Posts Tagged ‘poetry’
June 30, 2014 | by Dan Piepenbring
A happy birthday to Czesław Miłosz, who was born today in 1911 and died in 2004. Miłosz nursed a lifelong fascination with science and naturalism, particularly as they were reconciled—or not—with the Catholic teachings of his youth. He outlined the opposition in his 1994 Art of Poetry interview:
What fascinated you about nature?
Well, my great hero was Linnaeus; I loved the idea that he had invented a system for naming creatures, that he had captured nature that way. My wonder at nature was in large part a fascination with names and naming. But I was also a hunter. So was my father. Today I am deeply ashamed of having killed birds and animals. I would never do that now, but at the time I enjoyed it. I was even a taxidermist. In high school, when I was about thirteen or fourteen, I discovered Darwin and his theories about natural selection. I was entranced and gave lectures about Darwin in our naturalists’ club. But at the same time, even though it was a state school, the priests were very important. So on the one hand, I was learning about religion, the history of the Church, dogmatics, and apologetics; on the other hand, I learned about science, which basically undermines religion. Eventually I turned away from Darwinism because of its cruelty, though at first I embraced it. Nature is much more beautiful in painting, in my opinion.
Can a connection be made between the naturalist’s and the poet’s appreciation of nature?
David Wagoner has written a poem called “The Author of American Ornithology Sketches a Bird, Now Extinct.” It’s a poem about Alexander Wilson, one of the leading ornithologists in America, shooting and wounding an Ivory-billed woodpecker, which he kept to draw because it was a specimen that was new to him. The bird was slowly dying in his house. Wilson explains that he has to kill birds so that they can live on the pages of his books. It’s a very dramatic poem. So the relation of science to nature, and I suspect also of art to nature, is a sort of a meeting of the minds of both scientist and artist in that they both have a passion to grasp the world …
That passion is in evidence throughout “Rivers,” a prose poem by Miłosz published in our Summer 1998 issue; here the geological and religious meanings of rivers are made to sit—illuminatingly, if not comfortably—next to each other. It’s an appropriately crisp read for a humid summer evening, and it begins:
“So lasting they are, the rivers!” Only think. Sources somewhere in the mountains pulsate and springs seep from a rock, join in a stream, in the current of a river, and the river flows through centuries, millennia. Tribes, nations pass, and the river is still there, and yet it is not, for water does not stay the same, only the place and the name persist, as a metaphor for a permanent form and changing matter. The same rivers flowed in Europe when none of today’s countries existed and no languages known to us were spoken.
Read the whole poem here.
June 24, 2014 | by Henry Giardina
The peculiarly virginal hero of Orlando innamorato and Orlando furioso.
Love stories center on a problem—two people love each other, or one person loves another, and how are they going to get together? Sex is part of the solution, or usually is. There are, in literature, those strange cases where it isn’t.
In the literature of antiquity, sex is almost a last resort for the expression of love, and it seldom ends well. It’s the classic pitfall of the Old Testament. The transformations that compose the Metamorphoses are often brought about by sexual peril: Daphne turns into a tree to avoid having sex with Apollo. Syrinx turns into marsh reeds to escape pursuit by Pan. Io is turned into a cow as a bizarre result of having been raped by Zeus. Actaeon, the hunter, is famously turned into one of the very stags he hunts as punishment for seeing Diana naked, and is torn apart by his own dogs. The beautiful youth Hermaphroditus is so repulsed by the idea of erotic contact with a female nymph; she, obsessed, tries to take him by force. She wraps herself around him as he fights her off and prays to the gods to join them as one. And so one they become: a single two-sexed being.
In the realm of myth, sex is transformation, metaphor. Later on, in Arthurian and Carolingian romances, it is the concept of virginity that transforms—and not women’s virginity, but men’s. For the knights of Arthur’s Round Table, undistracted by any real political conflict during the reign of peace, the pursuit of God in grail form is the definitive test of purity. Only the virginal knight Galahad can see the Holy Grail, because of his virginity. “I never felt the kiss of love, / Nor maiden’s hand in mine,” Tennyson has him admit.
