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<p class='description'><span>A weblog focused on contemporary poetry and poetics.</span></p>
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Showing posts with label <b>Cole Swensen</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>Cole Swensen</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, July 30, 2014</span></h2>

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<h2 class='date-header'><span>Thursday, February 09, 2012</span></h2>

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<h2 class='date-header'><span>Saturday, September 11, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><embed id="VideoPlayback" src="//video.google.com/googleplayer.swf?docid=1922792138812320981&amp;hl=en&amp;fs=true" style="width:400px;height:326px" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash"> </embed></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://en.wikipedia.org/wiki/Cole_Swensen"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Cole Swensen</span></a> <a href="http://video.google.com/videoplay?docid=1922792138812320981"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>talking</span></a> with <a href="http://jenniferkdick.blogspot.com/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Jennifer Dick</span></a><br> for <i style='mso-bidi-font-style:normal'><a href="http://www.thecontinentalreview.com/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>The Continental Review</span></a><o:p></o:p></i></span></p>
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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img height="195" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/cK_ZI-on2sGJEAH-uoX_Eo1j-GAddf1dh_HYGJw7JqHSWd9u7U9DiLK5Bjnn99q2N5RAWXK3OZ4yipkJJwLHeudQu_A%3Ds0-d" width="170"><span style='mso-spacerun:yes'>&#160;</span><span style='mso-spacerun:yes'>&#160;</span><img height="195" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/0NaxQMP-4h9vE8IoN6_h1A9C-E7bJ4Vu9mpTBNm1oFBlGVxTJ8RB3egw3vnqjFIVoCSJiRWbtKtxQyHc-2mLAXY3F68mMabNVGxmxCaBHd0%3Ds0-d" width="152"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8220;All conceptual writing is allegorical writing&#8221; argue Rob Fitterman &amp; <st1:Street w:st="on"><st1:address w:st="on">Vanessa  Place</st1:address></st1:Street> in <i style='mso-bidi-font-style:normal'><a href="http://www.uglyducklingpresse.org/page-notes.html"><span style='color:black'>Notes on Conceptualisms</span></a>, </i>a fascinating little book with painfully small type<i style='mso-bidi-font-style:normal'>. </i>At the core of Cole Swensen&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.ucpress.edu/books/pages/11018.php"><span style='color:black'>Ours</span></a>, </i>published last year by the University of California Press, is the allegory of the garden, French gardens to be exact, and especially the work of André Le Nôtre (1613-1700), the &#8220;father,&#8221; to use Swensen&#8217;s term for it, &#8220;of the French formal garden.&#8221; Le <span class=SpellE>Nôtre&#8217;s</span> work most famously includes <a href="http://www.students.sbc.edu/gregg09/Versailles%20images/Versailles%203.jpg"><span style='color:black'>Versailles</span></a>, as well as <a href="http://upload.wikimedia.org/wikipedia/commons/7/76/Chateau_de_Chantilly_garden.jpg"><span style='color:black'>Chantilly</span></a>, <a href="http://userserve-ak.last.fm/serve/_/5836602/Domaine+National+de+SaintCloud+2366220.jpg"><span style='color:black'>Saint-Cloud</span></a>, <a href="http://bighugelabs.com/flickr/onblack.php?id=2172625468/&amp;size=large"><span class=SpellE><span style='color:black'>Sceaux</span></span></a>, <a href="http://www.alovelyworld.com/webfranc/gimage/fra098.jpg"><span style='color:black'>Vaux-le-<span class=SpellE>Vicomte</span></span></a> &amp; the <a href="http://upload.wikimedia.org/wikipedia/commons/f/fd/Jardins_des_Tuileries.JPG"><span style='color:black'>Tuileries</span></a>, where he himself was born, the son &amp; grandson of royal gardeners. Le Nôtre, of course, means <i style='mso-bidi-font-style:normal'>ours </i>in French, but this isn&#8217;t the most important dimension of the pun tucked into the book&#8217;s title. Rather it is the logic of the garden, or of a certain type of garden, &amp; the logic of the poem, <i style='mso-bidi-font-style:normal'>our art. </i>Or of a certain type of poem, the sort that Cole Swensen might be called upon to write. And beyond that, possession (or at least possessiveness) of the earth itself, such as royalty might imagine to be their &#8220;divine right.