The Opening of the Mouth

February 5th, 2012 § 0 comments § permalink

Beverly Dahlen

 

The dead are our children and we must coax them to eat.
Ah   Ah   Ah   Ah   pointing to the mouth, touching
the food: the bull’s leg, the heart.

The dead are our gods. We must pry open their mouths.
They cannot live without our sustenace.
We bring hammers and chisels.
We crack their throats.
Our words fly open above our heads:
stone clouds of owls, lines of water
rippling, geese.

The gods are our children.   Eat.
Eat the heart, the leg, the thigh,
all the parts.   Take into the darkness of your mouth
this eye.   It will be enough light.
It will light you
forever.

 

from The Egyptian Poems (1983)

__________

I’ve recently discovered Beverly Dahlen (b. 1934) thanks to a wonderful friend of mine who asked me to look her up for him. » Read the rest of this entry «

Molloy:

January 28th, 2012 § 1 comment § permalink

Oh I’ve tried everything. In the end it was magic that had the honour of my ruins, and still today, when I walk there, I find its vestiges. But mostly they are a place with neither plan nor bounds and of which I understand nothing, not even of what it is made, still less into what. And the thing in ruins. I don’t know what it is, what it was, nor whether it is not less a question of ruins than the indestructible chaos of timeless things, if that is the right expression. It is in any case a place devoid of mystery, deserted by magic, because devoid of mystery. And if I do not go there gladly, I go perhaps more gladly there than anywhere else, astonished and at peace, I nearly said as in a dream, but no, no. But it is not the kind of place where you go, but where you find yourself, sometimes, not knowing how, and which you cannot leave at will, and where you find yourself without any pleasure, but with more perhaps than in those places you can escape from, by making an effort, places full of mystery, full of the familiar mysteries. I listen and the voice is of a world collapsing endlessly, a frozen world, under a faint untroubled sky, enough to see by, yes, and frozen too. And I hear it murmur that all wilts and yields, as if loaded down, but here there are no loads, and the ground too, unfit for loads, and the light too, down towards an end it seems can never come. For what possible end to these wastes where true light never was, nor any upright thing, nor any true foundation, but only these leaning things, forever lapsing and crumbling away, beneath a sky without memory of morning or hope of night. These things, what things, come from where, made of what? And it says that here nothing stirs, has never stirred, will never stir, except myself, who do not stir either, when I am there, but see and am seen. Yes, a world at an end, in spite of appearances, its end brought it forth, ending it began, is it clear enough? And I too am at an end, when I am there, my eyes close, my sufferings cease and I end, I wither as the living can not. And if I went on listening to that far whisper, silent long since and which I still hear, I would learn still more, about this. But I will listen no longer, for the time being, to that far whisper, for I do not like it, I fear it. But it is not a sound like the other sounds, that you listen to, when you choose, and can sometimes silence, by going away or stopping your ears, no, but it is a sound which begins to rustle in your head, without your knowing how, or why. It’s with your head you hear it, not your ears, you can’t stop it, but it stops itself, when it chooses. It makes no difference therefore whether I listen to it or not, I shall hear it always, no thunder can deliver me, until it stops.

Samuel Beckett (1951, translated from the French by Patrick Bowles in collaboration with the author)

November 2011: movies

January 22nd, 2012 § 0 comments § permalink

I really should be getting done with these posts.

Carl Th. Dreyer: The Passion of Joan of Arc (1928, France)

A few months ago I was reading Theresa Cha’s Dictee for a class and there was a still of this film in her book. There was so title or note in the back to say where the image came from, but it was not unlike the still above (without the crown and . . . sceptre?). With a face upturned like that, a mouth half open and eyes glazed over, it was hard not to read martyrhood into the image and slowly arrive at the possibility that this was in fact a representation of Joan of Arc. So you know, science.

Anyway, I watched the movie shortly after reading the book and thought it was quite lovely and moving. I still want to see Bresson’s rendering of the story as its likely superior. Still, recommended.

Jacques Rivette: Ne touchez pas la hache (2007, France)

Rewatching an old favourite. The French really fucking know what they’re doing, don’t they? This is stunning beyond words, though I did then write a poem about it. An ekphrastic of some kind I suppose. I hope I still like it a year from now. The film, on the other hand, is unwaveringly spectacular. I don’t even need to tell you what it’s about: just watch it already.

Herbert Ross: Footloose (1984, USA)

This, of course, feeds my obsession of dance movies. Rather shocking that I’ve waiting so long to watch this one, actually, but I think all the buzz about the remake of this movie made me do it. It’s a fun movie, carried entirely by Kevin Bacon. I mean, look that that, will you:

Given the above, it makes me wonder what would the point of watching a remake would be? The new guy hardly seems anywhere near as charismatic, or you know, drop dead gorgeous/tight-jeans-worthy/heaven.

November 2011: books

January 8th, 2012 § 1 comment § permalink

Poetry

  • John Ash: The Anatolikon (2000)
  • John Ash: To the City (2004)
  • John Haines: Winter News (1966)
  • Idra Novey: The Next Country (2008)
  • Claudia Rankine: The End of the Alphabet (1998)
  • Richard Siken: Crush (2005)

I remember reading a long time ago that it was far more likely for the average British reader of poetry to be familiar with contemporary American poetry than for the average American reader of poetry to be familiar with contemporary British poetry. This sort of slid off my mind because, at the time that I read this, it wasn’t relevant to me: I was too busy trying to find any poetry to read at all (cf almost every poetry-related post I wrote when I was home in India, complaining about how you can’t find any poetry books ever anywhere) to worry about about the British and the Americans.

