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Showing posts with label <b>Douglas Rothschild</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>Douglas Rothschild</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, May 13, 2009</span></h2>

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<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><img height="218" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/7jdA3YWP_yIv4PcT-84CiIRyFpymBsdMJJf-mnikHPStLAjYU9smPKMJ-PELazbP8Bv3XcaWRGJe2febt_me4SgUD-7G0Fs3dqOw0s4q4sLQKquGdWc%3Ds0-d" width="142"><span style='mso-spacerun:yes'>&#160;</span><img height="218" id="_x0000_i1026" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/OW3IRLEGeoZKIbiVeMT1QwuTy-IaVDuM_GtLoZDPLa4EqswgD9B5J31Nb3yjGc57w6zuYbvA1i3uVcEqyZ3T6lUZhy0qE8s1Ug%3Ds0-d" width="183"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Literature loves its bad boys and girls, from Rimbaud to Kathy Acker, from Edgar Allan Poe to Jack Kerouac, from Jean Rhys to William Burroughs or Gregory Corso to Stephen Rodefer. We expect them to tell us the truth. We expect them to tell us what propriety would otherwise edit out. <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'>I took both <span class=SpellE>Chelsey</span> Minnis&#8217; <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/oytkwm"><span class=SpellE><span style='color:black'>Poemland</span></span></a> </i>and Douglas Rothschild&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Producte/9781930068407/theogony.aspx"><span style='color:black'>Theogony</span></a> </i>with me to the <st1:place w:st="on"><st1:country-region w:st="on">U.K.</st1:country-region></st1:place>, not expecting them to be such a wonderfully matched set. But in more ways than they might suspect, Minnis is to the personal what Rothschild is to the political. Each volume is the yin to the other&#8217;s yang. Yet I know nothing to suggest that these two exceptionally witty, often brilliant poets have ever read one another, let alone met or been influenced by one another. Nor, for that matter, do I have any reason to believe that the &#8220;bad boy&#8221; or &#8220;bad girl&#8221; aspect to their work is anything other than a stance. They may live like monks for all I know. <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'>Each lets you know instantly that you&#8217;re in for an intense &amp; unusual experience. The first poem in <i style='mso-bidi-font-style:normal'>Theogony: <o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Hard at Work<o:p></o:p></span></b></p>

<p class=MsoNormal align=center style='margin-bottom:12.0pt;text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
</span></b><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8220;[S]he told me /Top/<span class=SpellE>ik</span>/, [eminent danger] I heard, [impending disaster]&#8221;<o:p></o:p></span></i></p>

