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Showing posts with label <b>Magee</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>Monday, February 12, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I know that some people are going to cringe to hear this note&#8217;s topic sentence, so let&#8217;s just be blunt about it. We can come back and address the collateral damage after:<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:Arial;color:black'>Fifty years from now, when people are writing without irony of &#8220;the classics of flarf,&#8221; one of the works that will turn up on that relatively short list will be <a href="http://comboarts.org/blog/?page_id=31"><span style='color:black'>Michael Magee&#8217;s</span></a> <i style='mso-bidi-font-style:normal'>My Angie Dickinson.<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The book has just been released by Zasterle Press, so recently in fact that it doesn&#8217;t yet show up either on the <a href="http://webpages.ull.es/users/mbrito/zasterle.htm"><span style='color:black'>Zasterle website</span></a>, nor that of <a href="http://www.spdbooks.org/SearchResults.asp?AuthorTitle=magee,+michael"><span style='color:black'>Small Press Distribution</span></a>, where eventually you will be able to buy it. <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 idea that <a href="http://jacketmagazine.com/30/fl-intro.html"><span style='color:black'>flarf</span></a>, which Gary Sullivan <a href="http://epc.buffalo.edu/authors/bernstein/syllabi/readings/flarf.html"><span style='color:black'>once characterized</span></a> as <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt; margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;color:black'>A quality of intentional or unintentional &quot;<span class=SpellE>flarfiness</span>.&quot;</span></span><span style='font-size:10.0pt;font-family:Verdana;color:black'> <span class=GramE>A kind of corrosive, cute, or cloying, awfulness.</span> Wrong. Un-P.C. Out of control. &quot;Not okay.&quot;</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><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'>should have &#8220;classics&#8221; is, by itself, problematic. The whole notion of a &#8220;classic&#8221; &#8220;awfulness&#8221; ought to be oxymoronic even if one were to associate it with the somewhat older notions of kitsch or camp. But when I think of kitsch, say, I think of some social institution on the order of the <i style='mso-bidi-font-style:normal'><a href="http://en.wikipedia.org/wiki/Lawrence_Welk"><span style='color:black'>Lawrence <span class=SpellE>Welk</span> Show</span></a></i>, the 1950s TV <span class=GramE>bandleader whose sense of the polka drained the music of <a href="http://www.angelfire.com/folk/polka/history.html"><span style='color:black'>its ethnic heritage</span></a></span>, substituting a treacly version of super-Americanism. <a href="http://mainstreampoetry.blogspot.com/"><span style='color:black'>Flarf</span></a>, by its character, goes against that grain, raising its forms to the level of conscious while, in most cases, both loving &amp; attacking them at the same time.<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'>Magee&#8217;s choice of Emily Dickinson is a case in point. Magee notes in his forward that he seeks to <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'>disrupt some of the pieties around Emily Dickinson&#8217;s work that I don&#8217;t believe have served her poems very well. (As an example, I would note the rarely mentioned fact that Emily Dickinson is one of the funniest poets ever.)<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'>Whitman &amp; Dickinson share an outsider&#8217;s perspective on what was already a submissive &amp; imitative Anglophiliac literary establishment by the end of the Civil War, but where, when the descendants of that establishment claim Whitman for their own today, they simply look like fools, Dickinson&#8217;s own social isolation permitted her work to be mediated by that same establishment. That she is, grammatically at least, the most disruptive &amp; fragmentary poet of the 19<sup>th</sup> century &#8211; Blake, Lautréamont &amp; Rimbaud have nothing on her &#8211; has often been smoothed over by School of Quietude &#8220;heirs,&#8221;&#185; at least until Susan Howe reclaimed the poet in all her rawness. It&#8217;s not an accident that Magee&#8217;s title points directly at Howe&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.writing.upenn.edu/~afilreis/88/my-emily.html"><span class=GramE><span style='color:black'>My Emily Dickinson</span></span></a></i>, nor that he acknowledges her by name in his foreword. <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'>Magee&#8217;s description of his methodology deserves to be noted:<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 poems in this book were written during an intensive period of reading and writing in 2003 and 2004. I was curious as to whether I could, using some of Emily Dickinson&#8217;s forms, evoke in my own readership that combination of shock, bewilderment, excitement, pleasure (a process of <span class=SpellE>dis</span>-orientation and re-orientation) that I imagined Dickinson&#8217;s earliest readers must have felt when reading her work. I was cognizant of the fact that </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Dickinson</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>&#8217;s poems, in both form and content, remain surprisingly volatile despite the various historical attempts to render them more placid. This is especially true of those invisible poems that continually escape anthologization and discussion, many of which stray far from English hymnology. So, I reread Emily Dickinson&#8217;s Collected Poems and, as I did, performed Google searches using the phrase &#8220;Angie Dickinson&#8221; combined with bits of syntax from Emily Dickinson&#8217;s poems: &#8220;Angie Dickinson&#8221; + &#8220;Hope is&#8221;. Likewise I would sometimes integrate rhyming words into the search: &#8220;Angie Dickinson&#8221; + &#8220;with a&#8221; + &#8220;chimp&#8221; + &#8220;limp&#8221;. Each poem involved a series of such intuitive searches followed by fine stitching together, the mouse replacing the needlepoint.