tag:blogger.com,1999:blog-80523082024-03-14T04:00:23.363-05:00Samizdat BlogArchambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.comBlogger696125tag:blogger.com,1999:blog-8052308.post-61975852526246909752018-05-02T14:22:00.001-05:002019-07-31T11:51:15.311-05:00Poetry, White Space, and the Letters of the Alphabet<div class="separator" style="clear: both; text-align: center;">
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I've been thinking, lately, about those elements of poetry we tend to ignore: the actual letters used to write the words, and the white space that surrounds a poem on the page or screen. I wrote a little something about the first of these some months ago, and another piece, on poetry and white space, has just appeared in the most recent issue of <i>Plume</i>.<br />
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The piece on letters and alphabets appeared in <i>Ilanot Review</i>. Here's a sample:<br />
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In the kingdom of poetry, the letters, like many immigrants, tried hard not to draw attention to themselves. They were, in a sense, invisible, at least most of the time, and were resented if they asserted themselves—a situation that continues even now. The other day, for example, I spoke to my publisher, Marc, who complained about another writer he published. “He’s impossible!” Marc said, “he spends hours asking us to try new fonts, or to make them a point larger, a half a point smaller. It’s driving me mad!” Letters aren’t supposed to be that important in a poem. Indeed, while a poem translated into a different language is only the same poem in some qualified, limited sense, a poem in a different font, a different typeface, a poem written out in cursive script or printed on a page, is always considered to be the same poem. The letters do the work of making the poem appear, but they, themselves, are unimportant, interchangeable. They’re like the seamstresses whose nimble fingers make possible the fashion collections we see on the runway, people we pay no attention to whatsoever as we clap at the name of Ralph Lauren or Vera Wang. </blockquote>
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Letters. Can we imagine poetry without them? Even the spoken word poets draft with letters. But we usually see right past the letters, ignore their shapes, let them be invisible. Humble and happy just to be in such glamorous company, the letters don’t complain. They ask for little, demand no attention. </blockquote>
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Except for when they do.</blockquote>
<a href="http://www.ilanotreview.com/letters/immigrants-and-kings-the-letter-in-the-empire-of-poetry/" target="_blank">The whole essay can be found here.</a><br />
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Here's a sample of the companion piece to the essay on letters, the essay on white space or, perhaps more properly, on the semiotics of white space:<br />
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White space comes first, for the poet and the reader. I don’t mean anything as interesting as the idea that poetry exists primarily in the space of whiteness, conceived as a racial identity, as a field dominated (at least in these United States) by white people, white norms, the white past, and white structures of power and privilege. That’s certainly the topic for an essay, and an essay more substantial than this one—a topic for a book, really, or more: a topic for a field of academic study. If it were a book, perhaps it could begin with a meditation on how very easy it is for someone like me, ensconced in the citadel of my whiteness, to brush the question of poetry and white identity aside and proceed to another, more literal idea of whiteness: the white space beyond the margins of the text, the white space that physically surrounds the poem. </blockquote>
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There may well still be poets who still compose the way Wordsworth did—without paper, without pencil or keyboard, trudging the gravel trails of Cumberland, “Scattering to the heedless winds/ The vocal raptures of fresh poesy.” I imagine they feel as proud of this ancient practice as any writer of beautiful longhand feels about the letters he self-consciously seals into envelopes and hauls to the post office—letters unreadable to the young, whose thumbs type faster, and with more immediate consequence, than anyone can wield a pen to write in cursive script. All honor to these holdouts and their ancient ways. But the poets I know all begin with the white space of the blank Word document or the white space of the unmarked Moleskine page. White space comes first for them, and comes first, too, for the reader of poetry—or for the reader who, seeing by the presence of white space around the lines on the page that she is confronting a poem turns hastily away. It is by the space surrounding the lines, after all—by the margin of whiteness—that we know at first glance, even from a distance, that the words before us constitute a poem.</blockquote>
<a href="http://plumepoetry.com/2018/04/essays-and-comment-robert-archambeau/" target="_blank">The whole essay (quite short) can be found here. </a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-56049672042895410452018-03-15T14:36:00.002-05:002019-10-11T14:46:46.237-05:00Ezra Pound in the Bughouse: New in Chicago Review<div class="separator" style="clear: both; text-align: center;">
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Rejoice! The latest issue of <i>Chicago Review</i> has dropped, and in it you'll find new writing about Fernando Pessoa, FLARF, and Basil Bunting, as well as an essay by Peter Middleton, Donna Stonecipher's translations of Friederike Mayröcker, and much more, including a little something I wrote about Daniel Swift's book <i>The Bughouse: The Poetry, Politics, and Madness of Ezra Pound.</i><br />
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Here's how it starts:<br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span>There’s an old black-and-white photo from the 1965 poetry festival in Spoleto, Italy, in which we can see Ezra Pound surrounded by younger poets: Bill Berkson is there, along with John Wieners, Desmond O’Grady, Charles Olson—so large he looks like he’s been sloppily photoshopped into the scene—and a partially obscured John Ashbery. The scene is significant, I think, for how it projects two moments yet to come in Pound’s posterity: the Olson-led renaissance of his reputation in the late 1960s, and his eclipse as a model for younger poets after the rise, a decade later, of Ashbery’s star. Pound had already been in and out of vogue many times: in the 1910s, he was at the center of a creative vortex, and an influence on the shape of poetry on both sides of the Atlantic. By the late 1930s, he was largely an outsider, and at the end of the Second World War he hit his nadir, politically disgraced and caged like an animal by the American army occupying Italy. </blockquote>
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Our own moment should be a propitious one for another look at Pound. He isn’t currently a model for many poets (Nathanial Tarn and John Peck are the most significant talents carrying a torch for Ole Ez), but we do live in times that seem uncannily Poundian: times of public madness, resurgent fascism, and crackpot economic theories. Perhaps it’s not a great time for a young poet to take her cues from the author of <i>Hugh Selwyn Mauberley</i>, but it’s certainly a good moment to examine Pound as a phenomenon, if not a model. The 1959 anthology <i>A Casebook on Ezra Pound</i> provided excellent fuel for the reevaluation of the poet after his release from St. Elizabeths Hospital, when, as Donald Davie put it, Pound’s politics had “made it impossible for any one any longer to exalt the poet into a seer.” We would welcome another book capable of opening up a new discussion of the meaning and significance of Pound, and Daniel Swift’s study of Pound’s dozen years in St. Elizabeths Hospital, <i>The Bughouse: The Poetry, Politics, and Madness of Ezra Pound</i>, promises to be just such a book. The topic—and, especially, the subtitle—lead one to hope for a study packed with insight into the moral and aesthetic conundrum that is Pound. Is he to be held responsible for his fascism? Does his mental health exculpate him? How do madness and politics bear on the poetry itself? One opens the pages of Swift’s book eager to find out. </blockquote>
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<i>The Bughouse</i>, alas, does not live up to its topic, or its moment, when the issues of Pound’s politics have an alarming currency...</blockquote>
<a href="http://chicagoreview.org/issues/issue-6102/" target="_blank">The rest of the piece can be found in the the spring issue. Ordering info and selected content available here. </a><br />
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<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-5320176983908560562018-03-05T18:04:00.000-06:002019-10-11T14:48:42.137-05:00I Think of Myself as a Kind of Shaman, You Know: Reading the Syndicate of Water and Light<div class="separator" style="clear: both; text-align: center;">
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If there is an international man of mystery in contemporary poetry, Marc Vincenz is it: British but also Swiss and in some meaningful sense Hong Kong Chinese, multilingual, with an unplaceable accent, a past featuring stints as an Island Records musician, a high-level industrialist, a Chinese fantasy novelist, and Icelandic hermit, not to mention an interval as assistant to legendary poet-novelist Reynolds Price, he is the walking definition of an interesting man. And, in a time when most of us on Planet Poetry can easily be filed away in a dusty folder labeled "professors of English," his is a refreshing profile. He's prolific, too, and his latest book, a kind of ecological Divine Comedy called <i>The Syndicate of Water and Light</i>, is just now out from Station Hill.<br />
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I've written an afterword, and it begins like this:<br />
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“I think of myself as a kind of
shaman, you know,” Marc Vincenz once said to me, “communicating with the other
side.”<span style="mso-spacerun: yes;"> </span>I didn’t quite know what he meant
then, and probably mumbled something about Claude Levi-Strauss or Jerome
Rothenberg, but reading <i style="mso-bidi-font-style: normal;">The Syndicate of
Water & Light</i>, I think I finally understand.<span style="mso-spacerun: yes;"> </span>And I think, too, that it’s appropriate that Vincenz
made the revelation when we were in a dingy, black-walled Manhattan bar down
below street level, where we went to wait out a heat wave that had engulfed the
city. The place—dim and somehow squalid—had the feel of a kind of underworld,
and it was of journeys to the underworld that Vincenz referred.<span style="mso-spacerun: yes;"> </span>This book is exactly such a journey, a voyage
to another reality beneath our quotidian world, and, in the end, a journey
back: a communication with the other side.<br />
<span style="mso-tab-count: 1;"> </span>It is
tempting, if one knows something about Vincenz’s peripatetic and multilingual
