Subscribe: Samizdat Blog
http://samizdatblog.blogspot.com/atom.xml
Added By: Feedage Forager Feedage Grade B rated
Language: English
Tags:
back  book  buffalo  frogs  genius  kafka sutra  kind  king  new  poem  poems  poet  poetry  review  time  world   
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Samizdat Blog

Samizdat Blog





Updated: 2017-03-26T19:38:46.749-05:00

 



When Revolution Was Sexy, or: Tania, Ché’s Woman in Bolivia

2017-03-26T19:38:46.771-05:00

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 Evergreen Review. 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 Barbarella on the back.  Hell yes I bought it. For a fiver, too.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 Village Voice 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.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 One-Dimensional Man. 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 Madame Bovary, isn’t it—this sense of a better literary elsewhere as criticism of this world, and of that elsewhere being charged with eros? (Bovary 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!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.So what to make of the attachment of eros to the idea of social and political revolution, as we see it in the Evergreen Review? 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 Barbarella to consider.  And the overwhelming majority of it, in the November 1968 Evergreen Revi[...]



His Swords and Armor: Michael Donaghy Remembered at Poetry Daily

2017-03-06T12:44:42.028-06:00



Happy to say that "His Swords and Armor: Remembering Michael Donaghy" is available in its entirety at Poetry Daily.  The piece originally ran in The Hopkins Review.



Resist Much/Obey Little, or: Here Comes Everybody, and They All Hate Trump

2017-03-03T14:18:43.771-06:00

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 Resist Much/Obey Little: Inaugural Poems to the Resistance will do the same. I've got a piece in the book, and so do these people: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 E[...]



Anthony Madrid's Defense of Rhyme

2017-03-02T10:35:00.696-06:00

You want to know about rhyme, you ask Anthony Madrid.  Trust me on this.  Here's the beginning of his new essay, "A Gallery of Rhymes from Palgrave's Golden Treasury," the latest installment in the "Essays & Commentary" section I edit for Plume: Spring, the sweet Spring, is the year's pleasant king;Then blooms each thing, then maids dance in a ring,Cold doth not sting, the pretty birds do sing, Cuckoo, jug-jug, pu-we, to-witta-woo!This is the first stanza of a short poem by Thomas Nash. I have “bolded” the rhyme words, as I shall be doing throughout these notes.The poem first appeared in Summer’s Last Will and Testament (1592), a play that no one has read in hundreds of years. The poem occurs near the beginning of the play. It is a song.There is another poem from Summer’s Last Will that is more famous nowadays, I mean the one with the refrain “I am sick, I must die. / Lord have mercy on us.” Naturally, it occurs at the end of the play.“I am sick, I must die” did not make it into Palgrave’s Golden Treasury. “Spring, the sweet spring” did. Nothing else by Nash is in there. However, it was used as the first poem on page 1. “Book First,” first poem: “Spring, the sweet spring.”It was a bold choice. It only has one good line in it. However, that line is repeated three times in thirteen lines: “Cuckoo, jug-jug,” etc. Palgrave and the other people on his secret committee (which included Tennyson), had no doubts about this piece.Forget the good line. Look at the rhymes. At least two things worth commenting on. Number one, the fact that you get not a rhyme pair but a rhyme hexagon. That’s not common. Number two, it’s not an equilateral hexagon. What do I mean by that.I mean the status of the words sting and ring is quite inferior to that of spring, king, thing, and sing. Look in any concordance to any lyrical poet’s works. You’ll find the words sting and ring are not used as rhymes with anywhere near the frequency that the other four are.Your concordance will also show that the rhyme pair {spring|sing} beats any other combination of those six words, probably by a factor of ten-to-one. The reason is obvious, we needn’t get into it.The crazy thing is: If you rank the words by frequency, you’ll find the “pecking order” is more or less the same among poets born in the same generation. This is because lyric poets are a bunch of brainless babblers, just as we ourselves are. They want more than anything else for their song or poem to sound like a song or a poem, and so they are forced by powers larger than themselves to say things like “Spring, the sweet spring, is the year’s pleasant king.” It can’t be helped.But I’m about to say something very important. There was nothing wrong in 1592, and there is nothing wrong in 2017, with using the same rhyme pairs over and over and over. You can call {sing|spring} a “rhyme cliché” if you want, but that attitude leads to flushing six sevenths of world literature down the toilet. More on this hereafter.Hereafter begins here, where the whole essay can be found. p.p1 {margin: 0.0px 0.0px 24.0px 0.0px; line-height: 32.0px; font: 16.0px Times; color: #858585; background-color: #fdfdfd} span.s1 {letter-spacing: 0.8px} [...]