Now, living in America, I’m surrounded by people who read poetry. Which is amazing, even if it makes me feel like an uneducated boor most of the time. But it’s true that British poetry of the contemporary variety hardly ever enters the conversation. In fact, I’ve heard more talk about poetry in translation than British poetry. Isn’t this . . . odd? » Read the rest of this entry «

‘Walking is hard labor’:

January 4th, 2012 § 0 comments § permalink

Susan Howe writes this sentence in speaking of Reverend Hope Atherton, who ‘[on] May 17, 1676 . . . marched out into nature . . .’ She seems also to mean this sentence for herself as a wanderer of libraries — ‘places of freedom and wildness’ in which she is ‘surrounded by raw material paper afterlife, [her spirits]  shaken by the great ingathering of titles and languages.’ Another thing she says:

Sauntering toward the holy land of poetry I compared the trial of choosing a text to the sifting of wheat, half wild, half saved.

So there is something particular about walking, that kind of slowness of physical movement that is at once determined — a step can only be so long or so short, given the person — and lacking in aggression, which allows for a percolation of some kind, a creative act. It is useful to think of the words she uses:

sauntering for walking, as if careless and lustful, like a flâneur
holy land for poetry, and toward it, as on a pilgrimage
trial for the writing of poems, as a necessity, a suffering, an act of judgement
half wild, half saved for the residue, the eventuality born of recklessness and of caution

These words make sense to me. I write almost all my poems, or their beginnings or ends, in my head as I’m walking some place. Usually it’s the kind of walking one does daily, like walking to work or to class. There is a set route and so a reduced need to pay attention to the path. Walking in my mind is a drifting between different levels of consciousness, with recklessness and caution at two ends of the spectrum. The threshing mechanism being different yields differently every time. I often collect an image or a line that could make itself into more. I also solve problems in poems I’ve written previously. Or think of five more ways of writing something I thought I had already written. So even when I am not writing consciously of place as I am walking, walking is the place of writing for me.

*

The above is a short essay from a series of five that I wrote in the fall for a class on place and poetry. The book by Susan Howe referred to is Souls of the Labadie Tract (New Directions, 2007).

October 2011: movies

December 19th, 2011 § 0 comments § permalink

Michelangelo Antonioni: The Passenger (1975, Italy)

A fun movie with Jack Nicholson back when he was handsome and still highly talented.

Lisa Cholodenko: The Kids Are All Right (2010, USA)

Er, light viewing, shall we say?

Adriane Lyne: Flashdance (1983, USA)

Cult dance movie that I’ve wanted to see for the longest time. It has great music, but is otherwise rubbish. I also don’t appreciate it when dance movies don’t celebrate the actual dancers, in this case, the main character’s dancing double. Anyway, it’s all patchy and pieced together. Basic filmmaking techniques are shoddy, so what can you say, right?

Dominik Moll: With a Friend Like Harry (2000, France)

I have no notes on this movie and I watched a very long time ago, but I can say that I enjoyed it, and that Harry (on your left, in the picture above) is creepy as fuck and eats a raw egg every time he orgasms. » Read the rest of this entry «

October 2011: books

December 11th, 2011 § 0 comments § permalink

Poetry

  • Theresa Hak Kyung Cha: Dictee (1982)
  • Martha Collins:  Blue Front (2001)
  • Brenda Hillman: Cascadia (2001)
  • Ed Roberson: City Eclogue (2006)
  • Cole Swensen: Ours (2008)
  • CD Wright: One with Others (2010)

Nonfiction

  • Renee Gladman: To After That (Toaf) (2008)
  • Sister Bartolomea Riccoboni: Life and Death in a Venetian Convent: the Chronicle and Necrology of Corpus Domini 1395-1426 (2000, tr. from the Italian by Daniel Bornstein)

 Nonfiction first.

Gladman’s To After That: This book made me angry in a way that no book should ever.

This book is part of the Atelos project which aims to publish ‘under the sign of poetry, writing that challenges the conventional definitions of poetry’ and which is curated by Lyn Hejinian and Travis Ortiz. I’ve read one other book from this series — Ed Roberson’s City Eclogue — and quite enjoyed it, and I certainly don’t have a problem with the aim of this project. It seems actually very necessary. I do, however, have a problem with Toaf: it’s glib and what it lacks for in intellect, it makes up for in inane posturing.

The bio on the cover of the book says: ‘Since the early 1990s, Renee Gladman has been collecting problems in writing; beginning with the problem of the person, she has, in the duration, gone on to explore those of time, place, and translation. These problems have occurred as events of the city, in the language of identify and confusion.’

Big questions, but it seems that every point, Gladman has reduced them to very simple ones: Is there a clear separation between what one writes and what one lives? [No.] Do places we live in significantly impact what we write? [Yes.] Must narrative always be linear? [No.] Is it allowed for an unfinished work to be published and read? [Of course.] Is it allowed for a work of fiction to be less than the prescribed 50,000 words? [Yes.]

It’s not that these simpler questions shoudn’t be answered or that they don’t have complex answers. But in this case, the answers are very simple and obvious. » Read the rest of this entry «