Robert Kroetsch, R.I.P.

Robert Kroetsch—one of the most important Canadian writers of his generation—has died in a car accident at the age of 84.  I had the privilege of knowing him a little when I was an undergraduate.  Though I never took a course with him, he was a presence on the campus and on the local literary scene, and a few times I found myself having a drink with him after Dennis Cooley’s evening seminars on contemporary literature let out.

He was a novelist, and something of a critic, and one of the founders of the journal boundary 2, but for me he’ll always be two things: a poet, and a benign godfather of a movement in Canadian literature that suffers the fate of all movements in Canadian literature: utter invisibility in the non-Canadian world.  But it was a real movement, with its own journals and presses and contretemps and aspirations, and it made a difference where it wanted to make a difference, in the prairie provinces of Manitoba, Saskatchewan, and Alberta.  One might think of it as a prairie school, and of Kroetsch as its éminence grise.

As a poet, Kroetsch was many things.  Sometimes he was a proceduralist, foregrounding the artificiality of writing, and the agility of the poet, by adopting an arbitrary restriction, Oulipo-style, and forcing himself to work within its constraints.  In The Sad Phoenician, for example, Kroetsch writes a long meditation in which new lines of poetry begin, alternately, with “and” and “but,” making for an ode-like snaking-through of strophe and antistrophe.  At other times Kroetsch was a master of found texts, writing through his family’s account books in The Ledger and through a ubiquitous document of the Canadian prairies in Seed Catalog.  In both cases, he was concerned with the way written documents were the binding agents of a collective, of family and of region.  The best way I can describe the effects of reading these poems is to say that it’s like encountering a secularized version of scribal commentary on religious texts.  What a poet like Norman Finkelstein does with the Jewish textual tradition in a book like Scribe, Kroetsch did with the ordinary found texts that bound together his family and the rural communities of the Canadian prairies.

Kroetsch was also a serialist poet, who kept a long project called Field Notes simmering for years, adding and inserting sections in the manner of Olson’s Maximus Poems or Duncan’s Passages.  There was none of the history and grandeur of Olson, and none of the mysticism of Duncan, though.  Instead, there was a kind of constant, amused intellectual probing of the everyday.  And Kroetsch was always ready to surprise his long-time readers.  After developing a theory of the ever-incomplete, constantly-ongoing poem, and inspiring a host of other Canadian poets to begin ambitious serial projects, he suddenly called his poem to a halt, issuing his Completed Field Notes in 1989.  I remember the arguments in the student pub about whether that word, “completed,” represented a transcendence or a betrayal of Kroetsch’s project: I left in a huff, consoled by a young woman who wore even more eyeliner than I did back then.  She gave me a peck on the cheek and one of her earrings before ditching me over cappuccino.

Kroetsch was also a postmodernist.  For me, he’ll always belong to that generation of poet-professors whose natural habitat was the brutalist concrete campus office lined with books by Robert Scholes and Jonathan Culler.  I picture him now as he appeared on the cover of a 1987 issue of Border Crossings magazine: tweed jacket, beard, Remington typewriter on the desk in front of him, ready for a fresh sheet of paper and a new page of poetry composed by field in the manner of the Olsonite wing of Black Mountain.

One reason to think of Kroetsch as a postmodernist was what I can only call his loving suspicion of language and of the apparent coherence of narrative truth.  Jean-François Lyotard’s distinction between the grand récit and the petit récit, in The Postmodern Condition: A Report on Knowledge, gets at the kind of thinking that informed Kroetch’s writing.  For Lyotard, the grand récit was a kind of authoritative story that purported to offer a comprehensive explanation of the world.  When, for example, a certain right-wing imbecile who happens to be a Cardinal of the Catholic Church maintained “the Church is neither left nor right, the Church is true,” he was offering the story of Catholicism as a (or, to his mind, the) grand récit, just as certain hard-core vulgar Marxists might see Marxism as a grand récit, or how the overconfident Victorian bourgeoisie took “progress” as their grand récit.  In postmodern conditions, Lyotard claims, such comprehensive stories become unsustainable, and instead we have a proliferation of smaller, more fragmentary, more localized, more tentative explanatory stories.  In postmodernism, one lets a thousand petit récits bloom.

Kroetsch was very much a man of the petit récit.  He would write paratactic, self-reflective works like those collected in his Field Notes, bend the conventions of narrative in his fiction, or hesitate at the brink of narrative, as in his first book of poetry, The Stone Hammer Poems.  Here, he begins with an artifact, a stone hammer found on the prairies.  The poem starts this way:

This stone

becomes a hammer

of stone

….