The Poetry of Dread in Our Time of Dread

2017-02-27T06:59:46.587-06:00



These are dreadful times, for which we need a poetry of dread.  Ernest Hilbert's got us covered, in his new book Caligulan.  I wrote a little something about it for Literary Matters. It begins like this:
“Little Boots” might strike us as an appropriate name for something small and cute—a kitten, say. But for Romans in a certain phase of the Empire’s history, it was a name at which one trembled. The man born Gaius Julius Caesar Germanicus grew up among the legions protecting the Empire’s northern frontier, and as a child wore a smaller version of the caliga, or military boot, so the soldiers called him by the diminutive of that word, “Caligula,” and it stuck. Not long after he came to power as Emperor, he became notorious for the widespread and apparently random nature of his vindictive murderousness. His form of state terror wasn’t like Hitler’s, in which only certain categories of people—Jews, Communists, homosexuals, gypsies—were destined for massacre, and others could feel themselves safe, so long as they kept their heads down. Under Caligula, no one could breathe easy, least of all the powerful and well-connected, who dreaded the daily possibility of the garrote, or worse. “Oderint, dum metuant,” Suetonius reports the Emperor as saying: “Let them hate me, so long as they fear me.” Anxiety became ambient, fear the atmosphere one breathed. 
Ernest Hilbert’s Caligulan begins with an unusual preface by way of definition. “Caligulan,” he writes, emulating the style of a dictionary “Illogical fear that disaster, especially of a gruesome kind, might befall one at any time.” After giving several variations and examples of usage, he adds: “From the Latin appellation Caligula. First known use 2015, USA.” The word, as a term for general dread, is Hilbert’s own invention. And it is this sense of general dread, along with a series of failed attempts to escape it, that dominates his imagination in the poems collected in his third book.

The whole piece can be read here.



His Swords and Armor: Remembering Michael Donaghy

2017-02-11T10:43:47.303-06:00

Left to right: Michael Donaghy, Richard Pettengill, Robert Archambeau, at Donaghy's last American reading, 2004Talk to anyone about the late poet Michael Donaghy and you realize something immediately: everybody loved him.  Whether they knew him well, or met him briefly, the sentiment is the same. His charisma was supernatural. I loved him, too, and it broke me up when he died. I read his poem "The Classics" to a small gathering of people, and it shook them all to the core. Now, years after his death, I've written an appreciation of him for The Hopkins Review. It begins like this.*The beginning of “The Classics,” a poem by Michael Donaghy, has stayed with me for a long time:I remember it like it was last night,Chicago, the back room of Flanagan’sMalignant with accordions and cigarettes,Joe Cooley bent above his Paolo Soprani,Its asthmatic bellows pumping as if to reviveThe half-corpse strapped about it.It’s five a.m. Everyone’s packed up.His brother Seamus grabs Joe’s elbow mid-arpeggio.“Wake up, man. We have to catch a train.”His eyelids fluttering, opening. The astonishment . . .It’s quintessential Donaghy, invoking as it does his great theme, memory, and his love of performances of all kinds—especially those involving Irish music in dingy bars. It brings the two things together in that image of a hunched Joe Cooley, still playing his accordion even as he nods off, the music so thoroughly internalized that he needn’t be fully awake to play it. The true performer, Donaghy implies, gets lost in the performance—something that can only happen when the music has been so completely absorbed into the musician that it becomes his second nature.Donaghy was famous for reciting his own poems from memory at readings that were fully realized performances in a way too few poetry readings are. At a Donaghy reading there was never any of the mumbling, [End Page 33] page-flipping, or nervous self-explanation with which poetry audiences are all too familiar. He was entirely present to the poem and to the audience, not hovering a little above himself, wondering just how he ought to manifest. Once, when Yeats’s famous question “How can we know the dancer from the dance?” came up, Donaghy gave an answer that underlined his commitment to losing himself in performance: “Who cares?” Better for the two to be so intermingled they can’t be torn asunder.“The Classics” ends like this:I saw this happen. Or heard it told so wellI’ve staged the whole drunk memory:What does it matter now? It’s ancient history.Who can name them? Where lie their bones and armor?Perhaps, given Donaghy’s fascination with memory (accurate or otherwise), there’s a small irony in how the version of this poem I’ve carried in my head for years turns out to be a bit distorted. When I came back to the poem on the page recently, I was surprised to find it ending with the question “Where lie their bones and armor?” For ages I’d been saying “Where lie their swords and armor?”—an inferior ending, to be sure. But I want to keep my distorted version, for now, and use it as a way to talk about Donaghy’s poetry because his poems—or perhaps I should say his performed poems—were both his swords and his armor.*The rest is in the current issue of The Hopkins Review. Online access for those with access to Project Muse is here.  Open access forthcoming.[...]



