pseudopodium
. . . Chillecothe

. . .

Heehaw, dreaming in trash and white
[transient link]
A L L    D R E S S E D    I N    W H I T E    L I N E N
A Christmas Memory

The next night, Bruno is taken by his cousin Sylvie to her favorite Chillecothe bar, a hangout for divorced crackers. The air is murky and peppered with fragmentary singalongs to "Were You Born an Asshole?"

A pair of admirers treat Bruno's cousin Sylvie to a beer and resume a dispute around her.

(Charmingly self-deprecating) "Hell, I ain't no pool player."

(Appealing for arbitration) "I let 'im win, you know that."

(Mock heroic) "I got the other half of the thousand dollars."

The thinner, grayer, more damaged man keeps interrupting himself with the shout "Shut up, Mr. Sand!" but Bruno doesn't think his name is Mr. Sand.

The other man ("49 and holding. 21 and getting younger.") looks as if he's been embalmed with a twinkle in his eye. He redirects his attention to Bruno's cousin Sylvie: "You married yet?" (Tugging at her hand.) "Your hair's gettin' long." (Tugging at her neck.) "'Djou give a kiss for winning this game?" (Suddenly reflective) "This is my favorite song." And back to pool, quartering the table. "I think they're sharks, y'gotta be careful, I ain't seen 'em here.... It's an education." And back to Bruno's cousin: "I saw that trophy your son got."

Something Bruno misses, some trickle of blood scent, triggers open hostility. The twinkler starts nudging the damaged man, closing in. The damaged man retaliates: "What about when you got caught in the coal shed, Jack? What were you doin' in the smoke shed?"

"Shit -- excuse me -- I weren't doin' nothin', I was six years old, what'd I be doin'? I didn't start that early."

"Jack was in first grade but I was in eighth -- shut up, Jack!"

"You shut up, why don't you."

"She were sweet, weren't she, Jack? What you doin' there?"

"Gettin' coal, what ya think?"

"What was you doin' with the corn cobs, Jack?"

"Corn cob? Now you're improvin' the story, that ain't so."

"Rapin' her with the corn cob -- shut up, Mr. Sand!"

"Goddamn good idea."

And back to Bruno's cousin: "Your mom and dad are good people. Good people. We go back a long ways, you know. Didn't mean t' look like I was ignoring you."

Later, Sylvie takes Bruno to Chillecothe's rock club, where high schoolers shuffle and two-step to a "rap" version of "Wild Thing."

. . .

Nothing Personal, 7

It's not true that only poets read poetry. It is true that keeping up with poetry comes close to a full time job, like keeping up with international cinema or popular music or genre fiction.

Job markets vary by geography even avocational job markets. Taking similar land routes, I and Joshua Corey traced similar reading histories, and the ten years between us made comparatively little difference. Although a quirk of publishing history had led to Zukofsky being stocked by the Chillecothe, Missouri, library, and although the Black Mountain lost-leaders were widely available, there was no collected Niedecker or Spicer in my youth, and what I could find in Philadelphia and NYC led me, like Corey, to posit a post-1940 decline into the poetics of lithium. (Things are better in Brooklyn now.)

When I moved to Cambridge, Mass., I lost access to international cinema but gained access to WordsWorth Books and the Grolier. (I also gained a three-hour daily commute, and I also lost my lover and my mind.) At one of those shops, I bought Sal Salasin's first book because it reminded me of Ed Bluestone in the National Lampoon. And I bought Bloomsday by Jackson Mac Low because it was Bloomsday. And then I bought Sulfur 24 because Jackson Mac Low was in it.

I can't find that issue must've lent it to someone and never gotten it back. The web tells me it included one of my favorite Ron Padgett poems, and something by the incomparable David Bromige. But what struck hardest was a long excerpt from Ron Silliman's Toner.

"It spoke to me."