The rawhide loops

are gone, the

hand is gone, the buffalo’s skull

is gone;

the stone is

shaped like the skull

of a child.

We begin with the sense that the explanation of the artifact is a matter of framing: the stone, when literally framed with an apparatus of wood and rawhide, becomes a hammer.  It has since been many things, entering other narrative frames.  But the literal history of the stone, speculative and ultimately unknowable, isn’t the only frame.  As the last stanza above indicates, the stone can also enter a metaphorical frame: its shape and size allows it to become a metaphor for a child’s skull, for birth and for death.

The poem goes on, trying to locate the stone in a narrative, and failing to find much authoritative purchase on the truth of things.  A few sections later in the poem, for example, we find this:

Grey, two-headed

the pemmican maul

fell from the travois or

a boy playing    lost it in

the prairie wool or

a woman     left it in

the brain of a buffalo or

it is a million years older than

the hand that

chipped stone or

raised slough

water (or blood) or

The section ends there, with “or,” a gesture much like Olson’s opening of a parenthesis that never closes: it’s a sign of indetermination, of the impossibility of grand récit.  The poem goes on to trace the losing and finding of the stone in many histories, some imagined (Kroetsch imagines it moved in the last ice age by “the retreating ice,” then moved much later by “the retreating buffalo” and later still by “the retreating Indians”) some grounded in family stories of how this same stone was lost by his grandfather and found again by his father plowing in a field.

There’s another reason to think of Kroetsch as a postmodern poet, rather than a modern one, a reason having to do with tone.  While the generalization I’m about to make has the flaw of all generalizations (i.e., that it is full of holes and therefore untrue), I’m still making it: modernism is more serious and less funny than postmodernism.  I grant all your objections regarding specific texts, and yet I return to the generalization.  Wry as he can be, T.S. Eliot is more grave and less funny than Frank O’Hara.  While he’s not above jokes, Ezra Pound is more often dead serious than is John Ashbery.  And when Robert Kroetsch is meditating on the perspectival nature of truth, he’s less sublime, and funnier, than Wallace Stevens when he does something similar.  I’m sure the model for Kroetsch’s “Sketches of a Lemon” is Stevens’ “Thirteen Ways of Looking at a Blackbird,” but the tone is entirely different.  Here’s Stevens’ opening stanza:

Among twenty snowy mountains,

The only moving thing

Is the eye of a blackbird.

This is straight-up Kantian sublimity: the little living eye comprehends the huge, rugged world that so exceeds it in scale and in grandeur that it renders the bird’s eye insignificant—except for the fact that the little eye comprehends the vastness.  Here, by contrast, is the opening of Kroetsch’s series of lemon sketches:

A lemon is almost round.

Some lemons are almost round.

A lemon is not round.

So much for that.

There’s a skepticism about our ability to intellectually frame the world here (it’s The Stone Hammer Poems again, or The Postmodern Condition: A Report on Knowledge), but there’s also a kind of philosophical pratfall.  The poem is full of this sort of thing: it's a self-deflating comic text that also has something serious to say about how intellectual frames fail, or about how narratives and descriptions end up mutating into something other than what they were initially meant to be.  Something like that happens in the following passage (“Smaro” is the name of the poet’s wife):

Sketches, I reminded myself,

not of a pear,

nor of an apple,

nor of a peach,

nor of a banana

(though the colour

raises questions)

nor of a nectarine,

nor, for that matter,

of a pomegranate,

nor of three cherries,

their stems joined,

nor of a plum,

nor of an apricot,

nor of the usual

bunch of grapes,

fresh from the vine,

just harvested,

glistening with dew—

Smaro, I called,

I’m hungry.

What began as a kind of attempt at negative definition (doomed to a seemingly infinite series of specifications) warps, suddenly, and we see that all along, without our knowledge, the list or catalog had been functioning in ways we hadn’t suspected, inciting the appetites rather than providing definition.  A hidden subordinate function becomes, suddenly, the dominant function of the list, and the sentence lurches jarringly in a new direction.  I like that: I remember reading this poem to the woman who would become my wife, and how she liked it too.  But it wasn’t her favorite section.  This was:

poem for a child who has just bit into

a halved lemon that has just been squeezed

see, what did I tell you, see,

what did I tell you, see, what

did I tell you, see, what did

I tell you, see, what did I

tell you, see, what did I tell

you, see, what did I tell you,

see, what did I tell you, see,

what did I tell you, see, what

did I tell you, see, what did

I tell you, see, what did I

tell you, see, what did I tell

you, see, what did I tell you

One could, of course, go on.