life, to trace an autobiographical story in <i style="mso-bidi-font-style: normal;">The
Syndicate of Water & Light</i>: those teeming cities and markets ringing
with exotic languages, surrounded by burgeoning industry, seem like the China
where he spent a good portion of his life.<span style="mso-spacerun: yes;">
</span>And the pristine land of windblown grass, mountains, and sea could
easily represent Iceland, where Vincenz retreated after a harrowing experience
of venal modern Chinese klepto-capitalism. The sections dealing with
Christianity, and a struggle to move beyond its formality to a more open view
of the spirit, seem as though they may have come from his education in a Swiss
monastery school, but I am cautioned against too autobiographical a reading
here by Vincenz’s statement that he arrived in the monastery an agnostic child
and emerged a confirmed teenage atheist. Vincenz’s life is present, here—how
could it not be?—but it is refracted as if through a kaleidoscope, distorted
and reformed into new patterns and symmetries.<span style="mso-spacerun: yes;"><br />
</span><span style="mso-tab-count: 1;"> </span>The primary
pattern is that of the expedition: the poem’s presiding spirits, Ulysses and
Dante, are both inveterate explorers.<span style="mso-spacerun: yes;">
</span>Significantly, they are not merely explorers of physical space, but
seekers after knowledge—Dante’s is a spiritual quest figured as geographic
travel, and Vincenz’ Ulysses is Tennyson’s Ulysses, more than Homer’s: the old
mariner follows knowledge like a sinking star, sailing on to the shores of
Mount Purgatory. Vincenz is an optimist, when it comes to journeys. <i style="mso-bidi-font-style: normal;">The Syndicate of Water and Light</i> opens
with a sense that we can grow in knowledge and that we can change—if not,
perhaps, the world, then at least ourselves...</blockquote>
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<a href="http://www.stationhill.org/books/all/syndicate-of-water-light/" target="_blank">The rest is in the book itself, which can be ordered here</a>. The official launch will be at the AWP, where Marc himself will be adding some much-needed extra-academic zest to the proceedings.<br />
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-3536468712645348032018-02-02T12:14:00.001-06:002018-02-02T12:14:56.241-06:00My Race Sees Me: On African-American Poetry<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqKeVhaDYHLM4w0Tdgfa3zyx-w47f3n3iEEoxmvAAQgHVHtOPUSDSjsAEYS24rNXRY3awHuGD5IS11SFMoVD31O_p-05_wmotljrGlWvcdVodALWFguAhrgQKpTbUo8hYBM6Y/s1600/Screen+Shot+2018-02-02+at+12.08.11+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1600" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqKeVhaDYHLM4w0Tdgfa3zyx-w47f3n3iEEoxmvAAQgHVHtOPUSDSjsAEYS24rNXRY3awHuGD5IS11SFMoVD31O_p-05_wmotljrGlWvcdVodALWFguAhrgQKpTbUo8hYBM6Y/s320/Screen+Shot+2018-02-02+at+12.08.11+PM.png" width="320" /></a></div>
<br />
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The latest <i>Hudson Review</i> has dropped into my mailbox, and along with writing by William H. Pritchard, Zara Raab, David Mason, and others, there's an essay called "My Race Sees Me," in which I talk about three African-American poets: Marcus Wicker, Cameron Barnett, and Evie Shockley. It begins like this:<br />
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<div class="MsoNormal" style="text-indent: .5in;">
I once attended a debate between
two distinguished poets, both women, who were to dispute whether one wrote as a
woman poet, or as a poet who happened to be a woman. I don’t recall who won, but perhaps that’s
less important than the fact of the debate itself: it indicates how, if one is
not from a dominant group, the question of identity can’t be taken for granted:
even if one wants to shunt it aside and write of other things, one often feels compelled
to make a case for doing so. If that can
be true of women, even several generations into feminism’s transformation of
the world, it is even truer for African-American writers—especially in a time
when police violence against black people in America has become more visible
than ever. 2017 may have been an
especially difficult year for people of color in America, but, as recent books
by Evie Shockley, Marcus Wicker, and Cameron Barnett make plain, it has also been
an outstanding year for African-American poetry.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Evie Shockley’s third book of
poetry, <i>semiautomatic</i>, certainly
addresses issues of African-American identity and the racially charged
political urgencies of our time, even as the poems refuse to be limited to such
issues. The book is notable not only for
the way it navigates questions of identity and politics, but for the variety
and virtuosity of its use of form. Form,
for Shockley, begins with music. How
couldn’t it? The daughter of a jazz musician, she grew up in Nashville, in a
part of town where, she says, there were “churches on two out of every four
corners” and where one could come to believe that “any six or seven people with
vocal chords could produce four-part harmony at the drop of a dime.” “My
relation to poetry was shaped,” she says, “by the jump-rope and hand-game songs
the girls in my neighborhood sang.”
These sounds, along with Mother Goose and Ogden Nash, worked their way
into the deep recesses of her mind, and find their way into her poetry, even as
she explores a wide range of formal possibilities. In <i>semiautomatic</i>
we find poems that show considerable agility with traditional forms like the
Spenserian stanza, as well as innovations with rhymes and refrains, such as
“a-lyrical ballad (or, how America reminds us of the value of family),” which
tells the story of race-based murder in America from the days of midcentury
lynchings through the deaths of Sandra Bland, Trayvon Martin, and various
victims of contemporary police violence.
It opens with three stanzas on Emmett Till, the form of which (rhymes of
xAA//xx//BB) repeats throughout the poem, along with the insistent refrain
italicized refrain that ends each section:<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
he was a boy from chicago, in
mississippi heat,<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
being as bad as a good boy could
be,<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
whistling his eyeful of an
off-limits she,<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
and
her menfolk dragged him out of bed, beat him to death, tied<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
a
cotton gin to his body, and sank him in the tallahatchie river.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
it was three days before the
remains were retrieved.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i>and
the family grieved ~ o ~ the black family grieved</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Such grieving, Shockley implies, is the harsh and lamentable
method by which our country has taught, and continues to teach
African-Americans the value of family.</div>
</blockquote>
<br />
<a href="http://hudsonreview.com/2018/01/my-race-sees-me-three-african-american-poets/#.WnSp0xNViko" target="_blank">The full text is available here. </a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-86731965602333238342018-01-09T10:02:00.002-06:002019-10-11T14:47:35.251-05:00The Erotic Paul Verlaine<div class="separator" style="clear: both; text-align: center;">
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Rejoice! The latest issue of <i>American Book Review</i> has hit the streets, guest-edited by Anthony Madrid and focused on erotic poetry. I wrote a little something called "A Feminine Canaan," about Paul Verlaine's erotic poetry. If you want to see how many kinks there were in that guy's rope, check it out. It begins like this:<br />
<blockquote class="tr_bq">
Early on in his literary career, Paul Verlaine swore off most of the traditional sources of poetic ecstasy. "Nature, nothing about you moves me," he writes in the poem "Anxiety," adding "I scoff at Art, and mankind too." Verlaine throws Classical Greek civilization—the source of quickening heart rates for many a European writer from Winkelmann to Rilke, from Pater to Cavafy—into the dustbin of the uninspiring. Out, too go the monuments of Christianity, and God himself, and even love. Well, maybe not love, or at least not all forms of love. Agape he can do without, but in the absence of so many sources of delirious exaltation, Verlaine leaves himself one: the realm of the erotic. </blockquote>
<blockquote class="tr_bq">
You'd be forgiven if you hadn't noticed. For one thing, the most explicit parts of Verlaine's erotic oeuvre were long repressed. Les Amies (1867), a little book of poems about fantasy lesbians luxuriating for the male gaze, was published illicitly in Belgium and smuggled into France. A later book, Femmes (1890), in which Verlaine recounts in great detail his encounters with Parisian prostitutes, was a similarly underground document, and its companion volume about men, Hombres (1891), wasn't published until after Verlaine died. The erotic poems have had a checkered publication history since: they didn't even find their way into the otherwise comprehensive and canonical Pléiade edition until a special supplement was issued in 1989. But once you dial into Paul Verlaine's particular erotic frequency—which was less about male or female bodies than about genderless surrender, less about penetrating or being penetrated than about a kind of soul-shattering act of submission, you find that his kind of erotic ecstasy had been hiding in plain sight since the beginning of his poetic career.</blockquote>
You can read the whole essay now at <a href="https://muse.jhu.edu/article/683084" target="_blank">Project Muse</a>, or, if you don't have access to that, you might check from time to time to see when it comes up at the <a href="http://americanbookreview.org/currentIssue.asp" target="_blank"><i>ABR</i> site</a>. <br />
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-76311160136577324882018-01-03T13:12:00.002-06:002019-10-11T14:49:15.084-05:002018 Plonsker Prize at Lake Forest College: $10,000, Residency & Book Publication, Judged by Lida Yukanavitch<div class="separator" style="clear: both; text-align: center;">
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<br />
<br />
It's time, fiction writers, to submit your manuscript for the 2018 Madeleine P. Plonsker Emerging Writers Residency Prize. The image above depicts the Glen Rowan House, where the winner will be in residence. Other details below!<br />
<br />
*<br />
<br />
Judge: Lidia Yukanavitch<br />
<br />
Lake Forest College Press/&NOW Books is open to submissions on January 1st for the Madeleine P. Plonsker Emerging Writers Residency Prize from fiction writers under the age of forty who have not yet published a full-length book.<br />
<br />
The winning writer receives $10,000, three weeks of residency at Glen Rowan House on the campus of Lake Forest College, and publication of her or his book by Lake Forest College Press / &NOW Books, with distribution by Northwestern University Press.<br />
<br />
To enter: Submit (here!) a thirty-page sample of a book-length work in progress, along with a one-page statement of plans for completion. We cap submissions at 200. Submissions close on March 1, 2018. Submissions will not be accepted before January 1, 2018.<br />
<br />