When Buffalo Became Buffalo

2017-02-04T11:25:59.281-06:00



When did Buffalo become Buffalo? If you're at all interested in the little demimonde of American poetry, you know that the unlikely city of Buffalo, New York has long been a kind of Emerald City of experimental poetry. But how did it all begin? Michael Anania knows: he was there. And he tells all in the latest installment in the "Essays & Comment" section I edit for Plume. Here's the beginning of his essay:
There are several issues embedded in my title, I suppose, not only when Buffalo, the private University (after 1962 the State University of New York at Buffalo), became Buffalo but how and why Buffalo became a center, perhaps the center, of American poetry. For me, “when” is easy. Buffalo became Buffalo on August 5, 1963. That afternoon, the poet David Posner, then the Director of the Lockwood Library Poetry Collection, gave a party in his apartment on Main Street, just across from the old campus, one floor above the Chicken Delight take-out shop, for the incoming chair of the Buffalo English Department, Albert S. Cook. Posner was a collector, and his shotgun-style apartment, with windows on Main Street at one end and above the rear alley at the other, was a dense clutter of camelback couches, old, velvet-seated chairs and a soft, forest-floor matting of oriental rugs. The effect was a kind of worn luridness, aged Persian reds and Victorian blues. Books were stuffed into glass-fronted oak cases, and there were paintings and prints, mostly 19th century English landscapes, though above the weighty dining room table, there was a small Derain, nude dancers in a circle. 
I don’t remember everyone at the party. Al Cook was there, of course, so were Mac Hammond, who had followed Cook from Western Reserve in Cleveland, Aaron Rosen, who had been on the Buffalo English faculty for some time, the poet Saul Touster, who taught in the law school, Charles Doria, Irving Feldman perhaps, and towering above everyone, Charles Olson. Al introduced me. “Michael is writing on William Carlos Williams.” Charles took my hand, pulled me toward him and draped his left arm over my shoulder. “Bill Williams,” he said in what started out and ended as a rumbling kind of laugh. “He got us part way there. We’ll manage the rest.” Us. We’ll. A part of Olson’s genius was pure politics, LBJ or Tip O’Neill rounding up votes. 

The rest, including a remarkable account of Olson's seminar, is available here. 



Henry King Gets It: On the Kafka Sutra

2017-02-03T10:21:38.623-06:00

Poetry wars? What poetry wars? Henry King has written a very insightful review of my book The Kafka Sutra in which he gets at my sense of poetic pluralism better than anyone else I've seen.  Here's a bit from the middle:*The poems are formally varied, with fixed forms such as the sonnet and sestina alongside varieties of free verse. In both, Archambeau frequently uses repetition: the necessary repetitions and recombinations in “Sestina: What Chester Kallman Did to Poor Old Auden” are echoed in the free verse of “La Bandera” and “Hieratic Perspective:I went into the cathedral that was for me alone,where the guide who was also for me alone,and of me alone, spoke to me alone.A century ago, these forms—fixed and free—were red lines within the poetry world, dividing it into antagonistic groups; but they have since been assimilated and ranged against later developments of the avant-garde, from L=A=N=G=U=A=G=E to Conceptualism. Archambeau experiments with the latter aesthetic in the collection’s third section, “Two Procedures”. The first of these, “Manifest Destinies, Black Rains,” rings changes on an 1852 description of Washington D.C. from Harper’s New Monthly Magazine and a passage from Masuji Ibuse’s 1965 novel of the Hiroshima bombing, Black Rain, in nine unmetered quatrains:A magnificent country, whose commerce whitens every sea,whose most majestic railroads and canals, like great arteries, hang down,broken, in tangled profusion—I had a terrifying feeling that one or another of them must be live, fierce.Here, it seemed, the human mind was destined to develop its highest powers.Here, it seemed, in the inexhaustible country they inhabit.Magnetic nerves, with the rapidity of thought, bore intelligence to distantextremities. I had a terrifying feelingthe mind was destined to spark and tangle: fierce and white.The difference between this kind of poesis and the Audenesque sestina is less a matter of kind than degree, and brings into question the supposed antitheses between this one and “the other kind of poetry.”The whole review can be read in the latest Notre Dame Review, or online as a pdf here.Another review of The Kafka Sutra, by Piotr Gwiazda's in the Chicago Review is here.And if that's still not enough for you, here's Stu Watson's review in Queen Mob's Teahouse.[...]



With Trump, a New Case for Why the Humanities Still Matter

2017-02-01T10:24:26.695-06:00

The age of "alternative facts" demands an alternative approach to the humanities.  Or so I argue in a short essay called "With Trump, a New Case foe Why the Humanities Still Matter," now up at The Walrus.  Here's how it starts:Back in 1990, when I began pursuing a doctorate in English, I and my fellow graduate students spent an inordinate amount of time hunched over our dim, monochrome computer screens reading the newsgroups devoted to then-hot strains of thought called postmodernism, postcolonialism, and poststructuralism.“Theory,” as we called it, was still a fresh enough arrival on the shores of English departments to inspire a backlash. To speak the dialect of theory was to risk the ire of the tenured faculty, many of whom would gladly have seen all of the theories deported back across the Atlantic to the lands from whence they’d come. That the departmental elders wrote and read in a manner informed by theory rarely seemed to cross their minds, as their theory—New Criticism—had long become naturalized and so ceased to register as theory—at least until those meddling Frenchies, Deleuze and Foucault and Derrida, came along, forcing one to reconsider assumptions one could once have taken for granted. Much of what mattered about theory, back then, was the way it suddenly made everyone self-conscious and self-questioning.Department lounges are today rather less troubled by the presence of theory. Instead, as the current topics of so many faculty discussions indicate, we seem to be entering a period of professional crisis when we will be asked—by provosts, deans, and presidents, and behind them our funders, both state and private—to justify what we do and why we’re taking up valuable space off the campus quadrangle. When a bastion of the liberal arts such as Colby-Sawyer College eliminates its English department, as it recently announced was its plan, the writing is there on the ivied walls.The rest can be read here. [...]



