. . .

Modernist Class

You can tell by the jarring sound of "Zukofsky" in The Trouble With Genius : Reading Pound, Joyce, Stein, and Zukofsky that Bob Perelman is better read than most academics. He's also better to read: his observations are sensible and accurate.

But those being observed are "Modernist," and Perelman is "Postmodernist." And, apparently as a result, his tone is one of such versatile hostility that no book could escape censure. He holds the proselytizing rhetoric of critics against the writers' own works, and he's pissy about these four writers in particular 'cause they weren't able to meet the supposed "Modernist" ambition of perfect synthesis of every conceivable human goal. He provides a brilliant short introduction to the unique virtues of Ulysses and then claims that the lovely object he just described is proof of Joyce's ineptitude.

But it's not all that clear that such weirdly individualistic writers as Joyce, Stein, and Zukofsky actually ascribed to the dopey ambitions Perelman posits, except inasmuch as any working writer has to deal with them: Sure, we got to try to do the best we can think of doing, right? And that can get pretty inflated before it gets punched down. And what we end up with is never quite what we thought we were doing, but sometimes it's still OK, and we can at least try to have a sense of humor about the yeasty smell.

After that performance, Perelman's sequel book, a collection of upbeat reviews mostly of his fellow Language Poets, is about as convincing as the happy ending the studio slapped onto Face/Off. Despite their own lunatic ambitions, Perelman's compeers don't piss him off the same way Joyce, Stein, and Zukofsky did. Why? 'Cause they're "Postmodern" and so they're smart enough to undercut their own claims to textual mastery.

The trouble with that is that The Trouble with Genius spends most of its time showing how those stuck-up Modernists also undercut their own claims to textual mastery. I mean, out-of-control-ness is pretty much what you (and Perelman) notice in the second half of Ulysses or in almost anything by Stein or Zukofsky, and it's pretty fucking arrogant to claim that such a pleasurable (and obviously labored-over) effect is attributable to blind error with those guys any more than it is with Ron Silliman or Susan Howe -- or with Melville, Dickinson, Austen in Mansfield Park, the indomitable bad taste of Flaubert, or the wild line-to-line mood swings in Shakespeare, for crying out loud.

At the end of the book, Perelman says that blanket-statement theorists, snippy critics, and it-is-what-it-is poets are playing an unproductive game of paper-scissors-rock. Probably that's a fair assessment, at least when any of them are responding to professional challenges by the other players. But who except a rhetorically worked-up poet would say that a poem was a rock (let alone say that Ezra Pound was the Alps)? Who but an allegiance-drawing theorist would announce in print that any theorist was in any conclusive fermez-la-porte! sense correct?

What Perelman leaves out of his game and out of his book is the possibility of the reader. And publishing gets to be a pretty sad affair without an occasional appearance by that self-satisfied little cluck.

. . .

Only 17 Shopping Days Till Bloomsday

A couple of years ago I wrote, to a guy much smarter than me, about Bob Perelman's The Trouble with Genius:

Perelman's insistence that only English department martinets are interested in difficult work is a blatantly received notion, unworthy of him: as late as the mid-'70s, Joyce and Stein were still the happy huntingground of eccentric amateurs, despised by New Criticism and dismissed by most academics I met. (I suppose the last manifestation of that era would be professional entomologist and amateur Finnegans Wake expert Roland McHugh.) I have yet to meet an English professor who's interested in Zukofsky. Really, that whole line of attack felt uncomfortably like the "Well, I read for entertainment" argument that anyone with eccentric ideas of entertainment gets hit by much too often.
Well, just like garage rock and gross-out right-wing comics, Joycean amateurs keep coming back. Witness your inspiration and mine, Jorn Bargers.

Obsessive, cranky, isolationist, down-at-heels, and prickly as all hell in (mercifully, only) one of the great traditions of the amateur scholar, Barger proves that Joyce studies, web browsing, and flame wars can all still and simultaneously serve as happy huntingground.

--Ten years, he said, chewing and laughing. He is going to write something in ten years.

--Seems a long way off, Haines said, thoughtfully lifting his spoon. Still, I shouldn't wonder if he did after all.


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.