For more information on the Plonsker Prize, <a href="https://www.lakeforest.edu/academics/programs/english/press/plonsker.php" target="_blank">click here</a>.<br />
<br />
Past winners and judges<br />
<br />
<br />
2017 Winner (Poetry)<br />
Christine Larusso, Los Angeles, CA: MAR (forthcoming, 2018)<br />
Judge: Carmen Giménez Smith<br />
<br />
2016 Winner (Prose):<br />
Meg Whiteford, author of An Ordered World, a novel (forthcoming, 2018)<br />
Judge: Brian Evenson<br />
<br />
2015 Winner (Prose):<br />
Christopher Perez, author of gaugin’s notebook, a poetic narrative (2017)<br />
Judge: Eleni Sikelianos<br />
<br />
2014 Winner (Prose):<br />
Matthew Nye, author of Pike and Bloom, a novel (2016)<br />
Judge: Anne-Laure Tissut<br />
<br />
2013 Winner (Poetry):<br />
Cecilia K. Corrigan, author of Titanic, a book of poems (2014)<br />
Judge: Lisa Roberston<br />
<br />
2012 Winner (Prose):<br />
Elizabeth Gentry, author of Housebound, a novel (2013)<br />
Judge: Kate Bernheimer<br />
<br />
2011 Winner (Poetry):<br />
José Perez Beduya, Throng, a book of poems (2012)<br />
Judge: Jennifer Moxley<br />
<br />
2010 Winner (Prose):<br />
Gretchen Henderson, Galerie de Difformité, a hybrid narrative (2011)<br />
<br />
2009 Winner (Poetry):<br />
Jessica Savitz, Hunting is Painting, a book of poems (2010)Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-74611140549340479572017-12-20T10:00:00.001-06:002019-10-11T14:49:55.437-05:00Revolutions in Manchester!<div class="separator" style="clear: both; text-align: center;">
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<br />
<br />
I am, apparently, at the height of my powers—at least according to Ian Pople at <i>The Manchester Review</i>, where he discusses several books by John Matthias, including <i>Revolutions: A Collaboration</i>, in which my commentaries mingle with Matthias' poems and artwork by Jean Dibble. I'm kind of hoping being at this dizzying height doesn't mean it's all downhill from here...<br />
<br />
Here are a few remarks on <i>Revolutions</i> from near the end of Pople's review:<br />
<br />
<blockquote class="tr_bq">
If the methods of composing the poems are semi-aleatory, Archambeau goes on to remark that a central influence on Matthias’ poetry is Modernism, ‘Not only is his work written in accord with a thousand Modernist techniques…it constantly invokes the Modernists themselves: the poets, the artists and especially the composers.’ One particular Modernist spirit invoked throughout the poetry is that of the Russian Modernists, not only Mandestam , but also the others in Akhmatova’s ‘four’; Akhmatova, Pasternak and Tsvetaeva. Archambeau claims that another Modernist spirit for Matthias’ is his refusal to compromise. </blockquote>
<blockquote class="tr_bq">
In part, that invocation of Russian modernism occurs from the moment you pick up the book with its rather Soviet-style cover of hammers swung in the pattern of sickles, and the book’s title. The collaborative nature of the book might also be seen as ‘revolutionary’. Matthias’ poems hint at a subdued ‘Russian’ narrative; they contain lexical gestures towards that narrative: ‘hussars’, ‘steppe’, ‘vodka’, ‘tsar’ all occur in the first two poems. The poems also contain ‘characters’ who are engaged in an often surreal narrative in which the lexical gestures help to both pin down the action and also move it centrifugally away from possible narrow concerns. Archambeau riffs off all this with his own centrifugal commentaries. ‘Onomastic’, for instance, stimulates Archambeau to mention the ‘Oulipo’ movement and George Perec’s La disparition, a novel length book written without the use of ‘e’. Archambeau also mentions another modernist ancestor, in Gertrude Stein. </blockquote>
<blockquote class="tr_bq">
Overall, what this book offers is something which is not quite revolutionary. There have, after all, been many books of poems with illustrations, and Archambeau’s lively, focussed criticism is not the only time such poems as Matthias’ have been put under the microscope. But what this book offers, that is new, is a sense that these are three artists who, each in their own way, are operating at the height of their powers, to bring this collaboration to a uniquely satisfying whole.</blockquote>
<a href="http://www.themanchesterreview.co.uk/?p=9007" target="_blank">The whole review can be found here.</a><br />
<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-52632433691708752892017-11-30T10:01:00.000-06:002019-10-11T14:48:15.466-05:00From Rhymed Lines to Mongrel Tongues: Now Online!<div class="separator" style="clear: both; text-align: center;">
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Not long ago the latest issue of the <i>Hudson Review</i> hit the streets, with a little survey of new poetry I wrote inside. It's called "From Rhymed Lines to Mongrel Tongues," and takes a look at new books by X.J. Kennedy, Charles Simic, and Julian Talamantez Brolaski, along with very strong debut volumes by Alan Felstenthal and Airea D. Matthews. Now, thanks to the good people at Ugly Duckling Presse, <a href="https://www.uglyducklingpresse.org/wp-content/uploads/2017/11/Lowly_The-Hudson-Review_Fall-2017.pdf" target="_blank">you can read it online here!</a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-9974464363413479832017-11-29T16:26:00.000-06:002019-10-11T14:50:31.040-05:00Karl Pilkington and Reggie Watts Wrestle in Heaven: Now Online!<div class="separator" style="clear: both; text-align: center;">
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Hey hey! The good people at <i>Copper Nickel </i>have posted an essay I wrote for their print edition online. It's called "Reggie Watts and Karl Pilkington Wrestle in Heaven," and it's about comedy, identity, and, in a roundabout way, our perilous political state. <a href="http://copper-nickel.org/reggie-watts-and-karl-pilkington-fistfight-in-heaven/" target="_blank">You can find it here.</a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-25475183206777125262017-10-30T18:19:00.002-05:002017-10-31T08:32:28.854-05:00From Rhymed Lines to Mongrel Tongues: X.J. Kennedy, Charles Simic, Alan Felsenthal, Airea D. Matthews, & Julian Talamantez Brolaski<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_IkNS4vdysN706ZBf9fVZgL1F9ie3TrX_DQZ5Ymxp298TdYiue4q6yHPUU6q-n5shJAzHtvUetNnn07lq1t1u-f8EwE927S6QCShzX-ivquUXFuZHLwlH3cjTmdxstp72Ocb8/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1080" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_IkNS4vdysN706ZBf9fVZgL1F9ie3TrX_DQZ5Ymxp298TdYiue4q6yHPUU6q-n5shJAzHtvUetNnn07lq1t1u-f8EwE927S6QCShzX-ivquUXFuZHLwlH3cjTmdxstp72Ocb8/s320/cover.jpg" width="320" /></a></div>
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Rejoice! The new <i>Hudson Review </i>has dropped with a satisfying clunk into the mailboxes of subscribers and onto the magazine racks of the more self-respecting sort of bookstores! As always, there are many fine things—including, this time out, Mark Jarman on postmodern poetry, A.E. Stallings on the literature of the sea, and much else. I've contributed a "poetry chronicle" feature, a round-up of recent books I've found impressive in various ways. It's called "From Rhymed Lines to Mongrel Tongues" and covers a range from formalism through Surrealism to deeply experimental works. The poets are X.J. Kennedy, Charles Simic, Alan Felsenthal, Airea D. Matthews, & Julian Talamantez Brolaski. Here's a small taste from what I have to say about each...<br />
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X.J. Kennedy isn’t just a poet—he’s a poet emeritus, or so claimed R.S. Gwynn, holding a laurel wreath aloft over Kennedy’s head at the 2017 West Chester Poetry conference. With dozens of poetry collections, textbooks, edited works and volumes of light and children’s verse behind him, Kennedy has certainly earned the title—and nowhere does he seem more emeritus than in the poems of <i>That Swing</i>. Here, in Kennedy’s signature combination of storytelling, formal nimbleness, and comic moments mixed with reverie and melancholy, we find the poet assessing the past and looking out on a future beyond his own lifetime...<br />
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Unlike X.J. Kennedy, whose <i>That Swing</i> peers into the dark with uncharacteristic frequency, Charles Simic is the kind of poet who has long since set up housekeeping in the dark existential abyss. His latest collection, <i>Scribbled in the Dark</i>, contains poems in his established idiom: short, eerie pieces rich with image and stingy with discursive explanation—poems in which the world appears uncanny and, for the most part, vaguely menacing. The images are typical of Simic: injured flies, threadbare gypsies, bare light bulbs hanging over rooms equally bare, an actor “unable to recall his lines/At the end of some tragic farce.”<br />
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The imagery, the tone, the darkly
comic sense of a violent world devoid of divine justice: it all seems to come
out of the Simic playbook. But this sort of poetry doesn’t represent the heart
of Felsenthal’s book, which is in essence an extended rumination, over many
poems, on the theme of connecting with one’s ancestors through rituals
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If Felsenthal fears distraction and forgetting, Airea D. Matthews fears self-deception—or so we can gather from her debut collection, the Yale Younger Poets Prize-winning <i>Simulacra</i>. The book—a contender for strongest debut collection of the year—is formally audacious. Matthews packs it with lyric poetry, prose poems, and closet drama, as well as epistolary poems and their contemporary analog, poems composed of fictitious text messages. The poems of <i>Simulacra</i> treat the theme of addiction—not from the addict’s point of view, but from the point of view of the addict’s family. The poems are particularly powerful in revealing a well-meaning family’s complicity. They cast light on the willingness of families to enable destructive behavior and, especially, the urge to cover up violence and disorder, to put up a false front so as to convince the world, and themselves, that everything is somehow okay when it most decidedly is not.</div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<![endif]--><!--StartFragment--><span style="font-family: "cambria" , serif; font-size: 12.0pt;">Julian Talamantez Brolaski is, I say with some
confidence, the only half-Native American, trans-male, country music singing
student of Renaissance poetry writing today; and <i>Of Mongrelitude</i>,
his third collection, is as idiosyncratic as his background might suggest. It is a stylistically bold<span style="color: red;"> </span>book,
with debts to popular culture, Native American mythology, and the classics of
English literature, as well as to the experimental tradition in American
poetry. Like Brolaski’s previous collection, <i>Advice for Lovers</i>, it is also an emotionally engaging book,
provided one is willing to dial into the formally challenging frequency in
which it broadcasts.</span><!--EndFragment-->
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<span style="font-family: "cambria" , serif; font-size: 12.0pt;">*</span></div>
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<span style="font-family: "cambria" , serif; font-size: 12.0pt;">I do hope you get a chance to pick up an issue and read the whole chronicle... or better yet, get your hands on the books themselves—they number among the best of the season.</span></div>
Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-67854185212568943272017-10-17T13:46:00.000-05:002019-10-11T14:51:24.885-05:00Live! Free! One Night Only! Reading at the Poetry Foundation<div class="separator" style="clear: both; text-align: center;">
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Check it out! See you there!</div>
<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-76135019805547167832017-09-19T14:23:00.001-05:002019-10-11T14:52:19.183-05:00Reggie Watts and Karl Pilkington Wrestle in Heaven<div class="separator" style="clear: both; text-align: center;">
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Rejoice! The new issue of Copper Nickel is out. It includes an essay of mine called "Reggie Watts and Karl Pilkington Wrestle in Heaven," about comedy, populism, globalism, and, of course, Karl Pilkington and Reggie Watts. It starts like this:<br />
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<blockquote class="tr_bq">
<span style="white-space: pre;"> </span>They don’t wrestle, and they aren’t in Heaven, but it’s a better title than “The Wind and the Lion, or: Reggie Watts and Karl Pilkington, an Essay That Gets a Little Dark and Political at the End.<br />
*<br />
<span style="white-space: pre;"> </span>At the end of The Wind and the Lion, a mid-seventies orientalist extravaganza of a film, a Barbary pirate king played by Sean Connery writes to a distant Teddy Roosevelt, whose warships and Marines—representatives of modernity and the budding American empire—threaten to destroy him and his people. “I, like the lion, must stay in my place,” intones Connery in voiceover, not quite managing to get the Scotland out of his voice, “while you, like the wind, will never know yours.”<br />
*<br />
<span style="white-space: pre;"> </span>There are many ways to understand comedy. There’s Hobbes’ way, which is all about feeling superior to the schmuck who took a pie to the face; Kant’s way, which is about the unexpectedness of using a pie as a projectile; and Freud’s, which says we’re just giggling with relief when we stop suppressing our forbidden aggressions and smash a pie into some fool’s face. But if you want to understand two of the most striking figures of contemporary comedy, Reggie Watts and Karl Pilkington, you could do worse than to start with the words of a fictional Barbary pirate.<br />
<span style="white-space: pre;"> </span>To be clear: Pilkington’s the lion in this scenario. The bald, Mancunian lion. And Reggie Watts, whose voluminous afro differentiates him from Pilkington as much as his apparent cosmopolitan placelessness, is the wind. Let’s start with the lion.<br />
*<br />
<span style="white-space: pre;"> </span>Everyone who stumbled through graduate school in the humanities knows Kant credited David Hume with awakening him from his dogmatic slumber, but few know that he cribbed from another Scottish philosopher, James Beattie, when he put together his theory of the comic as the incongruous. Laughter, Beattie says, arises when things that don’t belong together unite—and Kant said much the same, more prominently and with far less clarity. And incongruity does explain a great deal of comedy, from Steve Martin wearing an arrow through his head while playing banjo in old Saturday Night Live episodes, to any solemn cleric or public speaker letting loose with a burst of surprisingly audible flatulence. It would seem to explain much of the comic effect of watching Karl Pilkington travel the world in the Sky TV series An Idiot Abroad. When, for example, Karl Pilkington stands on the Great Wall of China, looking out over the vast, venerable, and sublime fortification as it snakes away over the mountains of the Chinese north, we’d expect something like awe from him. He even seems, for a moment, to provide it, saying “It goes on for miles, over hills and such,” before deflating it all: “but so does the M6” (a perpetually traffic-clogged British motorway). The reaction is incongruous in a way Beattie and Kant would understand. And it involves something like the special kind of incongruity Mikhail Bakhtin saw as central to comedy—the “transcoding” in which something grand or sacred is juxtaposed to something banal or (in the most powerful cases) obscene. But if we understand Karl Pilkington merely as a producer of incongruous comments, we miss what’s special to him. We miss what makes him a lion.<br />
*<br />
<span style="white-space: pre;"> </span>You want to understand Karl Pilkington? Then you want to understand the power of narrowness. You want to understand the brilliance of narrowness....</blockquote>
UPDATE: <a href="http://copper-nickel.org/reggie-watts-and-karl-pilkington-fistfight-in-heaven/" target="_blank">Now available online here.</a><br />
<br />
<a href="http://copper-nickel.org/" target="_blank">The issue can be ordered here. </a><br />
<br />
A<a href="http://atlengthmag.com/poetry/poetry-ha-ha/" target="_blank">nother essay of mine on comic poetry is here.</a><br />
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-51390505003347804332017-09-09T08:28:00.000-05:002019-10-11T14:52:58.066-05:00When a Poem's Wrongness is Right: Notes on Anthony Madrid<div class="tr_bq">
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The laws of logic may well maintain that something cannot be simultaneously wrong and right—but the laws of poetry beg to differ. The laws of Anthony Madrid's poetry certainly do. I talk a little bit about why and how in "When a Poem's Wrongness is Right," just out in <i>Hyperallergic.</i> It begins like this:</div>
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<blockquote>
“There was an old man of Toulouse,” Edward Lear once wrote, “Who purchased a new pair of shoes.” He continues his limerick this way: “When they asked, ‘Are they pleasant?’ he said, ‘Not at present!’/That turbid old man of Toulouse.” Anthony Madrid, a lover of limericks (along with ghazals, and more or less any kind of formal verse), says this about the Lear’s poem: </blockquote>
<blockquote>
Someone could say it’s clever. To which I shrug. It is clever; there’s a technical ingenuity involved, OK. But the beauty of the thing has everything to do with the slight incongruities of asking a person if his new shoes are “pleasant,” and of that person’s responding that they currently are not. This is a very choice example of the “right wrong thing.” The wrongness is right. </blockquote>
<blockquote>
If we were looking for a pocket-sized synopsis of Madrid’s poetics — his answer to Pound’s “Make it new” or Wordsworth’s “spontaneous overflow of feelings recollected in tranquility” — we could do worse than to go with “the wrongness is right.” At the very least, it’s a good clue as to how we might read his latest collection, Try Never (Canarium, 2017).</blockquote>
<a href="https://hyperallergic.com/399595/anthony-madrid-try-never-canarium-books-2017/" target="_blank">The rest is available here. </a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com1tag:blogger.com,1999:blog-8052308.post-2929240012302376172017-07-23T10:36:00.001-05:002019-10-11T14:53:34.921-05:00Poetry and the Alphabet<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
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<span style="font-family: "times" , "times new roman" , serif;">Years ago, Ron Silliman wrote an essay called "Disappearance of the Word, Appearance of the World," where he claimed that popular fiction sought to make language disappear, putting words together so innocuously that they disappeared, letting a kind of movie play in the head of the viewer (his example for this, if I recall correctly, was a novelization of the movie <i>Jaws</i>). There's something to this line of thinking, and I tried to push it a bit further in an essay on the use of letters (alphabetical letters, not epistolary ones) in poetry. It's called "Immigrants and Kings: The Letter in the Empire of Poetry." Here's how it starts:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">The writing of letters is an art as old as any other, and came to us, if Berossus, Priest of Marduk in Babylon is to be believed, when Oannes, a great fish with the head and feet of a man emerged, speaking, from the Erythraean Sea. Oannes taught the ignorant people of Chaldea not only how to write, but how to build houses, found temples, compose laws, collect fruits, and distinguish between the seeds of many different plants.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">As venerable as writing was in the tale told by Berossus, it is more venerable still as described in the pages of the <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Sefer Yetzirah, </em>the first great work of Jewish esoterism. Reading this ancient work we find that God created nothing—not mankind, not the seraphim, neither the earth nor the heavens nor seas—until he first created the alphabet. “Twenty-two letters did he engrave and carve,” we read, “he weighed them and moved them around into different combinations. Through them, he created the soul of every living being and the soul of every word.” The letters, fixed on a wheel of 231 gateways, precede and give birth to all else in creation.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">We don’t know exactly when poetry began, though we have, from a few surviving totems and similar relics, a sense of when symbolic thinking came about—some 70,000 years ago—and we can surmise that poetry, in the form of ritual incantations, funeral rites, and tales of tribal origins, emerged around the same time. Writing, even in its most primitive forms, came about many thousands of years later, after the agricultural revolution created a need for contracts and tally-sheets for merchants in grain and cattle. Only later still did writing become sophisticated enough to record poetry.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">All of this is by way of saying that letters come late to the great and ancient kingdom of poetry, a kingdom that accepted them begrudgingly. </span></div>
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<a href="http://www.ilanotreview.com/letters/immigrants-and-kings-the-letter-in-the-empire-of-poetry/" target="_blank">The whole essay is in the <i>Ilanot Review</i>, and you can read it online here. </a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-30383897435779470002017-06-28T14:52:00.001-05:002019-10-11T14:53:59.398-05:00Revolutions Reviewed! <div class="separator" style="clear: both; text-align: center;">
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The always-interesting journal <i>Galatea Resurrects</i> has been kind enough to run a review of my recent book written with John Matthias and Jean Dibble, <i>Revolutions: A Collaboration. </i>Ralph La Charity says some kind things. He understands the relationship between the historical source in Mandalstam's poetry, Matthias' reworking and riffing on those poems, Dibble's prints reaction to Matthias, and my own commentary, and concludes by saying:<br />
<blockquote class="tr_bq">