<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 picking <i style='mso-bidi-font-style:normal'><a href="http://en.wikipedia.org/wiki/Angie_Dickinson"><span style='color:black'>Angie</span></a> </i>rather than, say, Emily Dickinson, &#8220;a sort of <a href="http://en.wikipedia.org/wiki/Zelig"><span class=SpellE><span style='color:black'>Zelig</span></span></a> figure in American popular culture,&#8221; Magee is picking not only the former <a href="http://www.imdb.com/name/nm0001141/bio"><span style='color:black'>lover of Frank Sinatra</span></a> &amp; actress in <a href="http://www.imdb.com/name/nm0001141/"><span style='color:black'>over 130 films &amp; TV shows</span></a>, but also a creature as self-made in her own way as was the poet. <span class=SpellE>Angeline</span> Brown &#8211; </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Dickinson</span></st1:place></st1:City><span  style='font-size:10.0pt;font-family:Arial;color:black'> was the surname of her first husband &#8211; was, like Lawrence <span class=SpellE>Welk</span>, <a href="http://www.roadsideamerica.com/sights/sightstory.php?tip_AttrId==11800"><span style='color:black'>born in North Dakota</span></a> but transformed in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>L.A.</span></st1:place></st1:City><span   style='font-size:10.0pt;font-family:Arial;color:black'> The first major American  female actress to routinely accept roles that required nudity &amp; later the longtime star of <i style='mso-bidi-font-style:normal'>Police Woman, </i>Dickinson offered a persona that was tough, just a little brassy, but also always intelligent. She was a natural progression in a chain of actresses that included Dietrich &amp; <span class=SpellE>Bacall</span>. <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 had a hunch that searching her name would throw up an unending stream of interesting <span class=SpellE>Googled</span> material. Whatever voices emerged from this procedure <span class=GramE>were</span>, to my mind, pure &#8220;flarf&#8221;&#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'>Here, just to test this, is &#8220;087&#8221;:<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'>To Die For &#8212; an idea &#8212; is Rather<br>
Vegas to Flea<br>
Let&#8217;s not &#8212; Devolve into Conjecture &#8212;<br>
Sea-change on me.<br>
<br>
The president hasn&#8217;t &#8220;Entered the Image&#8221; &#8212;<br>
Achilles assumed when hid,<br>
Himself among Women Puzzling questions<br>
An old Yearning with His dad &#8212;<br>
<br>
Jon Bon <span class=SpellE>Jovi</span> is<br>
Classic deadbeat showing<br>
Up &#8212; occasionally &#8212;<br>
In Order &#8212; to beat &#8212; up His mother<br>
Version &#8212; &#8220;to fully&#8221; &#8212;<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 is where it gets interesting. Magee&#8217;s poems replicate the start-stop stutter step movement central to </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Dickinson</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s prosody, but <i style='mso-bidi-font-style:normal'>through </i>this sonic veil we get glimpses of a world that is sharply etched, celebrity-ridden, but also more than a little dangerous. What Magee&#8217;s searches found literally appears to have been a series of websites that included </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Dickinson</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> among other targets of <span class=SpellE>celeb</span> gossip (hence Bon <span class=SpellE>Jovi</span>) as well as others that recap the narratives of various films &amp; TV episodes. The overall effect is a little like viewing the world through a TV that gets only two channels: E! <span class=GramE>&amp; Turner Classic Movies.</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'>As a project, <i style='mso-bidi-font-style:normal'>My Angie Dickinson</i> also rubs up against the notorious vessel model of communications, the linguistic equivalent of intelligent design. In this telling, poems functionally are molds into which content is then poured. <span class=GramE>But as with the poem above, what results constantly refutes the theory itself.</span> The materiality of these snatches &#8211; &#8220;&#8217;too fully&#8217;&#8221; indeed &#8211; push back with as much resistance as Vegas or <a href="http://en.wikipedia.org/wiki/Flea_(musician)"><span style='color:black'>Flea</span></a>.Throughout, one catches Magee&#8217;s own deft hand &amp; sense of wit, as with &#8220;082&#8221;:<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'>An &#8220;added&#8221; &#8212; Pleasure &#8212;<br>
Tinsel Girl remembered &#8212;<br>
Feathers<br>
His &#8220;menacing peril&#8221; &#8212;<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 overall result is not that far away from something like Charles Bernstein&#8217;s <i style='mso-bidi-font-style:normal'>Nude Formalism: </i>brilliant, hilarious, deeply conceived, completely serious, with more twists than a pretzel factory, <i style='mso-bidi-font-style:normal'>well written, </i>but still thoroughly flarf. Just for good measure, <i style='mso-bidi-font-style:normal'>My Angie Dickinson </i>is also the most ambitious production, design wise, Zasterle has yet attempted. This book is a joy. <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; To the degree that one poet I know used to claim you could read all of her poems aloud to the tune of <i style='mso-bidi-font-style:normal'>The Yellow Rose of </i></span><st1:State><st1:place><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Texas</span></i></st1:place></st1:State><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>. </span></i><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>If you suppress all the dashes (or presume them to be silent or &#8220;not really there&#8221;), this just might be plausible.</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> <span style='mso-spacerun:yes'> </span><o:p></o:p></span></p>
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