Diction is about shared assumptions, and diction varies because what's "universal" varies. For example, pace Berryman and Hacker, not all of us have had the universal experience of sleeping with our students. So it's possible that you just need to have been a commuter to really get Silliman's poetry. But I got it, and got it bad: here was someone who'd experienced this previously unsung, astonishingly stupid side of life, and found redemptive lyric possibilities in its suspended-yet-mobile state of consciousness. A suspension so extended that it became epic: Kinda-Ron kinda-Endures.

One Age of Huts later, I walked away with the ugly mossy block of In the American Tree. I wouldn't say it changed my life I haven't led that sort of life but it certainly changed my buying habits.

What the anthologized pieces shared was an absence of recognizable names (other than the dedicatee, Larry Eigner) and anything resembling well-established subjective lyric stances. The range of alternatives seemed even wider than what Donald Allen had come up with. And yet Silliman didn't present himself as an outside arbiter or professional event organizer; apparently this range belonged to something he thought of as one group, his own.

The nearest thing to a new norm here was parataxis, which seemed to account for many of the precursors paid tribute in the essays at the back of the book: Ashbery (although not Allen's Ashbery), Stein, Spicer.... Still, there wasn't a "standard Language Poet poem" as far as I could see at least not among the ones I liked. Lyn Hejinian's My Life and Bob Perelman's a.k.a. were both beautiful little books of paratactic prose paragraphs, but you couldn't mistake Hejinian's VistaVision montages of Northern California for Perelman's grim resignation to "cleverness", young Beckett pressed into an old Beckett role:

He heard the music and stood up. Played at appropriate speed, incurable motion out the window. The names are maintained to prevent the accumulations of self-esteem from crashing too harmlessly into private abysses. As if hearing were a perfection of air perpetrated among rivals, sets of teeth, synonyms, sentence structure, ruptured blood vessels. He held on, in advance. Night fell, and I lived through that, too, expressing the expressible in terms of the expressed. On good terms with neighbors, dependable, daily, there, smiles, and is currently writing and reading this sentence.

Susan Howe suffered megalomania of the archive in a way I found much more congenial than Charles Olson's: high on dust mites and the glare of wide margins, the texture of the paper, the impress of the type, a whited-out thought balloon of imminent immanent insight tugging gently at our scalps....

And sure, lots of us have words appearing on our foreheads, but Hannah Weiner was the first to accurately transcribe them.

Depersonalized? No, just respecified: new specs in front of the eyes, less heavily tinted, and, in some cases, less smudged.

I moved to San Francisco in 1991, when Small Press Distribution and Small Press Traffic both had storefronts, and my binging intensified. Like Corey, I learned to browse bookshelves by publisher name. Some of Silliman's also-rans were as good as he'd implied: Rosemarie Waldrop, Robert Glück (who turned out to be a very different sort of writer indeed), Beverley Dahlen, Alice "Notely", Rachel Blau DuPlessis, Mei-mei Berssenbrugge. Some of the included gained importance: speaking of Campion, Stephen Ratcliffe's spaces in the light said to be where one / comes from is subvocalized MDMA. Some seemed to drop out: Stephen Rodefer's Four Lectures were primo, and his Villon translation was a pungent pinch of Spiceresquerie, but then what happened?

Most were uneven. There was such a thing as The Charles Bernstein Poem, and I didn't think much of it, but just often enough he'd come up with something unexpected like "Artifice of Absorption" or "I and The", and even The Charles Bernstein Poems had their place. On the other hand, Susan Howe, always worth reading, was worth surprisingly less in dowdy paperbacks than in her expansive expensive smaller press editions. Silliman's Tjanting played to his weaknesses, despite the conceptual catchiness of its form.

But they continued to be more uneven sometimes than others, and they led other places, like Jackson Mac Low had, and so the binging goes.

Here ends my happy consumer conversion narrative. "Or like stout whosits when with eagle eyes," "Nirvana made me a better student," "I can't believe it's not butter," and so on.

Happily, I wasn't a participant.

Next: I finally get back to where I was more than a year ago!

Responses

Joseph Duemer has some questions.

 

Copyright to contributed work and quoted correspondence remains with the original authors.
Public domain work remains in the public domain.
All other material: Copyright 2015 Ray Davis.