Throughout REVOLUTIONS the beholder is treated to a many-angled banquet of effects. As elusive as any one effect might be, it is in the mixing of all those effects that the book achieves itself. The poet achieves grace for his terrorized forebear, the visual artist achieves a poetics of sighted sound, and the critic takes us into an orientation we receive as grandly utile in its breadth and particularity both. And yes, the book manifestly rewards re-reading and re-apprehending, since I have managed to give but a teasing hint as to how its complexities meld into a variegated whole that is, truly, sublime. </blockquote>
La Charity also calls me a "a speculative unraveler par excellence," which may be my favorite epithet ever.<br />
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<a href="http://galatearesurrects2017.blogspot.com/2017/06/revolutions-collaboration-by-john.html" target="_blank">The review can be read online here.</a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-25881041360393326312017-05-31T13:22:00.002-05:002019-10-11T14:54:15.117-05:00The Politics of Stupidity, or: The Prescience of Pierre Bourdieu<div class="separator" style="clear: both; text-align: center;">
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In the last years of his life, Pierre Bourdieu turned with increasing urgency to political questions. Seeing in globalization an ever-greater concentration of all forms of capital—financial, educational, symbolic, and so forth—he called for a true internationalism, a set of reforms at the European and, ultimately, global level to rein in the forces that would reduce everything to a commodity, and render up all commodities into the hands of the few. Speaking to an audience of students in Berlin in June of 2000, he said a few words about the nature of the emerging global elite that resonate particularly well with today’s grim political picture. Those words go a long way toward explaining the nature of the kind of resentful populism—and in some cases, fascism—that we see rising around us.<br />
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He speaks of the unequal distribution of cultural capital, including the kinds of capital (advanced educational degrees, international travel, familiarity with the keywords of prestige fields like economics or the sciences, readership of intellectually challenging books and media, etc.) amassed by the elites of the emerging global economy. To be clear: this is an elite broadly conceived—not merely the 1% we railed against at Occupy, but the professional and managerial classes. I, and most of those reading likely to be reading this, are members of that class, whether we care to admit it or not.<br />
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The ruling class no doubt owes its extraordinary arrogance to the fact that, being endowed with very high cultural capital (most obviously of academic origin, but also nonacademic), it feels perfectly justified in existing as it currently exists… The educational diploma is not merely a mark of academic distinction: it is perceived as a warrant of natural intelligence, of giftedness. Thus the “new economy” has all the characteristics to appear as the “brave new world.” It is global and those who dominate it are often international, polyglot, and polycultural (by opposition to the locals, the “national” or “parochial”). It is immaterial or “weightless”: it produces and circulates weightless objects such as information and cultural products. As a consequence, it can appear as an economy of intelligence, reserved for “intelligent” people (which earns it the sympathy of “hip” journalists and executives). Sociodicy [the means by which a society justifies itself] here takes the form of a racism of intelligence: today’s poor are not poor, as they were thought to be in the nineteenth century, because they are improvident, spendthrift, intemperate, etc.—by opposition to the “deserving poor”—but because they are dumb, intellectually incapable, idiotic. In short, in academic terms “they got their just deserts”…</blockquote>
There’s a kind of smugness, Bourdieu says, to the widely-held belief among elites that we got here because we’re smart, and others ended up where they are because they’re stupid—a smugness based on an almost willful blindness to the barriers to the development of human capital faced by the majority of the population, and a on a discrediting of forms of knowledge other than those held in esteem by elites. But so what? Well, there’s this, when Bourdieu continues:<br />
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The victims of such a powerful mode of domination… are very deeply damaged in their self-image. And it is no doubt through this mediation that a relationship—most often unnoticed or misunderstood—can be traced between neoliberal politics [the deregulated, financialized, and internationalized world of globalization] and certain fascistoid forms of revolt among those who, feeling excluded from access to intelligence and modernity, are driven to take refuge in the national and nationalism.</blockquote>
Tell people they're stupid—even if it's not spoken except through a thousand micro-aggressions—and they won't forget it. “America first,” they'll say, or “France for the French,” or "Build the wall!" or “Brexit!” They'll simmer with resentment, feeling that they are looked down on by a worldly elite as nothing more than idiots, or a basket of deplorables. And here they are, angry to the point of violence, giving us (as Michael Moore put it) "the biggest fuck you in human history." They've been had, of course—preyed on and manipulated by the cynical people who have taken power and seek only their own personal ends. We are right to oppose them, but we would be wrong to say we did not, to some degree, provoke their rage.<br />
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-1643576093853559732017-05-09T18:26:00.001-05:002019-10-11T14:54:36.126-05:00Arks & Covenants: The Poet as Aphorist & Essayist<div class="separator" style="clear: both; text-align: center;">
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Poussin's paintings, Shakespeare's epitaph, Thom Gunn's existentialism, and many other things animate the elegantly written essays in Alfred Corn's new collection of prose, <i>Arks & Covenants</i>. As fascinating as the essays are, though, my favorite part of the book is its collection of aphorisms. There have been times and places when collections of maxims and <i>bon mots</i> have been expected from writers—but our time and place is not one of them. This makes me love them all the more. Here's what I said about Corn's aphorisms in an essay called "Without Trumpets" that serves as an afterword to the book:<br />
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Corn’s own eccentricities include his commitment to the aphorism as a literary form. The aphorism, of course, has an ancient and distinguished tradition: for centuries, any French writer without a book of maxims would have to make excuses for the omission. But, as Corn points out in the introduction to the collection of his own aphorisms included here, the form has passed from fashion, and has difficulty finding a publisher and an audience. Corn’s aphorisms certainly deserve an audience for their exemplary mondanité. For the present context, though, it is interesting to note how many of his aphorisms turn upon observations on the same themes around which his criticism revolves. When, for example, Corn writes this observation about dogs, we are back in the realm of cultural influence and transformation: “Dogs outside their masters’ houses at night inspire each other to ‘speak.’ One bark sets off another, and so on until all within earshot wake up and join in. The same with literary folk.” Similarly, when Corn writes ““Insofar as the author’s task is to find speech capable of communicating what can’t be said, writing resembles the Incarnation, in which ineffable deity becomes visible flesh and audible word” we are returning to his obsession with Christian forms of the sacred. And how can we read “Humility is not the same thing as humiliation, but if you’ve never been humiliated you probably won’t attain it” without feeling Corn’s compassion for the social outsider?</blockquote>
<a href="https://www.amazon.com/Arks-Covenants-Essays-Aphorisms-COLOR/dp/1946606006/ref=sr_1_1?s=books&ie=UTF8&qid=1494372272&sr=1-1&keywords=Arks+and+covenants+corn+archambeau" target="_blank"><i>Arks & Covenants</i> is available here. </a><br />
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<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-51648644961409691912017-05-08T14:44:00.001-05:002019-10-11T14:54:52.670-05:00Laureate Poets and Heretic Poets in the TLS<div class="separator" style="clear: both; text-align: center;">
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I've always romanticized the Grand Old Literary Newsprint Journals—the <i>New York Review of Books, </i>the <i>London Review of Books</i> and, best of all, the <i>Times Literary Supplement. </i>It's not often I've encountered references to my own work when flipping through the <i>TLS</i> (three times, not that I'm counting), so I was delighted to run across Stephen Burt's "Laureates and Heretics" in the May 3 issue—an article that takes its name from a book of mine that came out several years ago.<br />
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Burt's essay isn't about my book: it's a review of two books of essays by contemporary poets, Alan Shapiro's <i>The Self-Forgetful Perfectly Useless Concentration</i> and John Matthias' <i>At Large</i>. But—noting that both Shapiro and Matthias studied in the considerable shadow Yvor Winters cast at Stanford (Matthias under the man himself, Shapiro under his disciples)—Burt chose to use <i>Laureates and Heretics</i> as a means of understanding the two poets. My book, after all, was about Winters' last generation of students, and the poetic careers they went on to have. Burt gives a good, quick sense of the book in his introductory paragraph:<br />
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In 2010 the Illinois-based poet and critic Robert Archambeau published <i>Laureates and Heretics</i>, about “six careers in American poetry”: those of Yvor Winters (1900–68) and five of Winters’s last graduate students at Stanford University. Of those, Robert Pinsky and Robert Hass became US Poet Laureates, while John Peck, John Matthias and James McMichael (the heretics) found small, loyal, contrarian audiences for their drier and more obviously learned poetry. Archambeau showed that Winters’s astringent yet charismatic pedagogy, his early modernist experiments and the severe doctrines of his later years – against raw emotion and modernist uncertainty, in favour of reason, control and inherited rules – could generate sharply divergent poetic programmes. He also showed how a particular way of reading, indebted to Winters’s poetic tastes and touchstones (including Ben Jonson, J. V. Cunningham and George Herbert’s “Church Monuments”), could persist for generations, even as its acolytes diverged.</blockquote>
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Burt goes on to use the notion of "laureate" and "heretic" poetics to describe Shapiro and Matthias, respectively:<br />
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Shapiro’s fourth volume of prose. Most of its nine essays recommend, persuasively and movingly, what Archambeau might call a laureate programme: personal but guarded, never opaque, fiercely committed to the double notion that poetry can be read by everyone, and that it requires hard work to write.