Because Our President Turns Away Those Seeking Shelter...

2017-01-28T16:59:03.512-06:00



"When a foreigner resides among you in your land, do not mistreat them. The foreigner residing among you must be treated as your native-born. Love them as yourself, for you were foreigners in Egypt." (Leviticus 19:33-34)

We are—all of us—better than this president. We have to be.



Reading Robert Kroetsch: New Essays on His Work!

2017-01-23T10:26:00.678-06:00

Rejoice! There's a new collection of essays just now out on that great Canadian poet, novelist, and raconteur Robert Kroetsch.  A founder of boundary 2, a disruptor of established forms, a godfather to a literary movement in the Canadian west—he's a figure you'd love to get to know, and Nicole Markotic's book is a good way to get to know him.  I've contributed a little something, and not just because Kroetsch and I tipped a glass or two together in my student days.  Here's a bit of what I had to say:*There’s another reason to think of Kroetsch as a postmodern poet, rather than a modern one, a reason having to do with tone.  While the generalization I’m about to make has the flaw of all generalizations (i.e., that it is full of holes and therefore untrue), I’m still making it: modernism is more serious and less funny than postmodernism.  I grant all your objections regarding specific texts, and yet I return to the generalization.  Wry as he can be, T.S. Eliot is more grave and less funny than Frank O’Hara.  While he’s not above jokes, Ezra Pound is more often dead serious than is John Ashbery.  And when Robert Kroetsch is meditating on the perspectival nature of truth, he’s less sublime, and funnier, than Wallace Stevens when Stevens does something similar.  I’m sure the model for Kroetsch’s “Sketches of a Lemon” is Stevens’ “Thirteen Ways of Looking at a Blackbird,” but the tone is entirely different.  Here’s Stevens’ opening stanza:Among twenty snowy mountains,The only moving thingIs the eye of a blackbird. (58)This is straight-up Kantian sublimity: the little living eye comprehends the huge, rugged world that so exceeds it in scale and in grandeur that it renders the bird’s eye insignificant—except for the fact that the little eye comprehends the vastness.  Here, by contrast, is the opening of Kroetsch’s series of lemon sketches:A lemon is almost round.Some lemons are almost round.A lemon is not round.So much for that. (76)There’s a skepticism about our ability to intellectually frame the world here—it’s The Stone Hammer Poems again, or The Postmodern Condition: A Report on Knowledge—but there’s also a kind of philosophical pratfall.  The poem is full of this sort of thing: it's a self-deflating comic text that also has something serious to say about how intellectual frames fail, or about how narratives and descriptions end up mutating into something other than what they were initially meant to be.  Something like that happens in the following passage (“Smaro” is the name of the poet’s wife):Sketches, I reminded myself,not of a pear,nor of an apple,nor of a peach,nor of a banana(though the colourraises questions)nor of a nectarine,nor, for that matter,of a pomegranate,nor of three cherries,their stems joined,nor of a plum,nor of an apricot,nor of the usualbunch of grapes,fresh from the vine,just harvested,glistening with dew—Smaro, I called,I’m hungry. (76)What began as a kind of attempt at negative definition, doomed to a seemingly infinite series of specifications, suddenly warps, and we see that all along, without our knowledge, the list or catalog had been functioning in ways we hadn’t suspected, inciting the appetites rather than providing definition.  A hidden subordinate function unexpectedly becomes the dominant function of the list, and the sentence lurches jarringly in a new direction.  I remember reading this poem to the woman who would become my wife, and how much she liked it.  But it wasn’t her favorite section of the poem.  This was:poem for a child who has just bit intoa halved lemon that has just been squeezedsee, what did I tell you, see,what did I tell you, see, whatdid I tell you, see, [...]



Hey Trump: We'll See You In Court

2017-01-22T09:37:49.659-06:00



So Trump is now in the White House—what are we going to do about it? For starters, we can realize that he comes in as a weak and unpopular president, with an approval rating marginally lower that what Paul Blart, Mall Cop gets on the Rotten Tomatoes site.

The best reports put Trump's inaugural crowd (which he baselessly claimed was "a million, a million and a half") at 160,000—about 1/3 of the size of the Women's March, and a fraction of the size of Obama's inaugural.

He's weak. We're strong. And it all makes one thing of those lines Shelley wrote in another time of despised tyrants:

‘Rise like Lions after slumber
In unvanquishable number.
Shake your chains to earth like dew
Which in sleep had fallen on you—
Ye are many—they are few.

But as good as it was to get out in the streets and show the world that America is better than its leader, resistance needs to be a long game. There are many ways to keep up the fight.  I like this one—the ACLU's plan to drag Trump to court and hold his feet to the fire.  You can be a part of it.





