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<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://pasttentspress.com/tp.htm"><span style='color:black'>Songs Aside</span></a> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>appears to collect ten years&#8217; poetry by Ted Pearson into a single volume. Depending on how one reads the book, this represents 120 poems gathered into four sequences, or four poems with 120 sections between them, or even &#8211; the way I&#8217;ve been reading it &#8211; a single extended meditation. I just don&#8217;t hear it as accidental that Pearson&#8217;s movements of 36, 24, 24 &amp; 36 parts apiece occur with such symmetry. Nor does the symmetry stop there. All 120 pieces use precisely the same form: four stepped couplets, moving across the page not unlike the poetry of the later Williams or of Larry Eigner. In each case the third couplet &#8220;steps back&#8221; to align vertically with the second line of the first. The result is what I would call a step, forward, back, forward progression that is the closest thing I&#8217;ve ever seen in poetry to the box step of the waltz. <o:p></o:p></span></p>

<p style='margin-left:1.0in;text-indent:-.5in'><span style='font-size:10.0pt;font-family:Verdana;color:black'>Polis is spoils<br>
in mirrored shades &nbsp;<o:p></o:p></span></p>

<p style='margin-left:2.0in;text-indent:-.5in' id=line3><span style='font-size:10.0pt;font-family:Verdana;color:black'>of works and days<br>
an old refrain &nbsp;<o:p></o:p></span></p>

<p style='margin-left:1.5in;text-indent:-.5in' id=line2><span style='font-size:10.0pt;font-family:Verdana;color:black'>the sting of which<br>
collective sweat &nbsp;<o:p></o:p></span></p>