Shapiro may never become US Poet Laureate, but his moderate, democratic, inviting prescriptions fit Archambeau’s laureate frame.... John Matthias remains one of Archambeau’s heretics, and he writes for readers who have already read a great deal, or in some cases for readers who have read every issue of <i>Notre Dame Review</i>, the literary journal that Matthias co-edited in the 1990s and 2000s.</blockquote>
There's something in that critical distinction. And there's something special in it for me: it's always good to encounter one's own paradigm put to use.<br />
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The article is available in print, and <a href="http://www.the-tls.co.uk/articles/private/alan-shapiro-john-matthias/" target="_blank">online, here, to subscribers</a>.Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-5300377928434929772017-05-07T12:25:00.001-05:002017-05-07T12:30:19.145-05:00On Rhyme Out Now!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhpWEpHYqCb5rCMNU9vgFZovJv3JXetunV7JC8qjPx1c40eMrhyphenhyphenKoWRfdcoPJpR4Smj6UCcWMQq5o7s0mVKG-nkBuVUC-rs24PIlZX3_oDKIsVJ_EtjjQBDGULPredRwl6QF8/s1600/Screen+Shot+2017-05-07+at+12.16.28+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhpWEpHYqCb5rCMNU9vgFZovJv3JXetunV7JC8qjPx1c40eMrhyphenhyphenKoWRfdcoPJpR4Smj6UCcWMQq5o7s0mVKG-nkBuVUC-rs24PIlZX3_oDKIsVJ_EtjjQBDGULPredRwl6QF8/s400/Screen+Shot+2017-05-07+at+12.16.28+PM.png" width="400" /></span></a></div>
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Rejoice! <a href="http://www.presses.ulg.ac.be/jcms/c_18014/on-rhyme" target="_blank">David Caplan has edited a collection of essays called <i>On Rhyme</i></a>, with contributions from a host of interesting people. Here's the table of contents:<br />
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<b>Rhyme in Modern and Contemporary American Poetry</b><br />
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Stephen Burt – Cornucopia, or, Contemporary American Rhyme<br />
Robert Archambeau – Inventions of a Barbarous Age: Rhyme in Contemporary American Poetry<br />
Maureen N. McLane – Divigations on Rhyme: For Rhyme, or Rhyme<br />
Roi Tartakovsky – Rhyme Random: Robert Creeley's Sporadic Rhymes.<br />
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<b>Rhyme Across Time Periods</b><br />
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Simon Jarvis – Why Rhyme Pleases<br />
Anthony Madrid – Seventeen Quotations with Commentary.<br />
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<b>Rhyme in Earlier</b> <b>Poetry</b><br />
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Christina Pugh – Emily Dickinson, Rhyme, and Sonic Ambivalence<br />
Michael C. Clody – The Matter of Rhyme in Tudor Poetics<br />
Peter McDonald – Boundaries and Ways between: Rhyme and the Hermetic<br />
David Scott Wilson-Okamura – Spenser's Drone.<br />
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<b>Poetry Portfolio</b><br />
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Charles Bernstein – "Fare Thee Well" and "What Makes a Poem a Poem?"<br />
Maureen N. McLane – "On Not Being Elizabethan"<br />
Jennifer Moxley – "The Bittersweet Echo" and "The Poetry Lesson"<br />
Albert Goldbarth – "Migration Song"<br />
Michael Robbins – “Sonnets to Edward Snowden”<br />
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<b>Hip Hop and Rhyme</b><br />
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Natalie Gerber – Stress vs. Syllable Timing: Global Englishes, Rhyme, and Rap<br />
David Caplan – The Inheritors of Hip Hop: Reclaiming Rhyme<br />
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<b>Rhyme in Other Texts</b><br />
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H.L. Hix – Identical Rhyme and Multiplicity of Identity<br />
Marjorie Perloff – Afterward: What the Ear Demands.<br />
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<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-44723873706262926762017-05-03T14:50:00.001-05:002019-10-11T14:55:29.278-05:00Revolutions: A Collaboration — Or How to Write in the Age of Trump and Putin<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXgTo_SnwB_738aK39N1HBQ6_BpNwsRiSIwfwv6cgWSlaoMtLFxeiBJ6fYhAOQ8QCjiUOk7wTWXVVYoahWucpMjj9UapMuc8fhAPEnj-fwJZib8cRwi6aEwRtHBz6nkDJVvygD/s1600/REVOLUTIONS+BLOG.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXgTo_SnwB_738aK39N1HBQ6_BpNwsRiSIwfwv6cgWSlaoMtLFxeiBJ6fYhAOQ8QCjiUOk7wTWXVVYoahWucpMjj9UapMuc8fhAPEnj-fwJZib8cRwi6aEwRtHBz6nkDJVvygD/s400/REVOLUTIONS+BLOG.png" width="400" /></a></div>
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<span style="font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">How to write in the time of Trump and Putin? In words and images, John Matthias, Jean Dibble, and Robert Archambeau give you an answer to consider: find the muse of amusement and the reality of facts and twin them: you will arrive at "Revolutions," which instructs us on the possible meanings and uses of poetry in an Age of Emergency. These collaborators sing of methods of representation and ways to make new. Visually stimulating, linguistically innovative, this is work of invention and innovation to help us survive. From eidolon to Eisenhower, from Eiffel to Eichmann, the leaps keep us on our toes. There is much consolation in the anxiety of forms.</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">—Maxine Chernoff</span></span></blockquote>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-weight: normal;">That's the jacket copy got <i>Revolutions: A Collaboration</i>, a book I co-wrote with John Matthias, with images by Jean Dibble. <a href="https://www.amazon.com/Revolutions-John-Matthias/dp/1939929741/ref=sr_1_1?s=books&ie=UTF8&qid=1493840959&sr=1-1&keywords=revolutions+archambeau" target="_blank">It's just out from Dos Madres Press</a> and looks great. But what's it about? There's no easy way to say, but I'd start with this: it takes scenes from the life and works of the great Russian poet Mandelstam, crosses them with events from the life of John Matthias, and bends everything toward a fictive realm, all the while commenting on the nature of cognition, memory, and the (possibly redemptive) imagination. Here's an example of one of John's poems with my commentary (the "HIJ" is a fictive character based on the three consecutive letters of the alphabet H, I and J, and the poem uses words from the entry for those letters in the dictionary based on a kind of Oulipo-derived formula):</span></span></h1>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><i style="mso-bidi-font-style: normal;">From </i>THE HIJOFIT<o:p></o:p></span></h1>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Poems by John Matthias, commenatry by Robert Archambeau<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></h1>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">1. Haphazard<o:p></o:p></span></h1>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="mso-tab-count: 1;"> </span>is the
method of the new hussars;<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">the tsar’s unhappy; bless him<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">and applause aplenty bring to his tsarina.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">All bells toll this inauspicious hour.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Peasant absentee shuns orthodoxy of<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">the Bishop of Pah. It reigns down from clouds<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">O hallelujah crowd and ever after: Winds blow<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">across the steppe, the messenger<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">caught up in mass and mission<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">fails in the individual soul: Everything’s for sale,<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">especially oil, soil.<span style="mso-spacerun: yes;">
</span>Ahph!<span style="mso-spacerun: yes;"> </span>Our brother’s pipeline<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">sabotaged by cabbage claims.<span style="mso-spacerun: yes;">
</span>Borsht!<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Poetics is no longer worth a pension<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">even for a splaygirl in from Budapest. Anapests – <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">the three red accents on her breasts.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Hazard me a guess, dauntless guest of hap-<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">penstance drinking vodka at our happy hour.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">That was the moment. That was the power.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">Hapax Legoman was his love, who <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">drove a nine and twenty for her dower.<o:p></o:p></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: small;">H is for Haslam’s <i>History</i><o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Who are
they, then, these new hussars? And who’s the windblown messenger caught up in
mass and mission? Who, also, is our brother, and who the splaygirl come from
Budapest? “Hazard me a guess,” we hear. I’ll hazard this: they’re all from
Haslam’s <i>History, </i>or close enough.
Dull critic that I am, I won’t mimic Matthias, no. No, I’ll explain.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Silas
Haslam’s <i>History of the Land Called Uqbar</i>
exists only in one place—or three, depending how you count the reality of
immaterial things. For the most
puritanical of enumerators, it exists only in a story by Jorge Luis Borges,
“Tlön, Uqbar, Orbis Tertius.” The hero of that story comes across a mention of
Haslam’s <i>History</i> in the bibliography
appended to the last article of a stray volume of the fictitious 1917 <i>Anglo-American Encyclopedia</i>, an
imaginary illegal reprint of the eminently real <i>Encyclopedia Brittanica </i>of 1903. This imagined version of a real
book is, in fact, the second place, other than Borges’ story itself, where
Haslam’s book stakes its tenuous claim to reality. But the encyclopedia article
that mentions Haslam faces great challenges in its claim to existence: besides
being a construct of Borges’ imagination, it is apocryphal even within the
story born of that imagination. There, it exists only in the possibly
unreliable testimony of a secondary character—some copies of the encyclopedia
lack the article, and we have only the testimony of this character to indicate
that at least one copy does indeed contain four extra pages describing Uqbar.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> Strangely,
Haslam’s <i>History </i>has a greater claim
to existence than the encyclopedia article in which it is mentioned, as
characters in the story discover it mentioned in the catalog (the third place
of its existence) of a bookshop. To be precise, they discover it in the catalog
of Bernard Quartich’s bookshop—a real shop, opened in London in 1847 and open
there still. Whether Haslam’s book ever existed in the catalog of the venerable
Quartich’s, I cannot say. Doubts abound, but scholars have yet to assemble the
catalogs of Quartich, dispersed as they have been over the globe for a hundred
and sixty years and more. So we just don’t know for sure.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> But H is
not just for Haslam’s <i>History</i>, nor
for “Haphazard,” or “Hij,” or “Hijofit.” H is also for “Hermeneutic code.” Of
the five communicative codes described in Roland Barthes’ <i>S/Z</i>, this is the one that most frustrates and satisfies readers. It
refers to those elements of narrative that are not explained, that raise
enigmas and set us hunting for answers. Sometimes, as in the detective story,
we find those answers, our hermeneutic hunger satisfied with a great “aha!” But
sometimes an author—wily, sly, or incompetent—frustrates us in our search.
