Oppen had dropped out
almost entirely, working as a political organizer, fight in the Second World
War, then choosing exile in </span><st1:country-region><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Mexico</span></st1:place></st1:country-region><span style="font-family: Arial; font-size: 10.0pt;"> during the McCarthy era. Bunting,
more of a sporadic than a prolific poet, was off in the </span><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Middle East</span></st1:place><span style="font-family: Arial; font-size: 10.0pt;"> occupied with espionage. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: Arial; font-size: 10.0pt;">**
Two of the four sections of &#8220;Before You,&#8221; have been preserved: &#8220;<span class="SpellE"><span class="spelle">Fluteplayers</span></span> from <span class="SpellE"><span class="spelle">Finmarken</span></span>&#8221; and &#8220;Unswerving
Marine,&#8221; both of which show up in the section of the <i style="mso-bidi-font-style: normal;">Collected</i> entitled &#8220;Amulet,&#8221; albeit not in the order they appeared
in 1931.<o:p></o:p> All four sections can be found as separate poems in <i style="mso-bidi-font-style: normal;">Poems 1923-1941</i>, Andrew <span class="SpellE">Crozier&#8217;s</span> admirable excavation of Rakosi&#8217;s work from
Objectivism&#8217;s First Phase. </span><span style="color: black;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 10.0pt;">*** See &#8220;Third Phase Objectivism,&#8221; <i style="mso-bidi-font-style: normal;">Paideuma</i>, Vol. 10, No. 1, &#8220;George Oppen
Issue,&#8221; <span class="GramE">Spring</span>, 1981, National Poetry Foundation, </span><st1:place><st1:city><span style="font-family: Arial; font-size: 10.0pt;">Orono</span></st1:city><span style="font-family: Arial; font-size: 10.0pt;">, </span><st1:state><span style="font-family: Arial; font-size: 10.0pt;">ME</span></st1:state></st1:place><span style="font-family: Arial; font-size: 10.0pt;">, pp. 85-89.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 10.0pt;">+ The noteworthy exception to the austere style is Zukofsky.
To a significant degree, the commitment to <i style="mso-bidi-font-style: normal;">&#8220;A&#8221;
</i>pushed his own poetry in different directions than the rest of the
Objectivists, although his shorter pieces often reflect the stripped-down
aesthetic of his cohort.<span style="mso-spacerun: yes;">&nbsp; </span>A test of my
thesis about the impact of &#8220;disappearance&#8221; of Objectivism in the 1940s can be
seen in the work of the two younger poets from that issue of <i style="mso-bidi-font-style: normal;">Poetry </i>who continued to write and
publish: Rexroth and Ted Hecht. Their poetry evolved in ways different from the
core Objectivist group as well as different from one another &#8211; neither adopted
anything like a spare style. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 3.0pt;">
<span style="font-family: Arial; font-size: 10.0pt;">++ Interestingly, when Niedecker turns to place as Other, in
the four-part poem &#8220;</span><st1:state><st1:place><span style="font-family: Arial; font-size: 10.0pt;">Florida</span></st1:place></st1:state><span style="font-family: Arial; font-size: 10.0pt;">,&#8221; she too emphasizes the eye &#8211; both
opening and closing sections focus on the visual aspects of the state &#8211; the
birds, the older women wearing slacks. <o:p></o:p></span></div>
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<h2 class='date-header'><span>Wednesday, September 25, 2002</span></h2>

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<a href="https://www.blogger.com/null" name="OLE_LINK1"><span style="font-family: Arial;">One of
literature&#8217;s great latent potentials is the capacity to take a reader to far and
distant places. In my own life, I have had the occasion to share the stage in
what is now St. Petersburg, Russia, with Ivan Zhdanov, a poet born and raised
in Siberia, who simply shut his eyes and recited a long poem and though
virtually all I could get out of it with my pathetic Russian was the pure
prosody of the occasion, delivered in Zhdanov&#8217;s impeccable baritone, I was left
in awe, a wonderment I still feel 13 years later. <o:p></o:p></span></a></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">I feel a similar sense of poetry&#8217;s great reach when reading the work of
people whose own life experiences seem radically different from my own. Frank
Stanford&#8217;s childhood in the <span class="GramE">deep</span> South would be one
instance. Lorine Niedecker in the woods and small towns of rural </span></span><st1:state><st1:place><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">Wisconsin</span></span></st1:place></st1:state><span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;"> is another.