State of the Union

2017-01-20T06:40:55.723-06:00





What's Your Poem Worth?

2017-01-06T12:32:15.912-06:00



What's your poetry worth? And who's to say?

Ernest Hilbert is a good guy to ask when it comes to these questions. Not only is he a poet of distinction, he's also been running America's premiere rare book establishment for years. He talks about it in "The Muse and the Auctioneer’s Gavel: Learning About Poetry from First Editions," the latest installment in the "Essays and Comments" section I edit for Plume magazine. Here's how Hilbert's essay begins:
For a decade and a half I have worked more or less contentedly as a rare book dealer, roughly half the number of years I’ve devoted to being a poet, an equally eccentric pursuit. In that time I’ve had the pleasure of placing quite a number of extraordinary first editions of poetry into my clients’ collections. I am often asked what precisely makes a book “rare.” Why, for instance will one volume of poetry sell for $5 (a used copy of a recent title, something I would buy for myself), $50 (a first edition of Diane Wakoski’s 1966 Discrepencies and Apparitions signed by her along with a drawing in her hand), $500 (poet and translator Richmond Lattimore’s copy of the 1955 first edition of Elizabeth Bishop’s second book Poems: North & South and A Cold Spring), $5,000 (an inscribed 1926 first edition of Langston Hughes’ The Weary Blues), while another might sell for $50,000 (a 1633 first edition of John Donne’s Poems by J.D. with Elegies on the Author’s Death), and yet another for well over $500,000 (Edgar Allan Poe’s impossibly rare 1827 first book of poetry, Tamerlane, authored by “A Bostonian,” which hammered at $662,500 at a 2009 Christie’s sale, a tattered and rather stained copy at that, but one of only 12 thought to remain from a print run of 50). While no easy answer concerning this sort of marketplace value will fully suffice, there are a few measures upon which one may fairly rely.
The rest is online here. Check it out!



Find Your Protest

2017-01-04T08:51:46.847-06:00

Remember that guy in the big London scene in Wordsworth’s Prelude—the battered old veteran begging on the streets, holding a sign that tells his story? His image haunted Wordsworth for many years, mostly because unlike us (and oh, this speaks terribly of what we have become) he didn’t see this sort of thing all the time.  It shocked Wordsworth to see that, among all those people, there was so little community that no one knew this man’s name, let alone his journey, his struggle, and his pain. It shocked him that the man couldn’t count on the community to know him—in the ever-growing metropolis, the man who needed his story told was reduced to holding it on a sheet before him, hoping someone would pause.I thought of that guy when, some years ago, I stood at a train platform outside Chicago. An older man walked by, wearing that mix of odd bits of cammo and discarded workout clothing that we’ve come to associate with homeless veterans.  His war would have been Vietnam, and he walked back and forth in an exaggeratedly slow pace, looking at the ground, speaking to himself. Or, rather, not to himself, but to—well, I was the only other one around. But it wasn’t an address to me, either—it was something I was meant to overhear.  He spoke in an affected voice, as if he were trying to sound like a voice-over announcer in a documentary, commenting on footage.  And the footage was of a protest rally of some kind.  “Students and veterans alike gathered,” he said, to some imagined television audience, “and when the man on the platform said how the president lied the crowd shouted I actually understand this” he continued, “it was in Carbondale, a cold fall day…” he continued this way, and I began to see that here, in a dirty army cap, was Wordsworth’s veteran—telling the story he needed to tell, but at such a terrible distance, so far from being able to connect. One sensed he had been alone a long time. One sensed he had been sent to war young, and that he had never really come back.I mention this today because I have known many veterans of that war. I’ve worked with them, or lived near them, or found them in my family.  These are the lucky ones, the ones who came home. And I don’t know a single one of them who hadn’t, like the man at the train station, left some part of himself back there.  And today we find out, beyond any reasonable doubt, that Richard Nixon, after he’d won the election but before he took office, worked behind the scenes to scuttle the peace talks between north and south Vietnam.  He didn’t want the Democrats to take credit for peace. And so the war continued for years. One could look up the dates and count the number of people who died for Nixon’s vanity, but those numbers always lie. Those numbers always leave out the dead or half-dead who came home and walked like ghosts in the streets.  But this isn’t about Nixon, for whose sake one wishes Dante’s Hell were real. This is about the danger of having a president so mad with the thirst for adulation that nothing will be enough, not even the presidency itself. This is about any reckless and fragile president who talks tough, encourages violence, and cares nothing about breaking the lives of others on the anvil of his own vanity. This is about where we are now, and what we’re going to do about it.There are inauguration day protests scheduled throughout the country.  Find yours.[...]



In Hyperallegic Now: "Aesthetic Interference—On Those Photos from Ankara"

2016-12-29T14:49:15.884-06:00



Those photos from Ankara, with the Russian ambassador lying dead on the floor? They're haunting, and not just because they depict an atrocity. They're haunting because they are more beautiful than they should be. They are so beautiful they seem wrong.  I wrote a little about it for Hyperalleric—you can find it here. It's about seeing things as aesthetic objects, and the inhumanity of that under certain circumstances. Or maybe it's better to say that it's about how beauty can be a scandal.