&#8221; <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'>But if all conceptual writing is allegorical, does it then follow that the reverse is also true? If <span class=GramE><i style='mso-bidi-font-style:normal'>Ours</i></span><i style='mso-bidi-font-style:normal'> </i>represents a booklength allegory, does this mean that it is a form of conceptual writing? And is Cole Swensen a conceptual poet? As the co-editor of <i style='mso-bidi-font-style:normal'>American Hybrid, </i>an anthology that seeks to define a middle path between post-avant &amp; quietist poetics, one might think Swensen exists outside of the flarf vs. conceptual debate, or that her work &amp; vision of poetry in some way precedes it. It&#8217;s difficult to imagine the precision of her writing alongside the loud (and knowing) nonsense of Kenneth Goldsmith typing up (or, more likely, scanning in) <i style='mso-bidi-font-style:normal'>The New York Times</i>, or the Hugo Ball-meets-Daffy Duck aural pyrotechnics of Christian Bök&#8217;s <i style='mso-bidi-font-style:normal'>Eunoia, </i>the thinking man&#8217;s <a href="http://en.wikipedia.org/wiki/Mel_Blanc"><span style='color:black'>Mel Blanc</span></a>.<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'>Like Goldsmith&#8217;s work, which makes extraordinary use of facts even as it problematizes that category, Swensen&#8217;s poem is obsessed with external detail:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>The first orangerie in <st1:country-region w:st="on">France</st1:country-region> was built by <st1:City w:st="on"><st1:place w:st="on">Amboise</st1:place></st1:City> at the end of the 15<sup>th</sup> century,<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>but</span></span><span style='font-size:10.0pt;font-family:Verdana;
mso-bidi-font-family:Arial;color:black'> the form reached its height in the 17<sup>th<o:p></o:p></sup></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:0in;margin-left:.75in;margin-bottom:.0001pt;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>coinciding</span></span><span style='font-size:10.0pt;font-family:
Verdana;mso-bidi-font-family:Arial;color:black'> with what&#8217;s called &#8220;The Little Ice Age,&#8221;<o:p></o:p></span></p>
<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.75in;text-indent:-.25in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>a</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;
color:black'> series of exceptionally cold winters<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;ont-family:Arial;color:black'>But where Goldsmith&#8217;s work &#8211; and to a lesser degree that of Bök &amp; the other poets who are normally (or normatively) implied by the rubric conceptual &#8211; strives to demonstrate form without ever being at all &#8220;literary,&#8221; Swensen is writerly as all get out. Its demonstration of &#8220;the literary&#8221; <i style='mso-bidi-font-style:normal'>is </i>its claim to form. One could write a book about how Swensen uses the line in <span class=GramE><i style='mso-bidi-font-style:normal'>Ours</i></span><i style='mso-bidi-font-style:normal'>, </i>and of the balance between prose &amp; verse evident in so many of its sections. That book would be much larger than <span class=GramE><i style='mso-bidi-font-style:normal'>Ours</i></span><i style='mso-bidi-font-style:normal'>, </i>and would never be completely equal to its subject. Consider the second of these three lines: <i style='mso-bidi-font-style:normal'>The circle of philosophers / in stone; riven by voices, they stand at crossroads; they incite fountains. The voices / grow louder whenever someone lives. </i>A line with not one but four hard stops &#8211; Swensen offers the most complex verse line since Olson, but never does so with the wheezing lunge that propels the bard of <st1:City w:st="on"><st1:place w:st="on">Gloucester</st1:place></st1:City> forward like a lemur through a forest&#8217;s canopy. The essence of her line is balance, just as his is imbalance. Yet her line <span class=GramE>here,</span> not unlike so many of his, begins <i style='mso-bidi-font-style:normal'>and ends </i>in the middle &#8211; there is nothing contained or complete. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Allegorical writing is necessarily inconsistent, containing elaborations, recursions, sub-metaphors, fictive conceits, projections, and <span class=SpellE>guisings</span> that combine and recombine both to create the allegorical whole, and to discursively threaten this wholeness. In this sense, allegory implicates Gödel&#8217;s First Incompleteness Theorem: if it is consistent, it is incomplete; if complete, inconsistent.<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'>At which moment Place &amp; Fitterman insert their claim that heads up this note. <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'>All of this is true &#8211; in spades &#8211; of Swensen&#8217;s <span class=GramE><i style='mso-bidi-font-style:normal'>Ours</i></span><i style='mso-bidi-font-style:normal'>. </i>Is she therefore a conceptual poet? One might think so, and yet<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'>One might as well argue her role in the history of flarf on the grounds that, long ago &amp; far away, she was Nada Gordon&#8217;s junior high school teacher. <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'>Flarf &amp; conceptual poetics have been treated as antitheticals, except where they&#8217;re not. In five years (or minutes) no one will remember that they were once imagined to be oppositional, rather than as flavors of a larger investigative poetics. Flarf will discover that conceptualism expands the terrain of writing by valuing the extra-(and anti-) literary, conceptualism will discover that flarf&#8217;s ruling framework &#8211; &#8220;badness&#8221; &#8211; is an inherently conceptual move. <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'>Hybrid poetry, by definition, brings alternative paths together: Pound&#8217;s <i style='mso-bidi-font-style:normal'>Mauberly </i>not perceived as satire. The first hybrid poet, almost by design, was Marianne Moore, old friend of Pound, advocate of Williams, but working a day job as editor of <i style='mso-bidi-font-style:normal'>The Dial, </i>the magazine that invented &#8220;dull&#8221; long before <st1:place w:st="on"><st1:City w:st="on"><i style='mso-bidi-font-style:normal'>Paris</i></st1:City></st1:place><i style='mso-bidi-font-style:normal'> Review, Granta </i>or <i style='mso-bidi-font-style:normal'>Narrative</i>. Yet there was nothing dull about <st1:City w:st="on"><st1:place w:st="on">Moore</st1:place></st1:City>, just as there is nothing dull about Swensen, C.D. Wright, Ann <span class=SpellE>Lauterbach</span>, Robert Hass, <span class=GramE>Donna</span> <span class=SpellE>Stonecipher</span>, Forrest Gander or any of the other poets one might today imagine as &#8220;hybrids.&#8221;<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>If allegory assumes context, conceptual writing assumes all context. (This may be in the form of an open invitation, such as <span class=SpellE>Dworkin&#8217;s</span> <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Producte/9781891190285/parse.aspx"><span style='color:black'>Parse</span></a>, </i>or a closed index, such as Goldsmith&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.geoffreyyoung.com/thefigures/day.html"><span style='color:black'>Day</span></a>, </i>or a baroque articulation, such as Place&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.lesfigues.com/lfp/28/dies-a-sentence"><span  style='color:black'>Dies</span></a>.</i>) Thus, unlike traditional allegorical writing, conceptual writing must be capable of including unintended pre- or post-textual associations. This abrogates allegory&#8217;s (false) simulation of mastery, while remaining faithful to allegory&#8217;s (profound) interruption of correspondences. Allegory breaks mimesis via its <span class=SpellE>constellatory</span> features &#8211; what scattershot this is. Conceptualism&#8217;s mimesis absorbs what Benjamin called &#8220;the adorable detail.&#8221;<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'>This suggests instead good vs. bad allegory. On the one side are a series of texts that might be called instances of mastery (<i style='mso-bidi-font-style:normal'>Ours </i>would be a case in point), on the other a series of texts that approach (indeed seek) unreadability in the name of breaking mimesis. A literature of works that one might have no particular desire to read, not unlike the idea that not everyone will want a urinal in their living room, even if it is signed &#8220;R. Mutt.