Sometimes they make us fall into what Barthes calls a “snare”—an enigma
refusing to be resolved.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"> We might
say that the reality of Haslam’s <i>History</i>
in Borges’ story is a snare. Except that Borges is more wily still. His story
isn’t just about the dubious existence of things–it is about the influence of
nonexistent things, their propensity to multiply and become real. Through
machinations too arcane to articulate here, artifacts not of Uqbar, but of
Tlön—a fictitious realm from the literature of Uqbar—begin to manifest as
actual objects in the real world of Borges’ story. What was caught in the
hermeneutic snare is unleashed in the world itself. If you don’t believe it, try Googling “Uqbar”
or “Haslam’s <i>History</i>.” You’ll find
they’re mentioned, now, not in one place, or three, but many thousands. Borges
sent them from the narrow valley of the unsubstantial to the broad fields of
ubiquity.<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="mso-tab-count: 1;"> </span>Who, then,
are Matthias’ hussars? And who’s the windblown messenger? We don’t know who
they are. But we know where they are: they’re in three places. They’re caught
in the poet’s snare–from which none of them shall escape to make a horseman’s
charge, or deliver a messenger’s missive. And they’re in an artist’s image, in
colors they never knew or wore. And they’re in this commentary, now. They are
snared and stuck forever, and they begin to travel.</span><o:p></o:p></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">The book can be ordered at the <a href="https://www.dosmadres.com/shop/revolutions-a-collaboration-by-john-matthias-jean-dibble-robert-archambeau/" target="_blank">Dos Madres Press site</a>, at <a href="https://www.amazon.com/Revolutions-John-Matthias/dp/1939929741/ref=sr_1_1?ie=UTF8&qid=1493862171&sr=8-1&keywords=archambeau+matthias+revolutions" target="_blank">Amazon</a>, or at <a href="http://www.spdbooks.org/Products/9781939929747/revolutions--a-collaboration.aspx" target="_blank">SPD</a>.</span></div>
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-8744088425073647072017-04-15T16:05:00.001-05:002019-10-11T14:55:44.687-05:00The Flash of Up: Reading Eric Elshtain<div class="separator" style="clear: both; text-align: center;">
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Here’s a poem called “Shawl Dance.” It’s by Eric Elshtain, from his 2015 book This Thin Memory A-Ha.<br />
<br />
The sky of it causes<br />
harmony in the bending<br />
as a bird maneuver<br />
creates a flash of up—<br />
<br />
she starts to sing—the young<br />
Lakota in a high school gym—<br />
to reverse the history<br />
of the crowd’s shout—.<br />
<br />
And since, no sky is like<br />
the kind that caused us<br />
under the act<br />
of a single dance<br />
to be all too created<br />
<br />
*<br />
<br />
The referent is a very particular thing—the shawl dance, something performed by tribal groups of the Great Plains and the Canadian prairies. In its way, it is an adaptation to humiliation and defeat.<br />
<br />
Starting in the 1920s, it became illegal for Native Americans to perform traditional religious and ceremonial dancing. In response, they developed new dances and costumes, a collection of movements and sartorial signifiers that went under the name of “the fancy dance.” It was a way to get around the laws that were meant to stamp out Native American cultural identity, to mutate old forms and let them survive, shorn of much of their old significance. The dances, while not religious, became rituals of identity, and so gained a different kind of dignity—even when they were commodified, and performed for tourists during the Depression, when plains tribes were harder pressed even than the homesteaders of the dustbowl.<br />
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The shawl dance was a particularly female element of the fancy dance, and represented a butterfly coming out of a cocoon. Rebirth, a perennial theme in all human cultures, takes on a particular resonance in the context of the fancy dance, born from the murder of old religious forms, and born as art, and beauty.<br />
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I like that in Elshtain’s representation of it, the shawl dance forms a harmony that is also a sky: it is the rebirth of a universe, of a cultural world that might have disappeared.<br />
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I like, too, that it takes place in a high school gym—that it is a moment within a larger, encompassing culture that speaks back against the history that brought that encompassing culture to dominance on the plains (Elshtain adds a note, “South Dakota, 1998” indicating the location of the depicted events).<br />
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And speaking of larger cultures, there’s an elegant, if oblique, reference to Christianity at the end of the poem: there is no sky, we read, like the kind under which we were all created—or, more specifically, under which we were “all too created.” That’s the fall we’re talking about—how we came into being with the potential to sin, to be expelled from the Edenic harmony prepared for us into a world of suffering and (oh Cain, oh Abel) violence. Eden only exists for us now in dreams and artifice, in the harmony to which we can feel we ascend, just momentarily, in the “flash of up” flights of art.<br />
<br />
*<br />
<br />
The referent is compelling, but it is presented somewhat obscurely, a little sideways, a little odd of angle. When we hit the first line, it takes just a moment to be sure the “it” is the shawl dance of the title. And we don’t read “The Lakota girl, in the traditional dance, casts her shawl up in a birdlike motion to create a kind of artificial shawl-sky above her.” We read something that asks us to make a bit of a leap. And I’m still not quite sure how to take the part of the second stanza about the crowd’s shout. I mean, I understand, or think I understand, about the dance reversing history, given what I know about the history and meaning of the fancy dance tradition of which the shawl dance is a part. But in this scene, is what we see a call-and-response from a crowd that is on the girl’s side? Or are they somehow hostile? I can guess, but that’s really all I can do, given the way things are depicted here, with such economy and obliquity.<br />
<br />
Even the notion of human falleness is handled with utmost economy—take the words “all too” out of the last line and it vanishes. That’s compression. Or maybe it’s better to say “that’s a light touch.”<br />
<br />
It’s not an abstract poetry at all—no more than certain types of Cubism are abstractt art. Think of “Shawl Dance” as a verbal equivalent of something like Braque’s “Violin and Candlesticks.” It depicts something, but what it depicts comes to us less immediately than it would in a traditionally perspectival painting. It takes a moment to emerge from all those chiseled planes. And it isn’t really more important than the planes from which it emerges: the planes are as much the point, or more so, than the referents. That’s true of Braque’s painting, and of Elshtain’s poem, too.<br />
<br />
Elsthtain pushes form forward in front of his referents, just as Braque does. But why? On the one hand, I don’t think this requires an explanation any more than does any other convention, including the poetic convention of anecdotal realism. On the other hand, I love explanations, especially when they forego any claim to exhausting their subjects, and I have neither the intention of exhausting, nor the ability to exhaust, Elshtain’s poem. And I think one explanation for the way he presents his referents obliquely comes in the title of the book in which the poem is to be found. This Thin Memory A-Ha is, after all, not just a title but a poetics. It declares something about what a poem can be: a thin little thing, surrounded by white space on the page; a memory of an experience (perhaps of a shawl dance in South Dakota back in 1998); and a quick, delighted moment when delayed understanding becomes realized understanding. <br />
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That is: the oblique presentation allows for a moment of delay before the perception snaps into focus. It allows for an a-ha.<br />
<br />
The shawl dance, like the Cubist poem, allows for the sudden creation of its own world, where there might have been none. The sky of it suddenly becomes real in a flash of up.<br />
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<br />Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-38170165865530859922017-04-08T14:24:00.001-05:002019-10-11T14:55:58.225-05:00In Which I Am Interviewed By The Huffington Post<div class="separator" style="clear: both; text-align: center;">
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The good people at the Huffington Post have interviewed me about what’s going on in the poetry world. Here’s a snippet:<br />
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I’ve always thought the most uninteresting thing a critic can do is say “thumbs up!” or “thumbs down!”—at least if its just a matter of holding a book up to one’s pre-existing set of critical standards and seeing if it conforms. I’m always most excited when I encounter a book that either leaves me baffled or seems entirely at odds with what my instincts tell me poetry ought to be. This can be avant-garde work, of course, but it can also be things that are the poetic equivalents of mammoths unfrozen from the polar ice—as if they’d dropped in from another time.</blockquote>
<a href="http://www.huffingtonpost.com/entry/2017-poetry-month-an-interview-with-robert-archambeau_us_58de8c02e4b0d804fbbb7262" target="_blank">The rest is available here.</a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-19116262435276932452017-03-26T19:18:00.003-05:002019-10-11T14:56:10.501-05:00When Revolution Was Sexy, or: Tania, Ché’s Woman in Bolivia<div class="separator" style="clear: both; text-align: center;">
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Not long ago, as I was shuffling my way through the local used bookshop, I saw a pristine copy of the November 1968 issue of <i>Evergreen Review</i>. William Burroughs! Céline! Nat Hentoff before he slid rightwards! The Chicago police riot! Something called “Tania: Ché’s Woman in Bolivia,” for which the only appropriate response is to shout “how was this not turned into a movie with Dennis Hopper in heavy makeup and Jane Fonda with a brunette dye-job?” And speaking of Jane Fonda: an ad for <i>Barbarella</i> on the back. Hell yes I bought it. For a fiver, too.<br />
<br />