<p style='margin-left:2.5in;text-indent:-.5in' id=line3><span style='font-size:10.0pt;font-family:Verdana;color:black'>a cool breeze<br>
don't explain &nbsp;<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'>For a sax player like Pearson &#8211; a one-time student of Lee <span class=SpellE>Konitz</span> if I&#8217;m not mistaken &#8211; the proliferation of possibilities in this space, barely more than twice that of a haiku, is almost without limit. At a <a href="http://media.sas.upenn.edu/pennsound/authors/Pearson/Conrad_pearson_03-04-04.mp3http:/media.sas.upenn.edu/pennsound/authors/Pearson/Conrad_pearson_03-04-04.mp3"><span style='color:black'>reading</span></a> at Kelly Writers House in 2004 (in which you can the final two sections of this book), Pearson himself referred to <i style='mso-bidi-font-style:normal'>Songs Aside </i>as a quartet, and the individual sections as movements. This poem, the first in &#8220;The Devil&#8217;s Aria,&#8221; starts off the first of the book&#8217;s two sequences to make heavy &amp; pointed use of rhyme (another symmetry: the second &amp; fourth sections of the book use rhyme, the first &amp; third for the most part don&#8217;t &#8211; hence 60 poems of each variety). &amp; while this poetics has, and is aware of, many antecedents &amp; affinities &#8211; Pearson at Writers House mentions Blake, Mallarmé &amp; Celan as its &#8220;presiding ghosts,&#8221; while I hear also Dickinson &amp; Rakosi &#8211;<i style='mso-bidi-font-style:normal'> </i>so many of its particular pleasures are pure Pearson: the way the first line above builds from the first &amp; third words being near anagrams of the other, the shift to an almost cyberpunk image of sunglasses, then in the third line the title of Hesiod&#8217;s <a href="http://en.wikipedia.org/wiki/Works_and_Days"><span style='color:black'>poem</span></a>, which often enough is translated into the Latin as <i style='mso-bidi-font-style:normal'>Opera et Dies, </i>an echo of Pearson&#8217;s own  sequence&#8217;s title, and whose argument is largely what follows, tho given a sharp final twist with that disagreement in number at the start of the very last line. <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'>There is a lot of compression here for a poem that plays so lightly on the ear &amp; the push-pull of those two aspects are a primary feature of many of the poems. In the final section, which takes its name, &#8220;Parker&#8217;s Mood,&#8221; from Charlie Parker&#8217;s last composition, a condensed history of blues &amp; jazz, Pearson allows found language to pile up in the ear in ways that will recall Christian Bök:<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.0in;text-indent:-.5in'><st1:time Minute="0" Hour="0"><span  style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Midnight</span></st1:time><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> special<br> 
amber waves<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:2.0in;text-indent:-.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>triple-filtered and<br>
stored in staves<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:1.5in;text-indent:-.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>the <span class=SpellE>vox</span> pop shops<br>
for boss tops<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:2.5in;text-indent:-.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>but the prize is<br>
on the bottom<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 result is as familiar as cliché, but feels also totally inevitable. The model here of Blake&#8217;s <i style='mso-bidi-font-style:normal'>Songs of Innocence and Experience </i>serves Pearson well. And the use of pop culture gives the piece a rough surface quite at odds with its formal dance. This is not &#8211; and this is where you can see the generation&#8217;s difference between Pearson, say, and the likes of Creeley &#8211; form as an extension of content, but rather the two quite literally pulling at one another. It yields <span class=GramE>a poetry</span> that, even when it takes on very public topics &#8211; both </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Iraq</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> wars figure thematically at different points &#8211; feels intimate in the way that only words can be.<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 fact, as I read Pearson&#8217;s own comments at the end <a href="http://www.english.wayne.edu/fac_pages/ewatten/creeley/creeleytp.html"><span style='color:black'>of an elegy of sorts to Creeley</span></a>, <i style='mso-bidi-font-style:normal'>Songs Aside </i>constitutes the third movement itself in a quartet of serial poems dating back to 1975 entitled <i style='mso-bidi-font-style:normal'>The Tune&#8217;s Image. </i><span class=GramE>Which is to say that this spare, almost minimalist work is simply one facet of a project that must be on the scale of 300 pages long.</span> That&#8217;s awesome to contemplate, and &#8211; just as I want there to be a big Collected, one that gathers all the work from <i style='mso-bidi-font-style:normal'>Evidence: 1975-1989</i> &amp; all the work after &#8211; this volume from Past Tents Press makes me hungry to see the whole of this cycle.<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'>And to see some serious distribution as well.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> Pearson has had one volume from Leslie Scalapino&#8217;s O Books, one from Roof, and early in his career one work as an issue of <i style='mso-bidi-font-style:normal'>Origin </i>&amp; another from Gil <span class=SpellE>Ott&#8217;s</span> Singing Horse Press. But more often he&#8217;s appeared from Larry Price&#8217;s <span class=SpellE>Gaz</span> &amp; Keith <span class=SpellE>Shein&#8217;s</span> <span class=SpellE>Trike</span>, presses that do great work printing books, but do so few that they have only the most tenuous circulation &amp; not nearly the &#8220;brand equity&#8221; they deserve. Then there are the volumes from Homeboy and Square Zero. It&#8217;s strange to think that Pearson&#8217;s most well distributed book just might be from a press in the </span><st1:place><span  style='font-size:10.0pt;font-family:Arial;color:black'>Canary Islands</span></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. Part of this no doubt is because, since leaving </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, Pearson has lived in cities without major poetry presses: </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Buffalo</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Ithaca</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Detroit</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>, </span><st1:City><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>Redlands</span></span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. And part of it I suspect is that Pearson&#8217;s poems, seldom longer than the two quoted above, appear to be minimalist. But in fact that&#8217;s a misconception. Pearson&#8217;s poetry is all about how much pressure you can exert on a few select words or lines and a new Collected or the complete <i style='mso-bidi-font-style:normal'>Tune&#8217;s Image </i>would quickly reveal that for Ted Pearson density of experience is all. Which is why a book so simple seeming as <i style='mso-bidi-font-style:normal'>Songs Aside </i>can be such a rich reading experience. <o:p></o:p></span></p>
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