If you'd prefer to read it in Turkish, try this translation by Yorum Yapin.





The Chicago Review on The Kafka Sutra

2016-12-18T08:36:13.825-06:00



Whatever the reason—his insightful writing on Polish literature for the TLS, his poems, or the kind of courtesy he showed when we both tried to get into the same taxi on a cold Belgian morning 20 years ago—I've long admired Piotr Gwiazda. And now he's said some kind things about my book of poems and literary oddities, The Kafka Sutra. He's said them in the latest issue of The Chicago Review. His piece begins this way:


Robert Archambeau’s new book of poems The Kafka Sutra differs from
his previous book Home and Variations (2004) in the degree to which it
explores the possibilities of appropriation as a literary device. Appropriation,
moreover, becomes a hermeneutic tool in Archambeau’s hands. A poet and a
critic—the author of Laureates and Heretics (2010), The Poet Resigns (2013),
and the forthcoming Making Nothing Happen—he employs it to compose
his poems and to perform criticism on his textual sources. Entertaining and
intelligent, The Kafka Sutra shows Archambeau’s in-depth engagement with
this widespread, increasingly dominant poetic practice.
The title sequence at first quite implausibly grafts several of Kafka’s
enigmatic parables onto the subject matter of the Hindu classic Kama
Sutra. Describing it elsewhere as “one of the odder things [he’s] done,”
Archambeau promises, at least in theory, a merging of existential anxiety,
sensual fulfillment, and didactic intent. The result is indeed odd, but not
entirely foreign to anyone who has ever had the experience of reading
creatively more than one book at a time. The sequence is also disarmingly
playful and funny, as are the accompanying illustrations by Sarah Conner.

The full text is available here. 

If you can't get enough commentary on The Kafka Sutra, have a look at Stu Watson's "Reflections on Recent Poetry" over at Queen Mob's Teahouse.





Spain in the Battersea Review! Amish Trivedi on Poetry Contests in Plume!

2016-12-02T13:50:31.029-06:00

Rejoice! This troubled world has been blessed with two new lights in the darkness—the latest issues of The Battersea Review and Plume.The sixth issue of The Battersea Review (proud Associate Editor: me)  is a special Spanish number, edited by Mario Murgia and Flamminia Ocampo. The contents are almost too substantial for the internet to bear:POETRY "Introduction" by Mario Murgia and Flaminia Ocampo"Three Poems" by Héctor Abad, translated by Zachary Bos"Poems in Translation" by Samuel Beckett, translated by Juan Carlos Calvillo"Six Poems" by León Felipe, translated by Walter Smelt"Five Poems" by Andrés García Cerdán, translated by Jorge Rodríguez-Miralles"Three Poems" by David Huerta, translated by Mario Murgia"En Tren (“By Train”)" by Antonio Machado, translated by Walter Smelt"Three Poems" by Fernando Noy, translated by Geoffrey O’BrienCRITICAL PROSE "Spain on the Horizon: Some Notes on Astronomy and Medieval England" by Raúl Ariza-Barile"Juan Rodolfo Wilcock’s Two Phases" by Horacio Armani"Clarice: Woman, Body, and Voice" by Gabriella Burnham"Ferdinand’s Renunciation" (from The Constant Prince) by Pedro Calderón de la Barca, translated by Geoffrey O’Brien"An Appreciation of Pedro Páramo" by Nicholas Christopher"Milton in Puebla, Mexico" by Angelica Duran"Xavier Icaza’s Untimely Avant-Garde" by Christian Gerzso"Writing and Translation" by Alejandro Manara"Remembering Alejandra Pizarnik" by Flaminia Ocampo"The Goddess Coatlicue: Environmental Renewal and Femicide in Homero Aridjis’ La leyenda de los soles" by Adela Ramos"Polyphony and Portable Identities: The niuyorriqueña poetry of Tato Laviera" by Salvador San Juan"The Slingshot (A Parable)" by Luisa Valenzuela, translated by Geoffrey O'Brien"When Borges was Director of the National Library" by María Esther Vázquez"Erotica in the Rio Grande: Thoughts on Sandra Cisneros’s Loose Woman" by Gwendolyn Díaz-Ridgeway"Pilgrim Tales: Luisa Josefina Hernández’s Medieval Fiction" by Ana Elena González-Treviño"Cernuda" by Gabriel Linares"Survey: Fifteen Favorite Latin American Writers" by Flaminia Ocampo"Black Surrealism and Rooting in the Literature of the Antilles" by Salvador San Juan"From the Feather to the Poncho: A New Yorker Vicuña" by Lila ZemborainIn the "Essays and Comments" section I edit for Plume, you'll find "Confessions of a Contest Junkie," in which Amish Trivedi takes us through his travails and triumphs as a recidivist participant in the world of poetry contests.  It begins like this: If you have any vice or addiction in your life – and we all have something – you probably already know that what you are hooked on is bad for you. You already know how you justify your fix. You know how you feed your high. And yet, you cling to your degeneracy, denying it is a problem. Your enablers support your actions and claims.            My vice? Poetry contests. And the system itself is my enabler— a system which has encouraged me and so many others through the hope that maybe something will work            In the poetry contest system there are winners. Judges whittle submissions [...]