&#8221;<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'>Swensen reminds us that the old fashioned approach to extraneous (non-lyrical) data invading the text is called research. <i style='mso-bidi-font-style:normal'>Ours</i> sits like an ice flow atop a surface beneath which lies all of her reading &amp; thinking on the subject of gardens. If, in fact, there are &#8220;adorable details,&#8221; they arrive via selection, precisely what the conceptualist counter-examples listed above <span class=GramE>seem</span> to call into question.<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'>What is the role of selection in poetry? <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'>When I moved to <st1:State w:st="on">Pennsylvania</st1:State> in 1995, one of the local phenomena that I had not anticipated was the presence of numerous formal gardens open to the public: <a href="http://www.hosking.org/gallery/slideshow.php?set_albumName=Longwood-Gardens-2007"><span style='color:black'>Longwood Gardens</span></a>, <a href="http://www.chanticleergarden.org/index.html"><span style='color:black'>Chanticleer</span></a>, <a href="http://gardenblog.winterthur.org/page/2/"><span style='color:black'>Winterthur</span></a> down in <st1:State w:st="on"><st1:place w:st="on">Delaware</st1:place></st1:State>. The first &amp; last of these had been homes for the <a href="http://en.wikipedia.org/wiki/DuPont"><span style='color:black'>DuPont</span></a> family, who very much sought to replicate the best of French noble living in the new world (the founder of the American business empire had in fact defended Louis XVI &amp; Marie Antoinette from a mob at the Tuileries in 1792, an act that led to the family&#8217;s move to North America). Gardens such as these remind one very much just how close culturally this part of the nation is<span style='mso-spacerun:yes'>&#160; </span>to its European roots, a far cry from either the drought resistant gardens that are the rage these days in the American west <i style='mso-bidi-font-style:normal'>or </i>the consciously socialist landscape architecture of a <a href="http://en.wikipedia.org/wiki/Frederick_Law_Olmsted"><span style='color:black'>Fredrick Law Olmsted</span></a>. That Swensen would pick Le Nôtre, rather than Olmsted, as the source for her work is, as a poker player might put it, a fascinating <a href="http://www.urbandictionary.com/define.php?term=tell"><span class=GramE><span style='color:black'>tell</span></span></a>. She is, after all, one of our leading translators of poetry from the French. But if the logic of Olmsted&#8217;s gardens, with their sensitivity to landscape &amp; imbalance, might lead one inexorably to the poetics, say, of a Charles Olson, the gardens of Le Nôtre seem obsessive in their symmetries. <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'>As an aesthetic dynamic, symmetry is inherently stable, even static. Asymmetry by definition is unstable, it tends to lurch about. <i style='mso-bidi-font-style:normal'>La <span class=SpellE>Bayadère</span> </i>vs., say, Sally Silvers, Simone <span class=SpellE>Forti</span> or even Twyla Tharp. Symmetry is the driving principle of all closed works of art, indeed of closure itself. <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'>One might argue that the conceptualist works figured above are themselves obsessively symmetrical &#8211; <i style='mso-bidi-font-style:normal'>completeness </i>is a value in &amp; of itself (it&#8217;s not enough to do just a page of the <i style='mso-bidi-font-style:normal'>New York Times</i>). Just as one might argue that they are nothing but catalogs of adorable detail. <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'>And one might argue that Swensen is no less obsessive than, say, Goldsmith, in the projects she takes on &#8211; <i style='mso-bidi-font-style:normal'>Ours </i>is not a poem about a garden, but a book, and one that leaves unspoken what is surely its largest single claim &#8211; that writing poetry is essentially (I mean this adverb literally) a process of gardening. From the forest of language to arrive at a garden of text, a poem.<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'>Is Cole Swensen a conceptualist or the disproof of conceptualism? Or is conceptualism the proof or disproof of Cole Swensen?<o:p></o:p></span></p>