<p class=MsoNormal align=right style='margin-top:0in;margin-right:1.5in;margin-bottom:12.0pt;margin-left:21.0pt;text-align:right;text-indent:-.25in;mso-list:l0 level1 lfo1;tab-stops:list 21.0pt'><!--[if !supportLists]--><span style='font-size:10.0pt;font-family:Arial;mso-fareast-font-family:Arial;color:black'><span style='mso-list:Ignore'>&#8211;<span style='font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></span></span><!--[endif]--><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Jean Luc Nancy<o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-top:0in;margin-right:1.5in;margin-bottom:12.0pt;margin-left:1.5in'><span class=SpellE><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>i</span></span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> shifted back &amp; forth<br>
<br>
all day. <span class=SpellE><span class=GramE>i</span></span> had thought it out.<br>
The reality of disaster over-<br>
took the concept of danger<br>
&amp; became tantamount<br>
<br>
in my mind. <span class=SpellE><span class=GramE>i</span></span> was paralyzed<br>
&amp; reacted suddenly &amp; with-<br>
out warning.<b style='mso-bidi-font-weight:normal'><o:p></o:p></b></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The first work, or page, in <span class=SpellE><i style='mso-bidi-font-style:normal'>Poemland</i></span><i style='mso-bidi-font-style:normal'>:<o:p></o:p></i></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'>This is a cut-down chandelier&#8230;<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'>And it is like coughing at the piano before you start playing a terrible waltz&#8230;<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'>The past should go away but it never does&#8230;<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'>And it is like a swimming pool at the foot of the stairs&#8230;<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'>Each poem here might be said to be about tone as much as anything else &#8211; Rothschild&#8217;s is anxious, Minnis&#8217; whimsical &amp; offbeat. Minnis manages to hold to her tone even in pieces that have darker implications:<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'>This is a present of tiny pretty scissors&#8230;<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'>Which you must use to cut your beast hair&#8230;<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'>I am a vile baby&#8230;<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'>Look, death, I have so much delicious vulture food within my chest cavity&#8230;<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'>Likewise, the undercurrent of alarm is maintained by Rothschild &#8211; often by the judicious use of linebreaks that appear offhand but prove to be razor sharp &#8211; even when the topic appears innocuous:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>What<br>
is it Wittgenstein says? At the end<br>
of the <i style='mso-bidi-font-style:normal'>Tractatus? </i>Hovering just above<br>
the edge of the page &#8211; the wide, flat<br>
edge? The one on which you write? Or<br>
that which you cannot see, it is not<br>
there?<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 Rothschild&#8217;s thesis in <i style='mso-bidi-font-style:normal'>Theogony </i>could be reduced to <span class=GramE><i style='mso-bidi-font-style:normal'>That</i></span><i style='mso-bidi-font-style:normal'> which is not there is all that is the case.</i> Although the book collects poems from as far back as 1997, it is a volume profoundly &#8220;about&#8221; the events of September 11, 2001 from the perspective of someone who lived in close proximity to the fallen towers. &#8220;<st1:Street w:st="on"><st1:address w:st="on">Union Square</st1:address></st1:Street>,&#8221; directly opposite the poem above, is as evident a political poem as one might imagine:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>As the F-14&#8217;s circle, the possibility<br>
of an oppositional politics has<br>
evaporated. The young people<br>
sit, their heads empty, their can-<br>
<span class=SpellE>dles</span> lit. Their eyes focused on<br>
nothing &amp; their mouths agape<br>
in the headlights&#8217; glare.<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 ask here which headlights, whose headlights? But Rothschild&#8217;s point here is the utter vulnerability of the shocked &amp; his despair seems absolute, figured in the mid-word linebreak within <i style='mso-bidi-font-style:normal'>candles, </i>the poem itself flickering. Yet <i style='mso-bidi-font-style:normal'>Theogony </i>&#8211; think of that title for awhile &amp; what Rothschild is intending by appropriating Hesiod &#8211; is not all gloom. Thus, for example, &#8220;Mysterious Playwrights&#8221;:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Even as a Joke<span class=GramE>:</span><br>
<br>
The real mystery is<br>
why some poets don&#8217;t<br>
just leave the play<br>
<br>
writing to the play<br>
wrights. Really &#8211; ever<br>
<br>
read any of August<br>
<span class=SpellE>Strindberg&#8217;s</span> poems?<br>
<span class=GramE>or</span> Harvey <span class=SpellE>Fierstein&#8217;s</span>?<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 sounds just like Jack Spicer at his most  dyspeptic. Rothschild doesn&#8217;t need to name names here to make his point. <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 parallel (but opposite) mode, Minnis can let down her guard so that we see what underlies her almost manic surrealism:<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'>I look to the left and right with my eyes and then I swing the sharp thing&#8230;<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'>As you rise out of a cloud on a mechanized contraption&#8230;<br style='mso-special-character:line-break'>
<!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'>
<!--[endif]--><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 you open your mouth to start to complain I will fill it with whipped cream&#8230;<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'>There is a floating sadness nearby&#8230;<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 appears directly opposite the poem I quoted above. It&#8217;s a love poem, but one predicated on terrible grief, entirely unnamed. Stopping the complaint via whipped cream may seem like the foolery of lovers, but it is precisely the same refusal to name, to confront names, that is at the heart of Rothschild&#8217;s Wittgenstein work. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Poemland</span></i></span><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is composed of short sequences, mostly seven to ten pages, of works just like the ones quoted here, three to six lines in prose always ending in an ellipsis (even when none is needed). There are maybe a dozen of these sections, each divided by a black page containing the book&#8217;s title &amp; half of its universal product code. <i style='mso-bidi-font-style:normal'>Theogony </i>is more traditional, broken into seven sections that could have been chapbooks. <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'>Finally, both books end unsatisfactorily, at least to my eye. <span class=GramE>Neither poet is completely able to carry off their song &amp; dance all the way to the end and</span> the last 20 pages seem to peter out in repetition of what&#8217;s gone before. In one way, Minnis gets more faint while Rothschild gets <span class=GramE>more shrill</span>, sounding finally like a leftwing Glen Beck, with no more political subtlety or nuance than Fox News&#8217; newest <span class=SpellE>wingnut</span> broadcaster. <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 this ultimately is the great structural problem of &#8220;bad boy (or girl) poetics&#8221; &#8211; if you carry it on long enough, it just gets sad or pathetic (which is why the ones who fare best die young). Watching, say, &#8220;terrible genius&#8221; Andrei Codrescu <span class=GramE>devolve</span> from naughty surrealist to avuncular southerner is like watching a car crash re-enacted in <span class=SpellE>Jello</span>. But at least Codrescu &#8211; unlike, say, Charlie Simic &#8211; was able to gun the engine for awhile. Minnis &amp; Rothschild are almost certainly at their very best right about now &amp; these are both really excellent books. But it&#8217;s much harder to imagine what they&#8217;re going to be writing in another 20 years. </span><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></p>
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