If straight-up sublimity lies a bit beyond Kroetsch’s range, something like this lies a bit beyond Wallace Stevens, and I think the difference is generational, modern vs. postmodern.

It’s poems like “Sketches of a Lemon” that first attracted me to Kroetsch’s work, but I knew of him in his capacity as the godfather of a literary movement before I’d read him.  He was a kind of benevolent, presiding presence for whole generations of aspiring writers in the Canadian west, and a great intellectual sponsor for a regionalist/postmodernist movement in the poetry produced on the Canadian prairies.  The point of the movement, I think, was a kind of mild intellectual and literary decolonization.  The western provinces have, in the minds of many of their inhabitants and more of their intellectuals, always been the resentful pseudo-colonies of the bankers and politicians of Toronto and Ottawa.  Ignored by a Canadian cultural establishment that was itself marginal and barely visible in the wider world, many of the writers of the west needed a good, strong dose of William Carlos Williams-style local pride, and Kroetsch, by writing out of western experience, provided exactly that.  And he was one of a group of writers and academics who built a regional literary infrastructure where none had been.  The journal Prairie Fire, Turnstone Press, Grain, Open Letter, a number of critical books, a bunch of reading venues: Kroetsch was one of the leaders in building something outside of the established literary networks.  I remember, in particular, one moment of Kroetschian direct action in the establishing of local literary institutions: a group of student poets were trying to launch a magazine called Ca(n)non (it was the eighties, and journal titles were filled with parentheses, backslashes, and other signs that the language was plural and unstable and self-deconstructing, etc.).  They approached Kroetsch as he was heading for the elevator outside his office, and asked if he could help them out.  He opened his wallet, hauled out a wad of bills, including a couple of the old red Canadian fifties with their Mounties on horseback, and handed it over.  “Wait,” he said, taking back a ten, “I need this for lunch.”  Not a lot of professors would have been so unhesitating with a crowd of scruffy and callow young poets.  It’s an image that’s stayed with me, and the image with which I’d like to end on the sad occasion of Kroetsch’s passing.

Kurt Vonnegut, Absurdity, and All Those Young Men in Chuck Taylors

The other day I found myself down in a particularly dark and foreboding part of my unfinished basement, groping around in my auxiliary bookshelves (yes, it has come to this, backup bookshelves in the basement), looking for a collection of Gerard Manley Hopkins’ letters that I thought might be of use for the book I’m writing. I never got to the Hopkins, though, because I was waylaid by a pile of crumbling old paperbacks I hadn’t looked at in at least fifteen years: the novels of Kurt Vonnegut, with which I then spent the afternoon. Like a lot of people, I read Vonnegut obsessively in my late teens: he was my transition from Heinlein and Asimov to Dostoevsky and Camus — and appropriately so, since Vonnegut is one part science fiction and one part existentialism, along with one part Mysterious Stranger-era Mark Twain, stirred and served chilled in a Mason jar found under the back porch of an Indiana farm house.


It’s a fairly common observation that a large portion of Vonnegut’s readership has always been young: you find his affinity with the young noted everywhere from the socialist website Solidarity to the pop culture shit-funnel Entertainment Weekly. The observation certainly rings true with my own experience, not only as a reader, but as a clerk in a used bookstore on Chicago’s Clark Street back in the 1990s.


Those of us who worked at the old Aspidistra Bookshop amused ourselves in all manner of ways, but one of them was in predicting what kind of book a customer would end up buying. Whole demographic categories were easy: the street people would go for self-help books or anything conspiracy oriented; the people from the nearby fetish store called House of Whacks would buy books on leatherworking, the sleek professional Lincoln Park ladies would buy Jane Austen, Jane Austen fan-fiction (there’s a ton of this stuff), and exotic cookbooks; the leftover Black Panther types always wanted Machiavelli and Soul on Ice; old white guys wanted biographies of dead presidents and books with pictures of World War II airplanes, etc. But the easiest of all were the teenage guys from the suburbs, the indie-rock looking ones in Chuck Taylor sneakers: they wanted Vonnegut. Once in a while they wanted the poems of Charles Bukowski, and after 1996 they sometimes sought out used copies of Fight Club. But it seemed like half of all the fiction we sold to these guys had been written by Vonnegut. We knew the type: we were the type, although now we’d moved on to more arcane snobberies, and looked down on the Vonnegut readers as only ex-Vonnegut readers could. “Vonnegut’s not a writer,” we’d say to one another, as another kid from New Trier High School trooped out with copies of Mother Night and Slapstick tucked into his courier bag, “he’s a phase.” We would then clink our bottles of Guinness — the Aspidistra beverage of choice — together, and get back to reading the free weekly papers and sneering at the movie reviews.