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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8220;Language is eyes,&#8221; Zukofsky&#8217;s Shakespeare reminds us repeatedly throughout <i style='mso-bidi-font-style:normal'>Bottom, </i>which is perhaps why it seems so odd that Zukofsky &amp; so many of those who have followed his lead in American letters over the past half century get slammed from time to time for being &#8220;non-referential.&#8221; Referentiality is inherent in language and while it can be played with, even (as Clark Coolidge demonstrates conclusively in <i style='mso-bidi-font-style:normal'>The Maintains </i>and <i style='mso-bidi-font-style:normal'>Polaroid</i>) stymied, it never goes away for very long. <a href="http://www.poets.org/poet.php/prmPID/704"><span style='color:black'>Cole Swensen&#8217;s</span></a> <i style='mso-bidi-font-style:normal'><a href="http://www.alicejamesbooks.org/glass_age.html"><span style='color:black'>The Glass Age</span></a> </i>is a masterwork that takes the question of reference seriously, making it the subject of her book, a trio of interlinked series that focus on windows, glass, motion pictures, post-impressionist painting, phenomenology, ontology &amp; life as it currently is being lived. <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'>A remarkably adept, even facile craftsperson &#8211; I know of no poet who makes the most stunning verbal effects on the page look more effortless &#8211; Swensen is in some ways the epitome of a third way poet in today&#8217;s cultural landscape. Her critical assumptions, literary strategies and approach to the text clearly <span class=GramE>places</span> her among the finest post-avant poets we now have. And, as this volume amply demonstrates, Swensen addresses a topic long associated with post-avant poetics in ways that are primarily narrative and figurative, strategies long associated with 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'>. It&#8217;s not an accident that Swensen is on the faculty of the Iowa Writers Workshop, nor <span class=GramE>that this book comes blessed</span> with a blurb from John Ashbery, the quintessential poet with one foot in each world. It is, I think, the most challenging tight-wire proposition in contemporary poetry, but Swensen makes it look &#8220;natural,&#8221; even &#8220;easy,&#8221; terms <span class=GramE>whose</span> multiple, conflicting connotative shadings she would be able to de- (and re-) construct without breaking stride. Consider this page, or passage (or section &#8211; it is in some sense all three) towards the end of &#8220;The Open Window,&#8221; the first of the three serial poems that make up <i style='mso-bidi-font-style:normal'>The Glass Age. </i>It begins with a consideration of the paintings of <a href="http://tinyurl.com/2auxoa"><span style='color:black'>Pierre</span></a> <a href="http://en.wikipedia.org/wiki/Pierre_Bonnard"><span  style='color:black'>Bonnard</span></a>, a painter whose life stretched from shortly after the American Civil War until just after World War 2. Bonnard&#8217;s many paintings of rooms dominated by an open window <span class=GramE>is</span> the governing figure of this first suite. However, the two previous sections each focused on issues of early cinema:<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.7in;margin-bottom:12.0pt;margin-left:.7in;text-align:justify'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>There&#8217;s something cinematic about Bonnard&#8217;s compositions, each scene accentuating action, yet also decentralizing it, diffusing the focus into a plane that hums, a homogeneous intensity extending anarchically<span style='mso-tab-count:1'>   </span><br>
<br>
which is echoed in its details &#8211; the pattern of the curtain coming in at the same scale as that of the variegated crops in the background and the tablecloth in the fore. It&#8217;s an equivalent world, one in which each element serves as a clinamen to trip the homogeneity into precipitating specifics so numerous that they can construct a roiling chaos quite able to hurtle through darkness without a hitch.<span style='mso-tab-count:1'>      </span><br>
<br>