Besmilr Brigham is a third.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">When I first began publishing poetry in the mid-1960s in little journals
such as Meg Randall&#8217;s <i style="mso-bidi-font-style: normal;">El <span class="SpellE">Corno</span> <span class="SpellE">Emplumado</span></i>, Brigham was
one of the other poets whose work one could expect to see. The poems were
spare, with a ragged, Creeley-<span class="SpellE">esque</span> line and
evidenced a familiarity with such things as farm animals that indicated a life
more rural than my own. Brigham was one of those poets whom I expected I would
someday meet. But I never did. There was one book from Knopf in 1971, <i style="mso-bidi-font-style: normal;">Heaved from the Earth,</i> but at some point
toward the end of that decade, I stopped seeing the poems in journals and then
nothing but silence. Brigham had apparently joined poetry&#8217;s legion of
disappeared, those poets whose work, though eminently worth reading, goes out
of print never apparently to return. There are many poets (including several in
the Spicer circle, such as Harold Dull, Ronnie <span class="SpellE">Primack</span>
and James Alexander) whose work deserves to be read but which simply can no
longer be found. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">All of which is to explain why I felt such joy to find, finally, a
volume, <i style="mso-bidi-font-style: normal;">Run Through Rock: Selected Short
Poems of Besmilr Brigham,</i> edited by C.D. Wright and published by Lost Roads
in 2000. Wright is also the editor who rescued Frank Stanford&#8217;s great long
poem, <i style="mso-bidi-font-style: normal;">The Battlefield Where the Moon Says
I Love You,</i> republished by Lost Roads the same year as the Brigham
volume.<span style="mso-spacerun: yes;">&nbsp; </span>Maybe Brigham&#8217;s work would not
have stayed lost forever had not Carolyn thought to take this project on &#8211;
Brigham&#8217;s son-in-law is the Southwest poet Keith Wilson &#8211; but in the
publication of poetry, there are no guarantees. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poems are much as I remember them, both wonderful &amp; modest. Like
several other poets of that period &#8211; Cid Corman, Ted Enslin, James Weil, Simon <span class="SpellE">Perchik</span> &#8211; Brigham&#8217;s shorter pieces understand the virtue of
never trying to accomplish too much. Where they differ from the more austere
programs of some of these other poets is in their openness to detail and their
commitment to the eye. It is the eye that connects her to another poet of this
period: Larry Eigner. Where Eigner&#8217;s poems initially appear light and airy on
the page, only to reveal the intense epistemological concerns that drove him,
Brigham&#8217;s poems are more notational and relaxed even when they&#8217;re also in the
same moment dark &amp; disturbing. A good example might be &#8220;Man Found in
Chiapas Woods&#8221;:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">hung up in the tree<br />
a thing that did not grow there<br />
his body stayed for seven<br />
rank moons<br />
until the priests found him<br />
<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>what he brought<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>climbing to the limb fork<br />
<span style="mso-tab-count: 1;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span>choked&#8212;<br />
until no rope could strangle it<br />
<br />
pushing the tight words<br />
deeper than the heart&#8217;s rush<br />
(the few<br />
<br />
who saw him after<br />
a bauble blowing in the wind<br />
ran from the soul strung up:<br />
a cadaver of flesh without a cross<br />
and crossed their souls in silence<br />
<br />
he swung alone<br />
except for the big caw parrots<br />
that passed bush-deep from rain<br />
and hot birds<br />
shaking their feathers thick under leaves<br />
skin-blackened<br />
<br />
flesh sucked out with sun<br />
a dried leather covers his bones<br />
stuck watery<br />
like old clung bark<br />
breaking and gummed to the dying sap<br />
<br />
though there was a time<br />
when wind<br />
sucked under his clothes<br />
before the cord sandals fell<br />
<br />
and the faded old pants danced<br />
a wild bird<br />
caught in their crotch<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">The poem as a whole is terrific and Brigham gives it ample time to
develop. Yet it is precisely the gradual pacing of development that lets in
what I hear as overly hokey lines: &#8220;pushing the tight words / deeper than the
heart&#8217;s rush&#8221; (the lines also <i style="mso-bidi-font-style: normal;">sound great</i>
which may have kept them there &#8211; the added syllable in the second line is
actually the third one &#8211; &#8220;than&#8221; &#8211; pushing &#8220;the&#8221; further out the line and giving
a slant to the parallel noun phrases). Ultimately, I trust the decision to keep
these lines, even as I suppress a shudder. The willingness to go anywhere is
part of Brigham&#8217;s commitment to the reader.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bookmark: OLE_LINK1;"><span style="font-family: Arial;">In addition to her short poems, Besmilr Brigham also worked in sequences
&amp; serial poems, none of which are collected here. Hopefully another volume
will appear in the future.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<span style="mso-bookmark: OLE_LINK1;"></span>

<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*Wilson
himself has a collection forthcoming from Chax Press that hopefully will get
his work out to a wider audience than it has had to date.<span style="mso-spacerun: yes;">&nbsp; </span><o:p></o:p></span></div>
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