Those who know will know the English word barbarian comes from the ancient Greek for foreigner, barbaros, one who speaks a foreign tongue so other it resembles a dog’s barking, bar bar! Presently, I’m in Würzburg, Germany to participate in a workshop at an academic conference, and, although I do speak some German, my fluency places me outside the community of those for whom German and its local dialect(s) are their mother tongue, which (along with a taste of the local, famous vintage) gives rise to the fragmentary notes that follow on this experience of being a linguistic outsider.
1. A while back Johannes Göransson posted on Montevidayo a short quotation from Yoko Tawada that made me impatient, as it seemed to draw too neat a contrast between the reflexive transparency of the mother tongue and the relative opacities of a foreign language. Those of us who have ever had to take a “critical” or “hermeneutic” stance toward a poem in our mother tongue, or one informed by linguistics, know that such a stance distances, renders foreign or other, the mother tongue, such that its strangeness and materiality come into view. One need think only of Roman Jakobson’s (in)famous analysis of the linguistics and consequent aesthetics of “I like Ike” to understand that all discourse is always susceptible to a “defamiliarizing” gaze. However, it struck me as I ordered this evening’s dinner that when I speak German I hear my voice as if it were someone else’s, very differently from how I hear myself speak my mother tongue, which speaking I identify with my thinking, my stream-of-consciousness, and hence with myself. Though I can readily function in German, in a very pedestrian manner, when I speak in German I don’t exactly hear myself speaking German but another, “me-speaking-German.” This effect arises in part due to the relative opacity of the German I speak and hear: I may know (or believe I know) what I’m saying, but I still hear the sound of words more than their meanings, a kind of phonic residue that hangs in the air, the opposite of what happens when I speak English, where the sound of the words is muted by their meaning. Happily, there are moments of sufficient immersion, excitement or engagement, that are self-forgetful, when I do arrive at an immediate fluency, an identification. Of course, in such an instance, as the multilingual will know, when I speak German I am different from myself when I speak my mother-tongue. Fluent or not, the foreign tongue distances the speaker from (in this case) himself….
2. A tremendous benefit of abiding in a place alone where one is hardly fluent in the local dialect(s) is that one ends up talking to oneself, i.e., as Plato would have it at least, thinking, and, therefore, for a writer, in the best of all possible worlds, writing.
In what follows I want to attempt, from the point of view of a poeta doctus, a learned poet, to critically assess the achievements and what I discern as some of the limitations of Robert Bringhurst’s poetry, translations, essays, and talks. Such an attempt must mix humility with hubris. Bringhurst is rightly a highly-regarded creative mind, but one I’d like to argue not taken seriously enough. His admirers seem to me too easily impressed and dazzled by what they correctly perceive as a tremendous poetic talent and wide-ranging, profound intelligence. What is required, especially for those of us who share his poetic and more general cultural concerns, is to dare to submit his works to a kind of acid test, charitable and respectful at every point, but no less stringent in its aesthetic and intellectual demands. To do less would be to do a disservice to both the man and those cultural activities he has devoted his life to, poetry and thought.
It would be too easy to present a strictly personal appreciation of Robert Bringhurst’s oeuvre. I fell under the spell of his poetry when he recited “Bone Flute Breathing” at my high school. My neophyte poetic fumblings from the time found guidance in his own engagements with the tradition, Hellenic, Biblical, European, and Asian. During my graduate studies, which wrestled with the fraternal strife between poetry and philosophy, his versions of the fragments of the pre-Socratic philosophers The Old in Their Knowing provided both a model and matter for thought. In fact, for a time, I read his rendering of Sophocles, “Of the Snaring of Birds,” to open readings of my own poems. His monumental translations from the Haida appeared just at the time my own pedagogical activities involved themselves with the more general movement of ethnopoetics. And which poet, critic, or scholar, awake to the centrality of the ecological crisis, cannot help but participate with him in his own ecopoetic labours?