Reading around in the thing—the articles and letters, but also all the ads and paratext—made one thing absolutely clear to me: the revolution was eroticized. I mean, half of the ads for books are for sex-themed reading, the ad for the <i>Village Voice</i> is a kind of callipygian parade, and you’ll see headings like “How about those kookie nudists?” Of course it’s nothing new to note that the revolution that stuck, from those heady days of wide bandwidth rebellion, was the sexual revolution. It is striking, though, to see how hooked into other forms of rebellion it was. Revolution—the word, the concept, the display on the street.<br />
<br />
What’s amazing about this element of the 1960s is how it sits vis-a-vis some of what that great guru of the sixties, Herbert Marcuse, had to say in <i>One-Dimensional Man</i>. One of his better inventions was the notion of repressive desublimation. One element of the theory of repressive desublimation takes the form of a contention about libidinal energy. Once upon a time, when we were all jammed up Victorians in tight corsets and high collars, goes the story, we couldn’t simply follow our erotic urges, so we attached them to higher ideals of one kind or another. Think Tristan and Isolde yearning for one another—the idea of erotic fulfillment becomes attached to something grand, something set in an imagined historical elsewhere, where passions are immense, where actions are significant, where we are heroic. It’s all very <i>Madame Bovary,</i> isn’t it—this sense of a better literary elsewhere as criticism of this world, and of that elsewhere being charged with eros? (<i>Bovary</i> is, in fact, one of Marcuse’s examples). From our perspective, of course, this kind of celebration of tragic and romantic love, “appears,” as Marcuse said, “to be the ideal of a backward stage” of development. Good riddance to whalebone corsets and virginity-until-marriage!<br />
<br />
But wait. That better or idealized world we’d suffused with eros functions as a kind of critique of the world we live in: Marcuse calls it “The Great Refusal”—and it’s desirable, juiced up, because we’ve made it the sexy place. It’s where our sublimated sexual energies went. When we stop sublimating, and decouple the erotic from the ideal, those other worlds lose their drawing power, and we miss the force of their implicit critique of our own world. Instead, we all just fuck—or, as Marcuse put it, we find our satisfactions “rigidly reduced” to “a localization and contraction of libido, the reduction of erotic to sexual experience and satisfaction.” We’re not freer and more happy than those Victorians who sublimated their erotic energy into dreams of other, better worlds. “The Pleasure principle,” Marcuse writes, “is reduced—deprived of the claims which are irreconcilable with the established society. Pleasure, thus adjusted, generates submission.” And that’s why desublimation—which sounds so liberating—is, in Marcuse’s view, repressive.<br />
<br />
So what to make of the attachment of eros to the idea of social and political revolution, as we see it in the <i>Evergreen Review</i>? What to make of Tania, Ché’s woman in Bolivia? It’s a remarkable combination of desublimated eroticism, and an attachment of the erotic to an ideal that refuses the world as it is. Some of it, of course, is just marketing: there’s that ad for <i>Barbarella</i> to consider. And the overwhelming majority of it, in the November 1968 <i>Evergreen Review</i>, caters to heterosexual men, and doesn’t seem to have any second thoughts about the male gaze and the objectification of women and a host of other things we have—slowly, falteringly, inadequately—begun to criticize. But it’s also something that seems to have moved beyond the binary of a liberating sublimation and a repressive desublimation.<br />
<br />
It’s been a while since revolution has seemed sexy. But the way our politics has gone, it’s looking more attractive all the time.<br />
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Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-19049472353566152102017-03-06T12:44:00.002-06:002019-10-11T14:56:25.408-05:00His Swords and Armor: Michael Donaghy Remembered at Poetry Daily<div class="separator" style="clear: both; text-align: center;">
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Happy to say that "His Swords and Armor: Remembering Michael Donaghy" <a href="http://poems.com/special_features/prose/essay_archambeau_donaghy.php" target="_blank">is available in its entirety at Poetry Daily. </a> The piece originally ran in <i>The Hopkins Review.</i>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com0tag:blogger.com,1999:blog-8052308.post-82309287039372485102017-03-03T14:11:00.001-06:002019-10-11T14:56:39.138-05:00Resist Much/Obey Little, or: Here Comes Everybody, and They All Hate Trump<div class="separator" style="clear: both; text-align: center;">
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Remember how the anti-Trump demonstrations were so vast they sent our president running to his phone to squeak out some angry tweets? I'm hoping the vast list of contributors to <i>Resist Much/Obey Little: Inaugural Poems to the Resistance</i> will do the same. I've got a piece in the book, and so do these people:<br />
<br />
<blockquote class="tr_bq">
Nibaldo Acero
Nancy Agabian
Andrés Ajens
Youssef Alaoui
Rosa Alcalá
Charles Alexander
Will Alexander
William Allegrezza
Caitlin M. Alvarez
Joe Amato
Bruce Andrews
Robert Archambeau
Bob Arnold
JoAnn Balingit
Barbara Barg
John Beer
Ana Belén López
Rosebud Ben-Oni
John M. Bennet
Steve Benson
Jay Besemer
Stephen Bett
Richard Blevins
BLUNT RESEARCH GROUP
Andrew R. Boettcher
Kathy Bohinc
Charles Borkhuis
Dianne Borsenik
Michael Boughn
Kent Bowker
John Bradley
Susan Briante
Alan Britt
Christopher Brown
Lee Ann Brown
Laynie Browne
John Burns
Melissa Buzzeo
Don Byrd
Anthony Cappo
Xánath Caraza
Brenda Cárdenas
Jessica Wilson Cárdenas
Kristen Case
Hayan Charara
cris cheek
Chin-In Chen
Maxine Chernoff
Abigail Child
Wendy Chin-Tanner
chiwan choi
Andres Cisneros de la Cruz
Franklin K. R. Cline
Norma Cole
Victor Coleman
Ed Coletti
Matthew Cooperman
Michael Copperman
Joshua Corey
Paul Corman-Roberts
Lydia Cortes
Ricardo Cortez Cruz
Curtis L. Crisler
Garin Cycholl
Lyle Daggett
Beverly Dahlen
Pedro Damian Bautista
Chris Daniels
Ruth Danon
Jill Darling
doris davenport
Michael Davidson
Jenny L. Davis
Jean Day
Terence Degnan
Ian Demsky
Lynne DeSilva-Johnson
Reed Dickson
Linh Dinh
Dante Di Stefano
Thom Donovan
Johanna Drucker
Andrew DuBois
Alice O. Duggan
Denise Duhamel
Patrick Dunagan
Rachel Blau DuPlessis
Marcella Durand
Patrick Durgin
Tongo Eisen-Martin
Stephen Ellis
Clayton Eshleman
Carrie Etter
Amy Evans
Tanya Evanson
Jim Feast
Robert Fernandez
Crystal Field
Guillermo Filice Castro
Bonny Finberg
Annie Finch
Norman Finklestein
Norman Fischer
Kass Fleisher
Lewis Freedman
Lisa Freedman
Ru Freeman
Bill Freind
Philip Fried
Gloria Frym
William Fuller
Kelle Grace Gaddis
Matt Gagnon
Forrest Gander
Edgar Garcia
Drew Gardner
Joseph Gastiger
Galo Ghigliotto
David Giannini
Robert Gibbons
Daniela Gioseffi
Judith Goldman
Larry Goodell
Nada Gordon
Noah Eli Gordon
Jaki Shelton Green
Peter Milne Greiner
Myla Grier
Whit Griffin
Rosemary Griggs
Gabriel Gudding
Jeff Gundy
Eduardo Guzmán Chávez
Rob Halpern
Janet Hamill
q.r. hand jr.,
Daniel Y. Harris
Roberto Harrison
Carla Harryman
Quintus Havis
Marwa Helal
Michael Heller
Jeanne Heuving
William Heyen
Matt Hill
Owen Hill
Brenda Hillman
Jack Hirschman
Andrea Hollander
Bob Holman
Darrel Alejandro Holnes
Christopher Howell
Detrick Hughes
Brenda Iijima
Alan W. Jankowski
Lisa Jarnot
Edgar Artaud Jarry
Paolo Javier
Brooks Johnson
Judith Johnson
Kent Johnson
Patricia Spears Jones
Pierre Joris
Janine Joseph
Fady Joudah
Michael Joyce
Judy Juanita
George Kalamaras
Eliot Katz
Vincent Katz
Tim Keane
Douglas Kearney
Burt Kimmelman
Basil King
David Kirby
Davy Knittle
Robert Kocik
Ron Kolm
Anja Konig
Irene Koronas
Dean Kostos
Dee Dee Kramer
Sean Labrador y Manzano
Mark Lamoureux
Susanna Lang
Ted Lardner
David Lau
Patrick Lawler
Mercedes Lawry
Ruth Lepson
Ken Letko
Andrew Levy
erica lewis
Susan Lewis
Genny Lim
R. Zamora Linmark
Joan Logghe
Janice A. Lowe
Brian Lucas
Nathaniel Mackey
Steven Manuel
Filip Marinovich
Al Markowitz
Shelly Marlow
Jack Martin
Valerie Martínez
Paul Martinez-Pompa
Siwar Masannat
Farid Matuk
Syreeta McFadden
Rubén Medina
Caits Meissner
Miranda Mellis
Edric Mesmer
Philip Metres
elena minor
José-Luis Moctezuma
Juan Morales
Laura Moriarty
Sarah Morrison
Andrew Mossin
Erin Moure
Laura Mullen
Eileen Myles
Sawako Nakayasu
Joe Napora
Uche Nduka
Paul Nelson
Murat Nemet-Nejat
Richard Newman
Brian Ng
Joey Nicoletti
A.L. Nielsen
Joseph Noble
Urayoán Noel
Linda Norton
Nita Noveno
Jules Nyquist
Gabriel Ojeda-Sague
Peter O’Leary
Adrienne Oliver
John Olson
Sergio Ortiz
Gordon Osing
Alicia Ostriker
Maureen Owen
Joe Pan
Tamas Panitz, tr.
Soham Patel
Julie Patton
Ted Pearson
José Peguero
Michelle Peñaloza
Craig Santos Perez
Emmy Pérez
Michael Peters
NourbeSe Philip
Wanda Phipps
Wang Ping
Robert Podgurski
Julien Poirier
Tina Posner
Robert Priest
Patrick Pritchett
Chris Pusateri
Ruben Quesada
Alicia Jo Rabins
Charles Rammelkamp
Margaret Randall
Amanda Ngoho Reavey
Tennessee Reed
Margaret Rhee
John Rigney
Marguerite María Rivas
Sherry Robbins
Mg Roberts
Kirk Robinson
Kit Robinson
MaVi Robles-Castillo
Lasantha Rodrigo
Luis J. Rodriguez
Ruben J. Rodriguez
Pilar Rodríguez-Aranda
Linda Rogers
Michael Rothenberg
Julie Rouse
Joe Safdie
Lisa Samuels
Edward Sanders
Larry Sawyer
Jared Schickling
Jason Schneiderman
Danniel Schoonebeek
Ilka Scobie
Hugh Seidman
Jesse Seldess
Anis Shivani
Larissa Shmailo
Evie Shockley
John Shoptaw
Laura Shovan
Ron Silliman
Sandra Simonds
Jonathan Skinner
Austin Smith
Gerard Smyth
Megan Snyder-Camp
BJ Soloy
Alan Sondheim
André Spears
Dani Spinosa
Eleni Stecopoulos
Julia Stein
Winifred Celeste Davis Stragand
Chris Stroffolino
Terese Svoboda
Eileen R. Tabios
Nathaniel Tarn
Ken Taylor
t thilleman
Lorenzo Thomas
John Tipton
James Tolan
Edwin Torres
Rodrigo Toscano
KC Trommer
Keith Tuma
Matt Turner
Arysteides Turpana
Peter Valente, tr.
Kevin Vaughn
Lisa Vihos
R.A. Villanueva
María Villatoro
Moisés Villavicencio Barras
Lina Ramona Vitkauskas,
Fred Wah
Anne Waldman
Lewis Warsh
Joshua Weiner
Marjorie Welish
Donald Wellman
Ross Wheeler
Frederick Whitehead
Walt Whitman
Charles Whittaker
Tyrone Williams
Morgan Grayce Willow
Suzanne Wise
Lissa Wolsak
Heather Woods
Jeffrey Cyphers Wright
Anton Yakolev
Daniel Zimmerman
Marilyn Zuckerman</blockquote>
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<a href="http://www.spuytenduyvil.net/resist-much-obey-little.html" target="_blank">The 740 page outpouring of patriotic dissent can be purchased here. </a>Archambeauhttp://www.blogger.com/profile/17273511539172747550noreply@blogger.com2