But here’s the funny thing: I can think of only one time I or any of my peers at Aspidistra ever sold a copy of a Vonnegut novel to a woman: a much tattooed, nose-pierced student from DePaul. My pal Colin tried chatting her up (he did this with any girl who looked like she was crazy enough to take him seriously), and found out that she was reading it for class. This means we never sold a Vonnegut book to a woman who wanted to read it of her own volition. I don’t mean to say no women read Vonnegut, only that he seems to be one of those writers — like Austen, like Hemingway, like Helen Fielding, like Pahlaniuk — whose readership seems fairly heavily skewed on the basis of gender.


If we can admit these admittedly unscientific notions about Vonnegut’s readership — that it skews young, and skews male — then the question arises: why? I don’t have anything like an answer supported by evidence, but I have a hypothesis, which is this: I think the youngness and maleness of Vonnegut’s readership may have something to do with the existential absurdity of his work.


My favorite explanation of existential absurdity comes from Sartre’s 1943 essay on Camus’ L’Étranger. In that essay Sartre goes back to a passage from Camus’ Le Mythe de Sisyphe to give us Camus’ image of a man seen talking animatedly in an old-style, glass box telephone booth as an image of absurdity: of life as a series of meaningless, possibly ridiculous, gestures. “A man is talking on the telephone,” goes the Camus passage, “We cannot hear him beyond the glass partition, but we can see his senseless mimicry. We wonder why he is alive.”


Here’s Sartre’s commentary on the passage:


"The gesturing of a man who is telephoning and whom we cannot hear is only relatively absurd, because it is part of an incomplete circuit. Listen in on an extension, however, and the circuit is completed; human activity recovers its meaning. Therefore, one would have, in all honesty, to admit that there are only relative absurdities…"


So there’s a bit of a difference between Camus (in this instance, if not in others) and Sartre on the question of absurdity. For the Camus of this particular passage, life is a series of pointless gestures, an absurdity without meaning; for Sartre life may seem absurd, but there is a possibility that it is not, that the apparently empty gestures do actually connect to some larger significance beyond absurdity.


Kurt Vonnegut was a humane man, who seems to have meant it when, in God Bless You Mr. Rosewater, he wrote “Hello, babies. Welcome to Earth. It's hot in the summer and cold in the winter…. There's only one rule that I know of, babies—‘God damn it, you've got to be kind.’” But his overall vision—and he was certainly a writer with an overall vision—was of a universe without transcendent meaning, without overarching significance. He was, in his way, as much of an absurdist as was Beckett, or Kafka — as much of an absurdist as the Camus who wrote the passage quoted by Sartre.


Vonnegut came by his absurdism honestly. The experiences upon which he based his greatest work, Slaugherhouse Five, were dire enough to drive anyone to the conclusion that the quest for meaning or significance was bound to falter and fail. Like the protagonist of Slaughterhouse Five, Vonnegut was a prisoner of war during the Allied firebombing of Dresden, and like that protagonist he was one of the very few survivors of that cataclysm, having been locked in an underground slaughterhouse when the city burned. The firebombing of Dresden—a beautiful city of absolutely no military significance—was a gratuitous act, coming at a time when the Allies had all-but-won the war, and gaining them nothing of strategic worth. It was, for the most part, a slaughter of innocents and a desecration of cultural heritage. It was, in short, an absurd action par excellence. When Vonnegut emerged from his bunker, his German captors set him to work on the hopeless task of cleaning things up, which involved, among other things, moving the charred remnants of untold numbers of people from the destroyed streets. The young Vonnegut was forced to see, and touch, the aftermath of an action of such excessive destruction and stupidity that it could not be explained as the result of a rational civilization, even of a rational civilization at war. Dresden put the lie to the idea of a simple right and wrong in war. It put the lie to the idea of technology as progress, as it put the lie to the idea of a benevolent democratic nation. One could not look on Dresden and believe in the old nineteenth century ideal of progress, nor could one believe in the even older Enlightenment faith in reason. It would take a Job-like level of faith to believe that a benevolent deity would have allowed something like this to happen, and Vonnegut was no Job. His world went dark that day and never really lightened: all the laughter in his novels comes from a dark place, and even when he writes of love, it comes not from joy, but from a sense of the pathos of humanity in a universe without meaning, a universe that renders our noblest hopes and gestures absurd.