Which can also be said of glass, with its random atomic arrangement, like that of a liquid, say, a river stopped mid-gesture, the blink that fixes the picture, suspending it on the surface, a permanent floating leaf.<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 form of this passage mimes the content. The discussion starts off at a high level of generalization, goes through some exceptionally complex flourishes before coming to a perfect rest only with the final image. The flourishes are exactly what Swensen suggests, &#8220;a homogenous intensity extending anarchically&#8221; &#8211; it&#8217;s worth thinking awhile as to what that might mean &#8211; and (my favorite) &#8220;a clinamen to trip the homogeneity into precipitating specifics.&#8221; What&#8217;s so remarkable here is how clearly Swensen plays the clatter of <i style='mso-bidi-font-style:normal'>p</i> &amp; <i style='mso-bidi-font-style:normal'>t</i> sounds to signal a high degree of organization right as she is about raise the figure of a &#8220;roiling chaos,&#8221; albeit one &#8220;quite able to hurtle through darkness without a hitch.&#8221; All of this takes place in an independent clause, one that is balanced by the primary architecture of this same sentence: <i style='mso-bidi-font-style:normal'>It&#8217;s an equivalent world. </i>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'>With justified prose blocks that contain a sentence that ends one paragraph only to also begin the next, the text plays with concreteness &amp; abstraction, not unlike &#8220;a river stopped mid-gesture.&#8221; Because there are 23 pages prior to this one, all of them invoking facets of these same figures in a variety of juxtapositions, this somewhat closer reading barely touches of the surface of the connotative fields virtually every noun here sets into motion. These kinds of breath-taking displays occur page after <span class=GramE>page<span style='mso-spacerun:yes'>  </span>in</span> <i style='mso-bidi-font-style:normal'>The Glass Age</i>, making the reader, this one anyway, almost giddy at the connectedness. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>One question for me reading this book is whether, in fact, it is one work or three.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> I think ultimately it is one, albeit one in the same way that John Ashbery&#8217;s <i style='mso-bidi-font-style:normal'>Three Poems </i>is a single poem. The inter-relationships active in each of the three texts &#8211; Bonnard is on the first page, Bonnard is on the last &#8211; are so dense that breaking them down into three sequences seems ultimately the harder-to-justify act, the integrity of these movements seems infinitely more tenuous than that of the whole. <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'>Though I&#8217;ve already invoked him twice here, the poet whom I really think it is most interesting to pose as a context for <i style='mso-bidi-font-style:normal'>The Glass Age </i>isn&#8217;t John Ashbery, but Michael Palmer. For one thing, many of the values in Palmer&#8217;s work &#8211; precision, beauty, the philosophical dimension of language &#8211; are active in Swensen&#8217;s poems as well, more so than in Ashbery&#8217;s, which is more open to humor &amp;, perhaps as a result, takes on more of a <span class=SpellE>hopalong</span> gait. Ashbery can seem quite goofy, something <span class=GramE>neither Palmer or</span> Swensen ever do. But if Palmer is more of a language poet than Swensen, it is precisely because his own aesthetic, one part Robert Duncan, the other part de Chirico, feels much closer to the New American poetry &amp; its quarrel with modernism, as such. Swensen, who has written of <a href="http://bostonreview.net/BR27.5/swenson.html"><span style='color:black'>this very issue</span></a> with regards to contemporary poetics, seems largely free of the problem. Even as Swensen writes of Bonnard, or of <a href="http://tinyurl.com/2ytnyk"><span class=SpellE><span style='color:black'>Vilhelm</span></span><span style='color:black'> <span class=SpellE>Hammershøi</span></span></a>, another painter of windows born in the 1860s, her poetry doesn&#8217;t feel backwards-looking in the slightest. If there is any part of Ashbery that is at all close to what she&#8217;s doing, it&#8217;s his work in <i style='mso-bidi-font-style:normal'>Rivers and Mountains, </i>especially &#8220;The Skaters&#8221; and &#8220;Into the Dusk-Charged Air,&#8221; writing that imagines what would happen if surrealism &amp; Oulipo were entirely American phenomena. Swensen carries this sense  of possibility much further, while being a lot smoother than Ashbery was more or less at the same age. The question for her here is something more like what if philosophy were geometry were art history, the sum total being a poem. From my perspective, it&#8217;s almost impossible to describe. You will just have to read <i style='mso-bidi-font-style:normal'>The Glass Age </i>to find out. <o:p></o:p></span></p>
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