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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>Paul Auster</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>Paul Auster</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>Thursday, October 04, 2012</span></h2>

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on Brooklyn &amp; <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0114478/"><span style='color:#262626; mso-themecolor:text1;mso-themetint:217;mso-style-textfill-fill-color:#262626; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=85000 lumo=15000"'>Smoke</span></a><o:p></o:p></i></span></p>
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<h2 class='date-header'><span>Monday, May 07, 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'>There was a time when a serious novelist got his start, or perhaps his training, by writing poetry. Less common now than it once was, one might find someone who had already earned a solid reputation as a poet &#8211; think of Gilbert Sorrentino, Toby Olson, Michael Ondaatje, Barry Gifford &#8211; before going on to write the novels for which he would become much more well known. The theory of course is that the concentrated writing demands of poetry would offer an intensive study that would yield dividends in the more leisurely fields of full-length fiction. <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'>Ezra Pound in turn suggested that before one write poetry, one should translate a lot of it, so as to internalize &#8220;the greats&#8221; as well as get through the learning stages without perpetually having to reinvent the wheel. One could see how Sappho or Dante or Lorca handled a particular writing problem so that, decades later, one might come to a problematic line-break (or whatever) with some sense that it had a history, that the decision one made carried with it more than the tactical need to get to the next line. The process also had two salutary side-effects: it got a lot of great work back into print in one&#8217;s own tongue in a contemporary way, and it tended to marginalize monolinguals among the wannabes, who after all were likely to be riff-raff. <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 novelist who actually went with the program is <a href="http://www.paulauster.co.uk/"><span style='color:black'>Paul</span></a> <a href="http://en.wikipedia.org/wiki/Paul_Auster"><span style='color:black'>Auster</span></a>, a writer certain to show up on any short list of the most innovative <span class=SpellE>fictioneers</span> of the past half century. Although, as it happens, I had been reading translations of his from the French for some time, it was the poetry of Paul Auster that I first happened to notice in little magazines in the 1970s. As a translator &amp; reader of French poetry, Auster&#8217;s 1982 anthology, <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/232b28"><span style='color:black'>The Random House Book of Twentieth-Century French Poetry</span></a> </i>was &#8211; and still is &#8211; the finest one-volume presentation of a foreign literature I&#8217;d ever seen. In retrospect, I find it hard to imagine that it&#8217;s been 25 years since this great collection was first published, and harder still to imagine that it&#8217;s out of print. That link above will get you to the list of 68 used copies currently available for sale. It&#8217;s one of those volumes that, to echo Pound, belongs on any poet&#8217;s five-foot bookshelf. <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'>Auster published a collection of his translations with <span class=SpellE>Marsilio</span>, a publisher that was active in the &#8216;90s in </span><st1:State><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'>, in 1997. Called <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/yoxprf"><span style='color:black'>Translations</span></a>, </i>the volume is not a gathering of all Auster&#8217;s work carrying modern French writing over into English, but rather a reprinting of four earlier booklength projects that were published separately, one by Living Hand in 1974, two by Jack Shoemaker at North Point &amp; one by Random House, the latter three all in the 1980s. The four writers translated are Joseph Joubert, <span class=SpellE>Stéphane</span> Mallarmé, Andre <span class=SpellE>du</span> Bouchet &amp; Philippe Petit. I&#8217;ve always loved Mallarmé, a writer who strikes me as more anticipatory of Le Style Zukofsky than Apollinaire, and similarly <span class=SpellE>du</span> Bouchet is someone whose <span class=GramE>work I seldom pass</span> up when I find it in any passable translation. He often strikes me as the first of </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>France</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s contemporary poets. The work of Pettit&#8217;s here is <i style='mso-bidi-font-style:normal'>The High Wire, </i>a series of short chapters or pieces built around the conceit that the line is a kind of tightrope, in some sense a descendant of the extended prose explorations, say, of Francis Ponge (viz. <i style='mso-bidi-font-style:normal'>Soap</i>). <span class=GramE>But without ultimately the subtlety, indirectness or irony of Ponge.</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'>But the real surprise for me here is Joubert, <span class=GramE>an</span> 18<sup>th</sup> century writer of aphorisms whose work I did not know. Reading these passages, one realizes that, contra Baudelaire, Aloysius Bertrand did not come out of nowhere when he first created <span class=SpellE><i style='mso-bidi-font-style:normal'>Gaspard</i></span><i style='mso-bidi-font-style:normal'> </i>in the 1820s. In fact, Joubert never published during his life and his notebooks didn&#8217;t start to come into print until over a decade <i style='mso-bidi-font-style:normal'>after </i>Bertrand&#8217;s work:<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;mso-bidi-font-family:Arial;color:black'>A century in which the body has become subtle, in which the mind has become coarse.</span></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-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'>One fills himself only with juices, warm waters, vapors, <span class=SpellE>lightnesses</span>. The other concerns himself only with matter, animals, minerals, configurations, and weights. Bodies that receive <span class=GramE>an over</span>-subtle nourishment and minds concerned only with objects that are too real and too hard, are equally depraved. <br> 
<span style='mso-spacerun:yes'>       </span>They have an earthly mind with airy bodies.<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;mso-bidi-font-family:Arial;color:black'>To live without sky . . .</span></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-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>To reason, to argue.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> It is to walk with crutches in search of the truth. We <span class=GramE>comes</span> to it with a leap. We must use reasoning to make sure we have reached the end and that we have covered the whole path. Likewise in the stadium, the runner touches the stone with his hands and steps back to see the barrier in front of the goal.<br>