Young people tend to connect with absurdism. But their absurdism is often more like the relative absurdism described by Sartre. That is, much of the absurdism of teenagers is predicated less on a deeply-felt sense of the metaphysical emptiness of the universe than it is based on lack of empathy and lack of experience (I’m sure there are exceptions, probably among the traumatized—but I’m thinking of all those boys from Winnetka who traipsed through Aspidistra on their way to buy Pavement CDs at Wax Trax back in the mid-1990s: a segment of the population statistically high in skinny-legged jeans, privilege, and Ivy League ambitions, and statistically low in deep trauma).


The notion that teenagers lack empathy is more than just a folk belief among frazzled parents: it’s got some pretty persuasive neuroscience behind it, based on studies of how the brain functions differently for people of different ages. Sarah-Jayne Blakemore of the University College London Institute of Cognitive Neuroscience is, in my layman’s opinion, the best explainer of these matters. “We think that a teenager's judgment of what they would do in a given situation is driven by the simple question: ‘What would I do?’” says Blakemore. In contrast, she tells us, adults ask “What would I do, given how I would feel and given how the people around me would feel as a result of my actions?””


Other neurological studies,notably those of Donald Pfaff, indicate that women are likely to feel empathy in a broader range of circumstances than are men. Long story short, it seems that women are more likely than men to extend empathy to those they consider opponents and rule-breakers than men are. The guys take their cue from Conan the Barbarian, wanting to see their enemies driven before them, their villages in flames. The women, not so much.


What does any of this have to do with absurdity? Well, consider Sartre’s comments on Camus’ image of the man in the phone booth. If we watch him without empathy, he does indeed appear absurd: his gestures are ridiculous, pointless things. We might, if we’re teenagers, and even more so if we’re teenage guys, nudge the kid next to us, point at the guy with the cigarette we’re unduly proud of smoking, and say something like “check out that douchebag,” which is a demotic way of saying “that guy and his actions are absurd.” But if we have empathy—if we can imagine ourselves, perhaps, in his situation, we might think “that guy’s really agitated: maybe he’s pleading with a hospital administrator not to kick his daughter out of the treatment ward even though his insurance has run out and he can’t make the payments unless he somehow manages to move some real estate down at the office.” If we can imagine listening in on an extension, in the way Sartre describes, then perhaps “human activity recovers its meaning.”


In addition to cognitive difficulties with empathy, young people generally lack experience, which means that many of the actions they observe in the world seem pointless or meaningless, even when that may not be the case. If you don’t know anything about how a bureaucracy works, all bureaucracies look like they come straight off the pages of Kafka’s The Castle. I’m not saying there are no absurd bureaucracies—I’ve been in academe too long for that—only that youth correlates with inexperience, and the more inexperienced one is, the less one is likely to see actions as meaningful. It’s no accident, I think, that the gentle absurdism of Monty Python's Flying Circus was the creation of young men, and that it’s still young men one overhears doing those ridiculous pepperpot women voices and reciting skits like “Hello Mrs. Gorilla” or “Spam Spam Spam Spam.” This is relative absurdism, the view from outside the phone booth, where the gestures are visible but the words that give them meaning are inaudible. Absurdists of this type will feel an affinity for the novels of Kurt Vonnegut, but unless they are traumatized or otherwise driven into a different, more profound type of absurdity—a Dresden absurdity—their Vonnegut novels are likely to end up in the basements of their suburban houses.

Because You Wanted Your Martiniquais Surrealist Négritude Poetry Online

Since you asked: yes, two poems by Lucie Thésée, the Surrealist/Négritude poet from Martinique I've been translating, are now not only in the latest issue of Poetry, but also available on the Poetry Foundation's website. They're called "Sarabande" and "Poem," and they're accompanied by a few notes I wrote about this remarkable, little-known poet.

Poetics of Displacement

"If poetics, the term in general, has any meaning, it's attempting to find a form that's adequate to its historical moment" — Joshua Clover

I realized, as I looked at the scuffed-up paint on the walls of my dining room, that I'd been living in my current house longer than I've ever lived anywhere: about nine years.  In my generation, that's still a pretty short version of long-term residency: many of us grew up in the same house our parents lived in when we were born, and didn't leave until education or a job took us away.  Now, though, people seem to have become more peripatetic, at least in the United States: the rule of thumb among realtors is that people who own the places in which they live move every six or seven years, while renters do the same every four years or so.