Galahad finds his Carolingian counterpart in Orlando, the idealistic, probably virginal hero in the Matter of France. The fifteenth century’s Orlando furioso (and its less-read predecessor, Orlando innamorato) revolves around the physical manifestation of Arthurian religious idealism: the religious wars between the Christian and Islamic worlds. Both stories concern Orlando’s doomed pursuit of the seemingly nondenominational Angelica, a woman whose sexuality is so potent that to escape pursuit by nearly everyone she meets, she must turn invisible by the use of a magic ring not unlike Tolkien’s. She is much closer to the template Ovid lays out in Metamorphoses, the stalked female relying on bodily transformation to escape abuse, though she is, ostensibly, the villain of the tale.
The Orlando cycle may be, in fact, the epic text most densely populated with imperiled virgins since the Metamorphoses itself. Read More »
June 16, 2014 | by Dan Piepenbring
- “The dirty secret of poetry is that it is loved by some, loathed by many, and bought by almost no one.” (That may be dirty, but is it a secret?)
- Everyone can rattle off the names of alcoholic male writers—it’s time to give the women their due. “Jean Rhys was briefly in Holloway prison for assault; Elizabeth Bishop more than once drank eau de cologne, having exhausted the possibilities of the liquor cabinet. But are their reasons for drinking different? And how about society’s responses, particularly in the lubricated, tipsy twentieth century; the golden age, if one can call it that, of alcohol and the writer?”
- Among the artists to have illustrated international editions of The Hobbit over the years: Tove Jansson, Maurice Sendak, and Tolkien himself.
- No one can explain the success of “A Dark Room,” a best-selling game composed of words and not much else—harking back to the earliest computer games of the seventies. “These language games draw on a tradition of using language patterns as a form of play that precedes computers by thousands of years, something to which more recent video games remain indebted.”
- Look to 1984—the year, not the novel—for a curious episode from the annals of bioterrorism: “In rural Oregon, a small religious sect led by an Indian mystic was busy organizing a massive voter-fraud campaign that nearly enabled it to take over an entire county … The Rajneeshees would try to depress turnout among regular voters by poisoning thousands of residents with Salmonella.”
- Journalists reporting from more than ninety countries are collaborating on a new project called Deca: “Once a month, Deca publishes a nonfiction story about the world. Somewhere between a long article and a short book, each piece is written by one member, edited by another, and approved by the rest.”
June 12, 2014 | by Dan Piepenbring
Congratulations to Charles Wright, who was announced today as America’s next poet laureate. James Billington, the librarian of Congress, said that Wright’s poems have “an infinite array of beautiful words reflected with constant freshness” and commended his “combination of literary elegance and genuine humility—it’s just the rare alchemy of a great poet.”
Wright has received, as the Times notes, “just about every other honor in the poetry world, including the Pulitzer Prize, the National Book Award, the Bollingen Prize and the Ruth Lilly Poetry Prize.”
There seem to me to be certain absolutes in whatever field of endeavor one is in. In business and banking they may be availability and convertibility, security and safekeeping, minimal loss and steady, incremental accession. I don’t think it’s that way in poetry, though such values will get you to temporary high places. Brilliance is what you reach for, language that has a life of its own, seriousness of subject matter beyond the momentary gasp and glitter, a willingness to take on what’s difficult and beautiful, a willingness to be different and abstract, a willingness to put on the hair shirt and go into the desert and sit still, and listen hard, and write it down, and tell no one.
We’re happy to have published six of Wright’s poems in our Summer 2008 issue. Here’s one of them, “In Memory of the Natural World”:
Four ducks on the pond tonight, the fifth one MIA.