<span style='mso-spacerun:yes'>       </span>These false rules only serve to persuade those who observe them that they have attained what they cannot attain.<br>
<span style='mso-spacerun:yes'>       </span>We have led our minds astray. . . .<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'>Among the three extensions, we must include time, space, and silence. Space is in time, silence is in space.<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'>To be in one&#8217;s place, to be at one&#8217;s post, to be part of the order, to be content. Not to murmur of suffering, to be incapable of being unhappy.<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'>Too much talk (they say). <span class=SpellE><i style='mso-bidi-font-style:normal'>Nota</i></span><i style='mso-bidi-font-style:normal'> <span class=SpellE>bene</span>: </i>too much writing.<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'>It is impossible to love the same person twice.<o:p></o:p></span></p>

<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>(ellipses in the original)<o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Ironically, perhaps, Auster&#8217;s <i style='mso-bidi-font-style:normal'>Translations </i>is itself now out of print (the link above again leads to used copies available), but <a href="http://www.nybooks.com/nyrb/"><span style='color:black'>New York Review Books</span></a> has apparently <a href="http://www.nybooks.com/shop/product?usca_p=t&amp;product_id=4559"><span style='color:black'>republished the <span class=SpellE>Jourbert</span></span></a>. I don&#8217;t know if the edition is expanded from the 145 pages gathered here &#8211; the complete version in French takes two volumes &#8211; but it is surely worth the price. I would say the same for both the <span class=SpellE>du</span> Bouchet &amp; Mallarmé.<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'>Anyone who has read Auster&#8217;s translations, say in the Random House anthology, will know that he&#8217;s a particularly <span class=SpellE>inobtrusive</span> presence as a translator, you never sense him wrestling with the author in the same way, say, as Clayton Eshleman does Vallejo. Auster gathers a number of these translations of other French poets &amp; runs them near the end of his own <i style='mso-bidi-font-style:normal'><a href="http://tinyurl.com/ynkm9h"><span style='color:black'>Collected  Poems</span></a>, </i>with only <span class=SpellE>du</span> Bouchet showing up in both projects (<span class=GramE>Neither</span> <span class=SpellE>du</span> Bouchet nor Pettit turn up in the Random House collection). These include versions of <span class=SpellE>Éluard</span>, Breton, Tzara, <span class=SpellE>Soupault</span>, <span class=SpellE>Desnos</span>, Char &amp; <span class=SpellE>Dupin</span>, and are dated 1967-69. They&#8217;re the earliest work in <i style='mso-bidi-font-style:normal'>Collected Poems </i>save for a prose work from 1967 at the end entitled &#8220;Notes from a Composition Book&#8221; that is right out of Joubert in its tactics. <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'>Auster&#8217;s own career as a poet in English extends from 1970 to 1979. As one might anticipate from somebody so thoroughly into the French thing, Auster&#8217;s work looks on its surface a little like New York School verse, especially of the uptown Columbia variant that looked more to Ron Padgett &amp; John Ashbery than, say, to Ted Berrigan (who, so far as I&#8217;m aware, never published any translations&#185;).<span style='mso-spacerun:yes'> 
</span>Where they differ, markedly, from the NY School, is in their tone, which like Auster&#8217;s austere prose is very subdued:<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'>Picks jot the quarry &#8211; eroded marks<br>
That could not cipher the message.<br>
The quarrel unleashed its alphabet<span class=GramE>,</span><br>
And the stones, girded by abuse,<br>
Have memorized the defeat.<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'>Even when Auster takes on what for him amounts to a gaudier surface, it has none of the cartoon moments that were so beloved downtown:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Fore-Shadows<br> </span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
I breathe you.<br>
I becalm you out of me.<br>
I numb you in the reach<br>
of brethren light.<br>
I suckle you<br>
to the dregs of disaster.<br>
<br>
The sky pins a vagrant star<br>
on my chest. I see the wind<br>
as witness, the towering night<br>
that lapsed<br>
in a maze of oaks<span class=GramE>,</span><br>
the distance.<br>
<br>
I haunt you<br>
to the brink of sorrow.<br>
I milk you of strength.<br>
I defy you<span class=GramE>,</span><br>
I deify you<br>
to nothing and <br>
to no one.<br>
<br>
I become<br>
your necessary and most violent<br>
heir.<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'>Frankly, it takes some courage, having become famous and known as a stylist in prose, to allow this last poem back into print. It&#8217;s clearly the work of somebody who is working at figuring out what he&#8217;s going to do with writing, but certainly not doing it yet. Which is basically the story of <i style='mso-bidi-font-style:normal'>Collected Poems, </i>the education of Paul Auster, who even at his sharpest here still is not who he will become once he turns to prose:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>In Memory of Myself<br>
</span></b><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br>
Simply to have stopped.</span></span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> <br>
As if I could begin<br>
where my voice has stopped, myself<br>
the sound of a word<br>
<br>
I cannot speak.<br>
<br>
So much silence<br>
to be brought to life<br>
in this pensive flesh, the beating<br>
drum of words<br>
within, so many words<br>
<br>
lost in the wide world<br>
within me, and thereby to have known<br>
that in spite of myself.<br>
<br>
I am here.<br>
<br>
As if this <span class=GramE>were the world</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'>These two books would make a great two-volume <span class=GramE>set,</span> tho right now I believe only the Joubert and the <i style='mso-bidi-font-style:normal'>Collected Poems </i>are in print. I&#8217;d love for Overlook to take the initiative somewhere down the road and bring them together. <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; This virtually is an invitation to be <span class=GramE>corrected,</span> and I&#8217;d love to be. <o:p></o:p></span></p>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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