This dislocated way of living — I'm sure a more sociological thinker than I could link it to the state of capital/labor relations in the globalized economy in a couple of bar-graph laden Powerpoint slides — can't help but have an effect on poetry.  In fact, a quick look at a couple of poems by two people whose work I admire, Calvin Forbes and John Matthias, combined with a glance at one of my own efforts, shows that all three of us have reacted to the same great whirlwind of displacement, but done it differently, adapting the poetic resources at hand to the problem of home-yearning in a world that constantly uproots us.

Calvin Forbes' poem "Homing," from his 2001 collection The Shine Poems, begins with a desire to get back home, a desire tied to that most visceral, Proustian of senses, taste:

The water's wonderful there

And the women aren't bad

Neither when you look at them

Twice, but the blame

Lies in that glass from the tap

For making me want to go back.

It sounds like we're in for a poem about the unshakable, rootedness of our experiences in our original homes: there's a particular sweet water taste the speaker remembers in his bones, a taste that calls him back.  But in the middle of the second quatrain things shift, and we start to encounter impediments to our return to a yearned-for home.  I think it's significant, too, that the speaker turns out to be in motion, on a highway: the highway a sign of our mobile, displaced condition, and pretty iconically American:

I went looking for where they get

It from but I got a ticket

For speeding; and when I said

I'm Mister Shine, a black ghost,

Cop said that's too bad.

Glow I was lost.

"Mister Shine" is a character from African-American folklore, a figure who appears in various songs, toasts, and stories.  Some say he's based on an actual historical figure, others say he's a kind of African-American Everyman, with his last name being a reference to the old racist use of the word "shine" to refer to black people (it occurs in this sense in a Louis Armstrong song).  Here, and throughout the last section of The Shine Poems he's a kind of ghost, as he sometimes is in the oral tradition.  Forbes has elaborated on the folkloric figure, giving him a girlfriend named "Glow" and a son named "Shade."  Some of this will be important later in the poem, but at this point Forbes chooses to treat the mention of the speaker's identity as a digression, and gets back to the topic of water:

But my sermon is about the water,

How it's precious like family

When you wanting something familiar.

It made me happy —

It taste like baby's breath,

Like dew.  I never knew sweeter water.

Family, simple happiness, the mention of babies and religion: we're in some pretty primal home-territory here, redolent of childhood and stability, all evoked by the taste of the water of a specific locality.  Surely we're on our way back to the source, the first home, the roots.  Or maybe not.  The poem continues with another sudden turn:

But I'm a spook's spook; I stole

This story from a dead man's mouth.

"A spook's spook" can mean a couple of different things: it could mean "an African-American's ghost," or it could mean something like what "a poet's poet" means: here, an African-American's African-American.  In the first case, it's a kind of a statement of essence — the speaker is literally the spirit of a black man.  In the second case, it's a statement of cultural authenticity.  So whatever comes next will be, as far as the poem is concerned, a statement coming close to the core of African-American experience.  And the thing that comes next is a statement of displacement: of saying that one's story — here, a story about one's deepest longings for home — is "stole[n]," is somehow an adaptation.  What does this mean?  Well, the poems next, and final, stanza elaborates on just that, by telling us about the man whose story about sweet water and home Mister Shine has stolen:

He was a preacher from Virginia

Who before he expired said:

Somewhere there's a well of sweet water.

Somewhere in Ohio or maybe Carolina.

The story Mister Shine tells is a about home represents a displacement of sorts, coming as it does from another man.  And when we look at that other man's story, we find it, too, contains a kind of displacement: the sweet water of home for which he yearns comes from a place he can't even name with any certainty: "Ohio, or maybe Carolina."  This is powerful stuff, because it opens up a kind of long-term, maybe infinite, deferral of home or origins.  The mobile, displaced Mister Shine yearns for home and has to steal another man's story about it.  And the preacher from whom he stole the story was, himself, telling a story about a place he doesn't really remember, and may never have known.  The prospect of an infinite, unending yearning for home opens out to us.  In the yearning for sweet water we can taste a bit of that African-American yearning for lost origins, for the unknowable Africa from which their ancestors were stolen, and to which there is no real returning.  An African-American colleague of mine once pointed out something that should have been obvious to me, but wasn't: I can trace at least some of my ancestry back to specific villages in France's Dordogne and even, thanks to DNA testing, back to certain regions in prehistoric times — but odds are she'll never know where her people came from, except at the vague level of the continent of Africa.  The way she said it showed me that it hurt to be in that condition.  Forbes' poem takes up the idea of displacement and the yearning for home, and, by filtering through the folkloric poetics of Mister Shine, ties it to an enormous historic experience of racial displacement.  The poem can't take him home to the place of sweet water, but it can tie him to the collective experience of an entire people (if my imagined sociologist were to continue his Powerpoint demonstration of the effects of globalized capital on people's sense of home, I'd hope he'd have a slide dealing with the slave trade, cotton plantations, and the textile industry as the one of the first great displacements of labor in the name of capital).

