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<h2 class='date-header'><span>Thursday, May 31, 2007</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:black'><img height="144" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/kl0GSrN1_GWnmFHk_iO4VzSzp9o2jWuLgpGJva3fqgFOFqhK_qCKedMQ_aUzayw8onCvKjX5J1i1v1m4A6ac22EhVE2iLg%3Ds0-d" width="98"><o:p></o:p></span></p>

<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://www.spdbooks.org/Details.asp?BookID=189119027X"><span style='color:black'>To the <span class=SpellE>Cognescenti</span></span></a>  </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is <a href="http://www.tommandel.com/"><span style='color:black'>Tom Mandel&#8217;s</span></a> <a href="http://www.spdbooks.org/SearchResults.asp?Title=&amp;Author=mandel,+tom&amp;Subtitle=&amp;submit=Search"><span style='color:black'>twelfth book</span></a>&#185; in just under 30 years. But it&#8217;s also his first in ten, eleven if you disallow his collaboration with the late Dan Davidson, <i style='mso-bidi-font-style:normal'>Absence <span class=SpellE>Sensorium</span>, </i>as a special project. Another way of saying this would be that Tom Mandel published ten books from the ages of 36 through the age of 54, and one solo edition since. That&#8217;s not an unusual pattern for a mature poet &#8211; Mandel hasn&#8217;t resorted to the Quietist dodge of tacking a half dozen pieces to an evolving &#8220;New &amp; Selected&#8221; that gets reissued under different titles every few years. As I once heard Anselm Hollo express this same progression, the older you get the more reasons you can think <span class=GramE>of</span> <i style='mso-bidi-font-style:normal'>not</i> to put some certain set of words down on paper, especially if you feel you&#8217;ve written <i style='mso-bidi-font-style:normal'>that </i>before. From the outside, this might look like increasing caution setting in with one&#8217;s second half century. My own sense is that it&#8217;s really more a phenomenon of sharpening one&#8217;s focus.<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'>Focus is the story of the poet Tom Mandel. As peripatetic as his vocational career has proven &#8211; he&#8217;s worked everywhere including the California Arts Council, Macmillan Books (where he worked on the novels of Harry Matthews but also published <i style='mso-bidi-font-style:normal'>Jonathan Livingston Seagull</i>), <span class=SpellE>SuperCuts</span> (where he was in charge of marketing), ComputerLand back when it was the largest single employer of poets in the 1980s, some venture involving golf shoes from Pakistan, directing the Poetry Center at San Francisco State, plus positions with a half dozen or more software startup firms &#8211; Mandel tuned in fairly early on to the fact that he was, or was going to be, a fundamentally spiritual poet. I first noticed this in <i style='mso-bidi-font-style:normal'>Realism, </i>published by Burning Deck in 1991, but reading through his books in reverse order now, I think it really starts to become obvious much earlier, no later than his fourth volume, </span><st1:place><i style='mso-bidi-font-style:normal'><span  style='font-size:10.0pt;font-family:Arial;color:black'>Central  Europe</span></i></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>. He is, alongside Fanny Howe &amp; Norman Fischer, one of the relatively few post-avants of the past half century for whom the axis of poetry is precisely the spiritual plane. <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 may seem surprising, given that Mandel is perhaps the most cosmopolitan of the language poets, a product (like David Melnick) of a <span class=SpellE>Straussian</span> education at the University of Chicago, a one-time student of Hannah <span class=SpellE>Arendt&#8217;s</span> &amp; protégé of sorts of Saul Bellow (which led to the job at Macmillan &amp; certainly didn&#8217;t hurt getting the position with the Poetry Center), a serious reader of philosophy &amp; theory (not just the usual suspects, either), a one-time member of the famed (and self-named) &#8220;Jew Group&#8221; of San Francisco alongside the likes of Melnick &amp; Ben Friedlander who brought their critical and close reading skills to the Old Testament&#178;, and nowadays a familiar site at any number of <a href="http://socialmediagroup.ca/2007/05/02/social-media-today-podcast-tom-mandel/"><span style='color:black'>social technology conferences</span></a>&#179; (indeed, the <a href="http://farm1.static.flickr.com/207/510711401_586d28043b.jpg"><span style='color:black'>photo of Tom</span></a> I posted for our reading in Baltimore was taken by digerati maven <a href="http://en.wikipedia.org/wiki/Esther_Dyson"><span style='color:black'>Esther Dyson</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'>This I think Tom would tell me is a both/and rather than <span class=GramE>an</span> either/or situation. Not dissimilarly, one notices similarities &amp; affinities in his poetry that are themselves unique among the langpos &#8211; the impact of Edmond Jabès, for one, and of Harry Matthews&#8217;, the lone individual to hold membership both in the NY School &amp; Oulipo. Mandel&#8217;s stanzas have <span class=GramE>an elegance</span> &amp; efficiency &#8211; qualities that don&#8217;t always go together &#8211; that reminds me at times of Michael Gottlieb or John Yau or maybe what the gorgeous vehicles Michael Palmer constructs might look like if they were given eight- or twelve-cylinder engines. The result is that the poems of Tom Mandel&#8217;s are at once quite familiar &amp; yet unlike those of any other writer in my generation. Viz the tenth section of his <span class=SpellE><i style='mso-bidi-font-style:normal'>Cognescenti&#8217;s</i></span> title poem (one of two long works that bracket a suite of recent short pieces entitled &#8220;First Poems&#8221;), which has itself something akin to a section title, in italics, &#8220;<i style='mso-bidi-font-style:normal'>later the narrator finds himself where&#8230;</i>&#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'>The sun rises even when there is<br> 
