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<h2 class='date-header'><span>Tuesday, June 03, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="152" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/bkdAD3Dj-SPkvaD0gPUjn3V8DyLNFa30rvPp9omPC0xBxcBtEChh-ZUiG4v-280Z2IpmCQuLwWZxr6mRRvMsBlfyidsWPqiS%3Ds0-d" width="94"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://herecomeseverybody.blogspot.com/2004/10/brian-henry-has-published-three-books.html"><span style='color:black'>Brian Henry&#8217;s</span></a> <i style='mso-bidi-font-style:normal'><a href="http://www.counterpathpress.org/aupgs/henry/henry.html"><span style='color:black'>The Stripping Point</span></a> </i>is a book containing two longish poetic sequences. Yet I could imagine, say, David <span class=SpellE>Markson</span> or Carole <span class=SpellE>Maso</span> writing something not so terribly far from this and calling it a novel, or perhaps two novella &#8211; whatever the plural of that might be. It&#8217;s a fascinating, <span class=GramE>difficult,</span> daring project and Henry, whose poetry I didn&#8217;t know before this turned up in the Poetry Society of America&#8217;s cartons of William Carlos Williams contestants (I&#8217;ve been aware of his work as critic &amp; <a href="http://versemag.blogspot.com/"><span style='color:black'>editor</span></a> for some time), Henry basically pulls it off. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In an interview on Counterpath Press&#8217; website, Henry describes the longer of the two sequences &#8211; <span class=GramE>&#8220; More</span> Dangerous than Dying&#8221; &#8211; as having its origins in a narrative sequence, or at least a sequence that he had written some ten years earlier, in which the poems were connected by their protagonists. When he picked up the sequence again in 2005, he revised the work, as I understand it, to meld characters, making the poem less of a narrative but actually more cohesive in that the perspective now is much more that of an interior subject, old friend &#8220;I&#8221;. I wonder if this isn&#8217;t also when he decided to balance each (or nearly each, the sole exception is the first poem&#185;) with an epigram placed on the facing page.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The epigrams are an interesting feature, and serve the work as a whole in more than a few ways. They comment on, or even against, the text of the poems themselves. And tho they&#8217;re not identified in the main body of the text (there is a four-page &#8220;sources&#8221; note at the poem&#8217;s end), they serve also to place the action of this scrambled narrative &#8211; it&#8217;s about a paper mill apparently, tho it could as easily be an auto plant or any sizeable manufacturing operation &#8211; within a larger community of voices. Henry&#8217;s choices are as interesting &amp; reflect as much thought (and a lot of close reading) as every other part of this work: Louis Zukofsky &amp; James Schuyler, both used three times, J.H. Prynne, Tom Clark, Donald Revell, Peter Gizzi, John Yau, Andrea Brady, Jean Donnelly, C.D. Wright (twice cited), but also James Merrill &amp; Henri Cole. One might argue that this is almost a &#8220;third way&#8221; <span class=GramE>pantheon, that</span> attempt to meld the history of post-avant poetics &amp; that other of the most traditional poets in the language. What virtually all of these writers hold in common is a tendency &#8211; one sees this in Henry&#8217;s own writing &#8211; toward fine distinction, exact detail, a sense of the lushness of sound, tho the details presented often are as gritty as any Ben <span class=SpellE>Shahn</span> painting:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>A top-down directive<br>
requires a shuffling of cubicles<br>
<br>
Farewell faithful smokestack!<br>
Farewell tower of the freshly cut!<br>
Air redolent of pulp and death!<br>
Farewell <span class=SpellE>farewell</span> <span class=SpellE>farewell</span>!<br>
<br>
Eleven rows of cars my new vista<br>
their gleam and window glare<br>
their histories laid bare to me<br>
my Daily Journal of Heretofore Unknown Events<br>
<br>
No one to ignore me<br>
