{"id":70644,"date":"2014-05-01T18:43:15","date_gmt":"2014-05-01T22:43:15","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=70644"},"modified":"2014-05-02T12:58:58","modified_gmt":"2014-05-02T16:58:58","slug":"the-most-expensive-word-in-history","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/05\/01\/the-most-expensive-word-in-history\/","title":{"rendered":"The Most Expensive Word in History"},"content":{"rendered":"

\"Saroyan<\/a><\/p>\n

Since 1964, The Paris Review<\/em> has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review<\/em>.<\/p>\n

Among these is Aram Saroyan\u2019s lighght<\/em><\/a> print, available in our online store. The print is a record of Saroyan\u2019s most famous poem\u2014one among many collected in his newly reissued\u00a0Complete Minimal Poems<\/i><\/a>. Soon after the poem\u2019s first publication in 1965, \u201clighght\u201d engendered a surprisingly long-lived controversy, in which The Paris Review<\/em>\u2019s own George Plimpton played no small part. As Ian Daly\u2019s terrific piece at poetry.org<\/a> explains,<\/p>\n

\n

Plimpton decided to include it in the second volume of The American Literary Anthology<\/em>, which he was editing for the National Endowment for the Arts \u2026 Plimpton picked Saroyan\u2019s \u201clighght,\u201d so the NEA cut him a check for $750\u2014the same as all the other authors in the anthology. The Review<\/em> kept $250, and Saroyan kept the rest. All of which seems reasonable enough\u2014that is, unless you judge the poem\u2019s worth on a strictly cost-per-word basis\u2014which is exactly what Congress did.<\/p>\n

When Representative William Scherle, a Republican from Iowa, caught wind of the one-word poem, he launched a national campaign against the indefensible wastefulness of the newly established NEA, and urged the removal of its chairperson, Nancy Hanks \u2026 Mailbags of letters from fuming taxpayers clogged the agency\u2019s boxes, most of them variations on a theme: We can\u2019t afford to lower taxes but we can pay some beatnik weirdo $500 to write one word\u2026and not even spell it right?!<\/em><\/p>\n

\u201cIf my kid came home from school spelling like that,\u201d one congressman said, according to the now-defunct arts and literature quarterly Sabine<\/em>. \u201cI would have stood him in the corner with a dunce cap.\u201d<\/p><\/blockquote>\n

The NEA lived to cut another check, of course, but more than twenty-five years later, \u201cRonald Reagan was still making pejorative allusions to \u2018lighght.\u2019 That sparked Saroyan to write about the whole affair for Mother Jones<\/em> in 1981, in a piece he called \u2018The Most Expensive Word in History<\/a>.\u2019\u201d<\/p>\n

But our lighght<\/em> print is not merely a keepsake from an ill-advised chapter in cultural politics. As Daly elegantly writes\u2014and as none of the pols could see through the fog of their vituperation\u2014the poem is also energetic, ineffable, beautiful:<\/p>\n

\n

\u201cLighght\u201d is something you see<\/i> rather than read<\/i>. Look at \u201clighght\u201d as a poem and you might not get it. Look at it as a kind of photograph, and you\u2019ll be closer. \u201cThe difference between \u2018lighght\u2019 and another type of poem with more words is that it doesn\u2019t have a reading process,\u201d says Saroyan, who lives in Los Angeles and teaches writing at the University of Southern California\u00a0\u2026 \u201cEven a five-word poem has a beginning, middle, and end. A one-word poem doesn\u2019t. You can see it all at once. It\u2019s instant<\/i>.\u201d<\/p>\n<\/blockquote>\n

The Paris Review\u2019s<\/em> lighght<\/em> print is available here<\/a> in an edition of 150.<\/p>\n","protected":false},"excerpt":{"rendered":"

Since 1964, The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9372],"tags":[13761,35,8246,14,13762,13763,12376,2426,9528,6971],"class_list":["post-70644","post","type-post","status-publish","format-standard","hentry","category-the-print-series","tag-aram-saroyan","tag-art","tag-controversy","tag-george-plimpton","tag-lighght","tag-minimalist-poetry","tag-nea","tag-politics","tag-prints","tag-ronald-reagan"],"acf":[],"yoast_head":"\nThe Most Expensive Word in History<\/title>\n<meta name=\"description\" content=\"The story behind Aram Saroyan\u2019s infamous poem.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/05\/01\/the-most-expensive-word-in-history\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Most Expensive Word in History by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 1, 2014 \u2013 Since 1964, The Paris Review has commissioned a series of prints and posters by major contemporary artists. 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