little to say, and goes down<br>
behind it in darkness.<br>
<br>
Winds <span class=GramE>come</span> full tilt over the crest<br>
of a hill bathing the house.<br>
Smoke rising in a profound<br>
<br>
column of <span class=SpellE>nightfulness</span>; wind<br>
drinks inside the cloud.<br>
The moon rises next.<br>
<br>
Now <span class=GramE>comes</span> Porky Pig in her<br>
professorial gown sounding<br>
like Donald Duck and ready to consent<br>
<br>
or consume whatever avidity draws.<br>
<i style='mso-bidi-font-style:normal'>&#8221;There are no shells in your shotgun,&#8221;<br>
</i>she spits. <i style='mso-bidi-font-style:normal'>&#8220;Just stick a finger<br>
<br>
in your mouth as if to vomit<br>
down the barrel.&#8221; </i>I&#8217;ve found<br>
one like her in every such place.<br>
<br>
Perhaps she was driven from </span><st1:City><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Troy</span></span></st1:place></st1:City><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'><br> to rule the world, or from<br>
</span></span><st1:City><st1:place><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Jerusalem</span></span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'> to wander it. Either way<br>
<br>
she is in my path. &#8220;<span class=GramE>You who hold<br>
these</span> words in your hand, be sure<br>
to read them in their state of production.<br>
<br>
One enough, alone enough<br>
at home enough we are together<br>
you and I when I write them.&#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'>I suspect that the cartoon allusions will call to mind the likes of John Ashbery &amp; Kenneth Koch, but there is <span class=GramE>a sharpness</span> to Mandel&#8217;s tone you won&#8217;t find in either. There is more Thomas <span class=SpellE>Nast</span> than Looney Tunes in that portrayal. Similarly, it&#8217;s interesting &#8211; and ultimately undecidable, I think &#8211; to try to figure out just whose words those are captured by the section&#8217;s final quotes. If they belong to Professor Pig, then here is an instant of true reconciliation. But if to the author, then a wave of regret floods the language (and the reader). Which is it? And how best parse that sequence: <i style='mso-bidi-font-style:normal'>One, alone, at home, we are together? </i>The asymmetry of the relationship wobbles dramatically. Yet the poem functions precisely by maintaining its balance.<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'>Mandel is at his strongest in  these longer forms. My own version of his selected poems would be nothing but. They deepen as they build, yet Mandel seems adamant in his refusal to provide any sort of (easy) closure. Mandel concludes one section of &#8220;<span class=SpellE>Cheshbon</span> ha-<span class=SpellE>nefesh</span>,&#8221; the book&#8217;s other long sequence, named for the process of personal accounting &#8211; literally taking inventory of the soul &#8211; first articulated by Rabbi Menachem Mendel <span class=SpellE>Leffin</span> in 1812, with the question &#8220;where shall I look for an answer?&#8221; This to a question asked, not for the first time, two sections later, again with its final words: &#8220;What makes me happy?&#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'>That is the kind of question that will drive a restless imagination, and Mandel&#8217;s clearly driven to pursue this vertical quest &#8211; vertigo is not an atypical response at different moments along the way &#8211; across the horizontal dimensions of the real. I feel fortunate to have been able to accompany Tom through his books on this journey for three decades now. I&#8217;d love to feel that we have another three yet to travel. <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; They&#8217;re listed, albeit not exactly in chronological order, on the rear cover of <span class=SpellE><i style='mso-bidi-font-style:normal'>Cognescenti</i></span> and with Mandel&#8217;s <span class=SpellE>Gaz</span> Press production, <i style='mso-bidi-font-style:normal'>Four Strange Books, </i>rendered stranger still by a new title: <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Three</i></b><i style='mso-bidi-font-style:normal'> Strange Books. <o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; This was, as I understand it, <span class=GramE>a follow</span>-on to Robert Duncan&#8217;s &#8220;Homer Club&#8221; that read the Greek author in his native tongue. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#179; Not, however, to be confused with professional futurist <a href="http://www.well.com/user/cynsa/tom/mandelbio.html"><span style='color:black'>Thomas F. Mandel</span></a> who died in 1995.<o:p></o:p></span></p>
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_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>