when I&#8217;m through<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Across the page to the left, we read two lines from Zukofsky&#8217;s <i style='mso-bidi-font-style:normal'>&#8220;A&#8221;-8: The company is constantly / experimenting on its own people. </i>All of Henry&#8217;s quotations are in italics, albeit unidentified until the end note, so that they never quite seem on a par with the ongoing text. It makes the poem twice the length it might otherwise have been, but also works to make it feel almost airy &amp; light. There is a lot of white space here, and it is all content. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The title poem works very differently. It lets you know this almost instantly, the first line being <i style='mso-bidi-font-style:normal'>Decide on deciduous or remain ever green. </i>Five lines later we find <span class=SpellE><i style='mso-bidi-font-style:normal'>Vanishment</i></span><i style='mso-bidi-font-style:normal'> in ravishment will produce a. </i>At which point the stanza &amp; page come to their conclusion. If there&#8217;s an antecedent for such verse, it&#8217;s in the work of Robert Duncan&#8217;s prior to <i style='mso-bidi-font-style:normal'>The Opening of the Field, </i>when </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Duncan</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was willing to incorporate not just sound, but sound as pure sensation, the most deliberate of debaucheries possible with the poem. Henry is willing to dive just as deep:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in;line-height:150%'><span style='font-size:10.0pt;line-height:150%;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>A blanket of blankets swarms the bed<br>
Ten degrees and cropping<span style='mso-spacerun:yes'> &nbsp; &nbsp;</span>six sheets to the wind<br>
The door frame chipped and tawdry<br>
Who succumbs to coming<span style='mso-spacerun:yes'> &nbsp; &nbsp;</span>twice in an evening<br>
Tram or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;   </span>tram or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;   </span>tram or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;    </span>tram<br>
Or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;   </span>tram or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;</span>tram or bus<span style='mso-spacerun:yes'> &nbsp; &nbsp;   </span>tram<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Which version of the verb <i style='mso-bidi-font-style:normal'>to come </i>here is the pun, since both are in <span class=GramE>play?</span> The terms <i style='mso-bidi-font-style:normal'>tram </i>and <i style='mso-bidi-font-style:normal'>cropping </i>hint at the fact that Henry was living in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Australia</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> when first he wrote this text. <span class=SpellE>Unpeopled</span> &#8211; or more accurately, absent any narrative characterization &#8211; <i style='mso-bidi-font-style:normal'>The Stripping Point </i>is perhaps closest thing to classically defined langpo as I&#8217;ve seen in awhile &#8211; I can see this piece right alongside Clark Coolidge, Zukofsky&#8217;s &#8220;80 Flowers&#8221; or the work of Stephen Ratcliffe, all writers &amp; works very much governed by the ear &amp; written without fear. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The sum of all these inclinations won&#8217;t shock anyone, I suspect, who reads <i style='mso-bidi-font-style:normal'>Verse, </i>or who has read Henry&#8217;s earlier books. People like to point out that there is no such thing as &#8220;third way&#8221; poetics, that mythic midpoint betwixt the </span><st1:place><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>School</span></st1:PlaceType><span  style='font-size:10.0pt;font-family:Arial;color:black'> of </span><st1:PlaceName><span   style='font-size:10.0pt;font-family:Arial;color:black'>Quietude</span></st1:PlaceName></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'> and post-avant writing, that the writers &#8211; with certain exceptions &#8211; aren&#8217;t really in touch with one another, that they don&#8217;t hang out as a gang, let alone have the constant communal contact that people around St. Marks Place have, or that my colleagues on <i style='mso-bidi-font-style:normal'>The Grand Piano </i>project maintain by email. But the reality is that there is a poetry here that does mix &amp; match, almost at will, and that some of it &#8211; such as this work by Henry or poetry by C.D. Wright, Ann Lauterbach, Cole Swensen or Forrest Gander &#8211; is breath-<span class=SpellE>takingly</span> good. The idea that a book like <i style='mso-bidi-font-style:normal'>The Stripping Point </i>could have come out of anywhere other than San Francisco or New York would have been unthinkable even twenty years ago, let alone 50. So it&#8217;s a real marker of how poetry in </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>America</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> is changing, not just formally, but geographically even. And it&#8217;s very good news indeed. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Tho the poem as a whole has an epigram, which may almost serve the same purpose, or at least points to that possibility. <o:p></o:p></span></p>
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_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>