So that's Calvin Forbes' "Homing." Back in the early 1970s another American poet, John Matthias, wrote a piece with a remarkably similar title, "Homing Poem," which first appeared in the collection Turns.  This poem, too, comes out of feelings of displacement and homelessness, but the treatment of the theme is different.  Instead of a folkloric poetics, we get a kind of Poundian modernism.  Matthias, who had been involved in the radical politics of the time, and who'd had a rather traumatizing experience of the police riot at the Chicago Democratic convention in 1968, was relocating to England, hoping for a peace of mind that had evaded him in the American upheaval of the 60s and early 70s (our sociologist wants us to look at some Powerpoint slides having to do with Vietnam, neo-colonialist capitalism and civil unrest, but he seems to be having trouble with his laptop).  The poem — slighter than most of Matthias' work, but exactly right for our purposes — begins like this:

An acre, a rod,

and eleven

perches of land

The stone walls

The thirteen towers

And all tithes

& corn & hemp & flax

Unornamented, free of adjectives, all concretion unmixed with abstraction, devoid of the narrative or essayistic: these trim little lines are clearly the product of a poet who has put himself to school at Pound's Ezuversity (distance education branch).  But the Poundianism isn't just a matter of form: there's a kind of ethos at work here that Pound would recognize, a kind of deeply American yearning for Europe as a rooted place, a place where every inch of soil felt as a link to the past.  God knows most Europeans get through the day without feeling the Medieval ruins beneath their feet, or thinking about the continuity of culture from Socrates to Sarkozy.  But the Pound/Eliot wing of American expat modernism is all about experiencing Europe as the living past, or at least as a society with roots and a steadying historical ballast.  And the imagery in these lines, along with their language — with the archaic means of measurement like rods and perches and old-school terms for financial arrangements like tithes — indicates that the landscape the speaker contemplates is deeply redolent of the past.  It's a rooted place this self-exiled American has come to, or so he believes.  But is it — can it be — his place?  The next three stanzas gives us a clue:

An acre, a rod,

and eleven

perches of land

The stone walls

The thirteen towers

And all tithes

& corn & hemp & flax

Inept though I may be with computers, that is not a cut & paste error: the final three stanzas of Matthias' "Homing Poem" are an exact repetition of the first three.  But why?  I mean, it's not like he's getting paid by the word.  The answer, I think, is this: the repetition indicates a kind of willfulness, an insistence that this place that the speaker surveys (and it does read like a survey, with all those rods and perches and crop listings) is somehow his place.  This insistence, of course, indicates that the place is only imperfectly his.  Someone who really belongs somewhere doesn't have to insistently will a sense of belonging or ownership.  The privilege of belonging somewhere is that you don't have to think about that belonging, you just embody it unselfconsciously.  Here we see someone not at home, but 'homing' — seeking to attach himself to a place.  We don't know if he'll ever achieve the sense of belonging and being-at-home that he wants: we just catch him in the act of trying to incant that sense of belonging into existence.

"Home and Variations" — the title poem of a book I wrote that (ahem) makes a fine gift for all occasions and can be ordered from the Salt Publishing web site — takes up the same kind of theme we've seen in Forbes and Matthias.  I'm not quite sure how to explain the poetics of the piece, except perhaps to begin by noting that much of it was a deliberate attempt to cut myself off from the Poundian modernism — imagist strictures, history — that had been so important to me as an undergraduate, and later, in graduate school, when I was Matthias' student.  So I wanted to be as abstract as possible, and to find a kind of music in the sound of abstraction as it repeated.  I think, somewhere in the back of my mind, was the sound I'd heard once, as I sat studying late at night in a library.  Nearby, a guy who clearly thought he was alone, was studying for what must have been a text on analytic philosophy, and he kept repeating to himself little bits of propositional language that I now recognize as coming from Wittgenstein.  Anyway, the poem begins like this:

Some stay in one place.

Others move. Still others move

from place to place, staying

for a while. But some

stay in one. And if they think of this,

they call it “home.” Stop.