A fly, a smaller than normal fly,
Is mapping his way through sun-strikes across my window.
Behind him, as though at attention,
the pine trees hold their breaths.
The fly’s real, the trees are real,
And the ducks.
But the glass is artificial, and it’s on fire.
We wish Wright all the best in his new role.
June 11, 2014 | by Nicole Rudick
Toward the end of college and for several years after, I kept two postcard photographs taped above my desk: one of Anaïs Nin, the other of Frank O’Hara—the mother and father of my literary interests at the time. Nin was a gateway for me into feminist writing and into thinking about creativity and the self. My love for O’Hara, on the other hand, was ecstatic. I was infatuated—and still am—with the conversational tone of his poetry, the ease with which he moves from Russian novels to bad movies, Robert Frost to Busby Berkeley, Bayreuth to Hackensack; his poems are like letters to a friend, and when I read them, I am that friend.
As collections go, none brings this quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights. It is number nineteen in their Pocket Poets Series, an apt category for poems that O’Hara wrote during hour-long lunch breaks from the Museum of Modern Art in New York, where he was a curator. He roved through midtown, recording the “noisy splintered glare of a Manhattan noon” as well as his “misunderstandings of the eternal questions of life, co-existence and depth,” as O’Hara himself described the volume—“while never forgetting to eat Lunch his favorite meal.” Read More »
June 10, 2014 | by Dan Piepenbring
The poet Susan Howe is seventy-seven today. A few years ago, she and the musician David Grubbs collaborated on “Frolic Architecture,” a series of multidisciplinary performances that sprang from a book of her collage poems by the same name. Harvard has posted a video of the performance, which is quietly, insistently disruptive. As it progresses, prerecorded shards of Howe’s voice seem to fall into her live voice, and Grubbs fills the space with incidental sounds: insect chirps, gravel and snow and leaves variously underfoot. The performance seems at once to take on weight and ascend into the ether.
Howe remarked on the collage, and the process of recording it, in her 2012 Art of Poetry interview:
I am an Americanist. There’s something that we do, a Romantic, utopian ideal of poetry as revelation at the same instant it’s a fall into fracture and trespass. Frolic Architecture cuts itself to bits. It could be that because I am a woman, bullets are more like blanks. What fuels the poems in that collection is the sense of epic breaking into shards.
I’ve heard the recording of your performance of Frolic, and you actually speak—sound out—its fragments and phonemes, those shards. You treat your work as a score.
Collaborating with the musician-composer David Grubbs has brought vividly home to me how acoustic a seemingly collaged and visual work can be. Several years ago our first collaboration was for a performance at the Fondation Cartier in Paris, and was based around an early poem of mine called “Thorow.” We collaborated again to produce Souls of the Labadie Tract. The work I have done with David has influenced the course of my later poetry by showing me a range of contemporary music with which I was unfamiliar. It also restored my earlier interest in Charles Ives. I love the way Ives’s musical use of quotation throws connectives to the winds. His work is Romantic and iconoclastic at once.
And in the journal Lana Turner, Ben Lerner wrote with typical acuity about the performance:
I assumed Grubbs had digitally manipulated Howe’s voice in order to mimic the fragmentation of the collages. And Grubbs did often and artfully alter her voice, but it turns out that many of the sounds I thought were digital slivers weren’t. It simply did not occur to me that Howe would be capable of reading such diverse phonemes and even smaller linguistic particles in real time with such precision. But she is: I have never heard a person pronounce “nt” or “rl,” for instance, so exactly. Howe can render even the most distressed text acoustic … Howe’s recorded voice—sometimes digitally cut up, sometimes left alone—alternated or overlapped with the live performance, and Grubbs had made sure that there was little or no perceptible sonic difference between what was digital and what was happening before us; when I shut my eyes, I couldn’t tell. This blurring of the boundary between the live and the recorded was a deft way to indicate how Howe’s poems are at once originals and remnants.