Resist Much/Obey Little — Call for Contributions

2016-11-21T18:18:35.266-06:00

The good people at Spuyten Duyvil are putting together a collection of poems to coincide with the inauguration of the man chosen by a minority of American voters as our next president. I'm contributing. You might want to get on board too.





The Frogs Who Desired a King: A Short Fable Of Our Recent Election

2016-11-15T10:35:38.127-06:00



In one of Aesop's fables, "The Frogs Who Desired a King," the frogs of the local pond grew disillusioned with the king Zeus had given them. Fair enough: the capricious deity had, after all, sent them a log to serve as king, and under the log's reign, nothing was done to help the frogs.  The original Greek text says nothing about growing economic inequality among the frogs, or pond deindustrialization, or some of the less open-minded frogs being uneasy at the arrival of newts from the other pond behind the reeds, or some of the male frogs feeling somehow diminished by the increasing equality of the female frogs, but I'm just going to assume that those portions of the text are lost, and will come to light in due time.  Anyway, some of the frogs grew tired on the complacency of their political establishment, the log king, and cried out to Zeus for another king, a new one who would bust things up and get things done.  Not all of the frogs did this: many stayed home, skeptical of what any king might do. Indeed, more frogs opposed the petition to Zeus than supported it but, the electoral map of the pond being what it was, Zeus granted the wish, and sent them a heron to rule over them. The heron arrived, looking a little surprised at having been chosen to rule, and promptly ate the frogs.





Is Shakespeare Any Good? A Postcard from the Eighteenth Century

2016-11-16T08:50:09.452-06:00

If you're like me, you're probably thinking that this is not a good year to sit down to Thanksgiving dinner with extended family, that it'd be in everybody's best interest to step back from what threatens to be a relationship damaging political confrontation. Me, I'm stepping all the way back to the eighteenth century, which has stood me in good stead as a haven in times of crisis. It was, the savage indignation of Jonathan Swift notwithstanding, a literary century of great urbanity and exemplary civility.  But Edward Gibbon's Decline and Fall of the Roman Empire, one of my usual safe havens, failed me this time around—accounts of the destruction of a once great polity by human folly turned out to cut a little too close to the bone.  My emergency back-up plan—to read Addison and Steele's Coverley Papers from The Spectator—seemed like a sure cure, but when I came upon passages about Whigs and Tories refusing to dine together, and footnotes about the violent hatred between these parties, I had to set the book aside. So I turned, at last, to the pages of The Mirror, a lesser-known imitator of The Spectator from the other end of the century.  Here, in an essay on Hamlet, I ran across the following words:No author, perhaps ever existed, of whom opinion has been so various as Shakespeare. Endowed with all the sublimity and subject to all the irregularities of genius, his advocates have room for unbounded praise, and their opponents for frequent blame.  His departure from all common rules which criticism, somewhat arbitrarily, perhaps, has imposed, leaves no legal code by which the decision can be regulated, and in the feelings of different readers, the same passage may appear simple or mean, natural or preposterous, may execute admiration, or create disgust.This is fascinating. Right away, we see that the late eighteenth century was a period with a richer variety of opinion regarding Shakespeare than is our own, in which no figure in all of English literature, and few in all of world literature, receives such a universal praise as does Shakespeare. Indeed, Shakespeare's name and image have become shorthand for the idea of literary greatness, the broad collar and high dome of the Droeshout portrait of him from the First Folio becoming for literature what Einstein's crazed white mop of hair has become for science: a universal signifier of genius.It is precisely the status of genius that matters in understanding the difference between our era's estimate of Shakespeare and his rating under the late eighteenth century's regime of taste.  "Genius," in our common parlance, is an unmitigated term of praise. But when the article on Hamlet appeared in The Mirror in 1781, "genius" was still very much a descriptive term, rather than a purely laudatory one. The article on genius from Diderot's Encyclopédie describes works of genius not simply as works of excellence, but as works of a particular kind, whose virtues did not include beauty:For something to be beautiful in accordance with the rules of taste, that thing must be elegant and polished, highly finished but with the appearance of effortlessness. But to be a work of genius it should seem careless, appear irregular, rough, and wild. Sublimity and genius flash in Shakespeare like lightening at night, but Racine is always beautiful: Homer is filled with genius, while Virgil is filled with elegance. The Mirror, then, speaks from the consensus position of its time, in which rule-breaking gen[...]



Morning, November 9, 2016, America.

2016-11-11T14:36:51.070-06:00



Utter silence on the train platform among the normally talkative commuters.

An old woman in a coffee shop crying quietly, alone.