I also liked the idea of "stop" as a kind of telegram-sounding out of punctuation.  And I wanted the rhythm of a thinking, obsessing mind to have some sort of break to it.  (Now that I look back, I realize that I took a whole lot of cues from the poetry of Randolph Healy, especially the wonderful "Colonies of Belief").  But maybe that's all neither here nor there.  Maybe we should get back to the poem, which eventually arrives at a statement of displacement:

And if those who stay in one place

and know it are at home, others, moving, or

moving place to place to stay

and move, are not.

And if they know it, know

they’re not at home. Stop.

And if they stayed in one place and moved on

and if they know it, then they know that

when they hadn’t moved, they were at home.

Whether they knew it. Whether they not.

Stop.

And if they left and know they left

they feel a lack.

So there it is, the sense of lack you feel if you've moved.  But even if you don't move, you're likely to feel this kind of lack: it's a Heraclitan universe out there, and all things flow.  Even if you stay in the old neighborhood, the old neighborhood won't stay as it was just for you:

And others stay in one place. And if

they stay and the place won’t stay as

the place they knew was the place that’s “home” they feel

a lack. Stop. And this tells.

What to do, then, in this world that changes even when we stay put? (One may imagine our sociologist's Powerpoint demonstration continuing with a few maps indicating gentrification, urban decay, white flight, the growth of the interstate highway system, and perhaps a few charts about capital flows and the movement of jobs out of the urban core).

And some who feel a lack will fill

the lack they feel. Stop. And my father

played the phonograph. Played sea chanteys,

played Hank Snow. Played them till my mother,

or went and played them till they stopped. Stop.

All that's true, by the way.  I can still, when plied with enough gin, give a fair rendition of a lot of old chanteys, most of which seem to include the refrain "around that cape we all must go!"  But what do these songs have to do with displacement and the yearning for home?

Played at being with the sailors, played at being

with Hank Snow. Played at doing what

they did, which wasn’t play. Stop. If work

was what men did with hands and tools

on farm and sea and if my father’s father worked

with hands and tools but didn’t sing. Would the

singing of the sailors would the singing of Hank Snow

be singing so my father he could play at

being home. Stop.

The songs, I suppose, were a way of invoking my expatriate American father's lost, working class home in Ohio, a world of glass blowers and bricklayers and shop stewards that he left behind at sixteen, for the Marines, then for beatnik ramblings, then for art school and academe.  It was a path of personal fulfillment, but also of cutting himself off from his roots, by upward mobility, by education, and by many hundreds of miles of geography.  If you're not too bored to look at another Powerpoint slide, you could glance over at the one showing now, which is all about gemeinschaft and gesselschaft, and includes some kind of statement about how, in the era of capitalism, all that seemed solid about social relationships melts into air.  Maybe the idea to write in a kind of bloodless, disorientingly abstract language, with just a trace of specific personal detail was a way of trying to convey, at the level of form, something about this modern, abstract, rootless way of life — I mean, most of us are more familiar with tax forms than folk tales, nowadays.  But speaking of personal detail: the poem ends with the presence of the poet, me, impersonally, in the third person:

                                    And if his son who moved, and

moved from place to place. Whether he wanted.

Whether he not. If he thought of father thinking father

thinking work and farm and home would

the thinking take him farther would the thinking take him home.

Here we're sort of back in the place we were in at the ending of Forbes' poem: looking to someone else's yearning for home, and yearning through it for an ever-more-distant version of lost belonging.  I'm not sure why I didn't want to end with a question mark: perhaps it was a desire to keep the poem kind of flat and declarative.  If Forbes invokes a whole collective experience of displacement, I wanted to invoke something much less community-oriented.  I suppose I wanted to give a sense of the soulless, modern, bureaucratic world, the Weberian "iron cage" of modernity.  And to give a sense of the yearning, within that cultural condition, for an older, more rooted way of being.  It's all very young suburban white boy angsty, really.

Anyway: one widely felt element of the moment we live in — let's call it "late capitalism," and let's date it from, say, 1945 — is surely a sense of displacement.  But (to echo Joshua Clover) what are the poetics adequate for this moment?  I suppose my answer would be that they are plural: folkloric in Forbes' case, Poundian for Matthias, and, in my own case, whatever kind of odd mash-up of impulses we find behind "Home and Variations."  While Kenneth Goldsmith recently claimed that the kind of poetry he cares about is "the most contemporary" kind of poetry, I just can't buy it.  We're all contemporary, and face a shared historical condition — but we find our own ways of doing it.