A man in the parking lot dropping the keys from his shaking hand.

I saw this.

There are the people who understand what we have done.



Letter from India: Worshipping at a Stone Manasa

2016-11-11T15:28:05.555-06:00


Back in the 1990s, when I edited the poetry broadsheet Samizdat, my favorite part of the job involved receiving dispatches about poetry from all over the world. We published them as part of a series called "The Word From..." I feel lucky to be able to revive something like that feature of Samizdat at Plume, where I'm not the editor of the monthly "Essays & Comment" section.  The first of what I hope will be many "Letters From..." features is now online: Linda Ashok's "Letter from India: Worshipping at a Stone Manasa." It's an examination of the poetry of the Naxalbari Movement, a social and political uprising that began in the late 1960s. The poetry hits hard and hits home, and is virtually unknown in the West. Read about it here!





Inventions of a Barbarous Age: Poetry from Conceptualism to Rhyme—Now It's Out! Here's What's in It!

2016-10-11T10:10:45.899-05:00

Inventions of a Barbarous Age: Poetry from Conceptualism to Rhyme—my latest book of essays—has just rolled hot off the presses at MadHat Press.  What's it all about? Well, the jacket copy gives you an overview (and a few complimentary blurbs):What is the community for poetry? What is its fate, its future? Poet and critic Robert Archambeau begins Inventions of a Barbarous Age with these questions before ranging over the ridges and valleys of the contemporary poetry scene, pausing on the way to investigate mystic and Gnostic poetry, the norms of criticism, and the poetics of camp and the sublime. Taking in poets from W. H. Auden to Kenneth Goldsmith, and topics from poetic comedy to poetic tribalism, Archambeau is one of poetry’s great omnivores, and numbers among the leading poetry critics of his generation. ~ Robert Archambeau is fascinated by the place poets stake out for their art, the claims they make about the relationship of poetry and power; and he is (sometimes uncomfortably) shrewd in ferreting out the motivations for such claims. His essays have the advantage of the best occasional writing—immediacy, a sense of responsiveness, conversationality—but Archambeau is also a “big ideas” critic, spinning his momentary interpretations of texts into penetrating insights about the place of poetry in the world.—Mark Scroggins Archambeau writes prose that’s consistently welcoming, curious, and free of the anxiety that marks so much criticism.—Jonathan Farmer, Slate MagazineA notable poet/critic, Archambeau’s a perfect example of how one person can take on both roles.—Barry Schwabsky, The NationArchambeau is one of our smartest poetic sociologists, and he tackles the biggest problems facing poetry in our time.—Norman Finkelstein, Contemporary LiteratureIf you want to see someone having fun while thinking provocatively about contemporary poetry, try Archambeau. I always do.—Stephen Burt Archambeau has perfect pitch.—Marjorie Perloff  If you really want to know about the book, though, here's the table of contents, along with a few notes on each essay:I. The Future, The Present            You Will Object: Four Futures for Poetry            Poetry as ubiquitous, as commodified, as self-obsessed, as community-building. You don’t like one future? Try another!            Who is a Contemporary Poet?            In which I continue an old argument with Kenneth Goldsmith about what counts as contemporary. The fight is called off when Giorgia Agamben clobbers us both.            The Future of Genius            Does the old category of ‘genius’ have a future? The origin and destination of a category of literary analysis, with reference to Brooklyn hipsters in Warby Parker glasses.            Invitation to the Voyage: Notes on the Trajectory of the Poetic Image            How the literary image changed from Dante to Baudelaire, and what that says about where it has been and may be he[...]



Poetry and Stupidity

2016-10-06T08:50:36.759-05:00



Poetry and stupidity are, it seems, secret kissing cousins. Who knew? Lawrence Raab, that's who. Check out his short, punchy essay "Poetry and Stupidity," now online as part of the Essays & Comment monthly feature I edit, and sometimes write, for Plume.

Raab's essay starts like this:
1. OBSCURITY
One of the shortest and most provocative pieces in Paul Valéry’s “A Poet’s Notebook” reads in its entirety:
STUPIDITY AND POETRY. There are subtle relations between these two categories. The category of stupidity and that of poetry.
I can’t recall when I first read this, but I remember thinking it was true. Also funny. Also like some zen koan designed to knock me on the head. Was it true because it was so obviously untrue? Or because it seemed to provide no way to ascertain its truth? Or perhaps I just believed it because I didn’t want to feel stupid.
That Valéry’s equation didn’t appear to make sense was a plus for me. Did it even want to make sense? A little further down the same page, I found:
OBSCURITY, A PRODUCT OF TWO FACTORS. If my mind is richer, more rapid, freer, more disciplined than yours, neither you nor I can do anything about it.
This was spikier, more aggressively funny. Or maybe not funny at all.   And obscurity, unlike ambiguity, somehow seemed connected to stupidity—how dumb you felt when you didn’t get the joke.
The whole thing is online here.

Last month's feature, "The Barbarian Invasion of Poetry" (which I wrote) is available here.