These individual experiences that left their impress on my poetry and thinking arguably possess a more public, objective significance and worth. From his first poem, “The Beauty of the Weapons,” Bringhurst’s innate musical gift and artistic, technical conscientiousness, coupled with his insistence on reciting rather than reading his work, have been exemplary. Consistent with the mainstream of poetic modernism and postmodernism in the Twentieth century, Bringhurst’s poems and translations “paw over the ancients” and “make new” voices from the inherited European canon and expand this tradition globally. This contribution to what Goethe was the first to call Weltliteratur along with its attunement to the philosophical tradition line his poetry, essays, and talks up with that vital and on-going dialogue between poetry and philosophy inaugurated in the modern period by the Jena Romantics, a dialogue of continuing pertinence, if the conclusions of philosophers such as Dieter Henrich, Manfred Frank, Andrew Bowie, and Jason Wirth are anything to go by, not to mention those of a more widely-renowned figure, Theodor Adorno. The pertinence of Bringhurst’s ecopoetic concerns demands no justification.
Bringhurst’s prosody is remarkable on several counts. Since High Modernism “broke the pentameter,” poetry might be said to have lost its metrical bearings, resulting in a continuing if perverse struggle between traditionally-minded formalists, Neo- and otherwise, and practitioners of a wide range of free verse. Tone deafness is detectable at both extremes: practitioners of (what they see as) traditional metrics too often produce lines that are “rhythmic” in purely numeric terms, the count of syllables and their barely discernible relative stresses, while the garden-variety writer of free verse does in fact too often produce little more than the proverbial “prose chopped into lines.” Poetry composed by someone with an ear is well-defined by Louis Zukofksy’s famous function: lower limit speech, upper limit music. Anyone with ears to hear will affirm that often Bringhurst’s poems are scored to a marked, often easily-definable rhythm. The index of his natural talent and assiduous practice is readable in the way his poems’ speech-based syntax easily steps up to and in time with their more artificially musical rhythms. Indeed, Bringhurst’s achievement in this respect is so consistently polished it must surely surprise anyone familiar with currents in contemporary North American English-language poetry that those self-professed tyros of Formalism (whose manner August Kleinzahler has deliciously christened “Nobelese”) haven’t lionized Bringhurst’s obvious metrical prowess. Where Bringhurst’s prosodic gift might be said to have led him astray is in his polyphonic works, beginning with The Blue Roofs of Japan. If anything, these compositions for multiple voices make the difference between language or speech and music loud and clear: the former possesses an essential semantic dimension that the latter does not, at least not in the same way. Where the voices of a fugue complement each other, simultaneous speeches create a frustrating cacophony precisely because the listener has to attend to and untwine two or more semantic chains that interfere with each other’s reception in way that concurrent instrumental or even singing voices do not. Ironically, these polyphonic works are easier to read than hear. Although a much more extended study is necessary to come to any conclusions concerning the manner and success of these compositions, one might argue that it is precisely the power and achievement of Bringhurst’s poetic-musical abilities that suggest and tempt him to experiment in this way and contribute to the repertoire of poetic forms.
A more successful if more ordinary kind of polyphony is found in Bringhurst’s engagement with world literature. Bringhurst’s oeuvre emerges from the matrix of the Twentieth century’s dilation of tradition. Where Pound went back to Homer, the Troubadours, and (as T. S. Eliot at least would have it) invented Chinese poetry for English, Charles Olson went back to the earliest literature, that of Sumer, a limit overstepped by Gary Snyder, who has described the roots of his poetry as extending back to the Paleolithic, a temporal limit expanded spatially to include the poetries of all the peoples on the surface of the globe in Jerome Rothenberg’s ethnopoetics, a project pursued in his many anthologies or assemblages over many decades, commencing with the first edition of Technicians of the Sacred in 1967. Beginning with Deuteronomy, Bringhurst’s poetry adopts personae from the Bible, ancient Greece, India, China, and relates myths of his own making that echo those of Turtle Island. A quick survey of Selected Poems (2009) turns up translations from or references to Egyptian, Hebrew, Latin, Greek, Sanskrit, Chinese, Danish, German, French, Italian, Spanish, Polish, and Russian. The most concentrated and monumental of his efforts in this regard is his translations of the classical Haida mythtellers, primarily Ghandl and Skaay. One would be hard-pressed to name a Canadian poet whose corpus incarnates that imagining of Goethe’s whose reality blossomed this past century. On the one hand Bringhurst’s efforts have introduced or “made new” or conversed with an impressively vast amount of non-English-language material. On the other, a working poet might be tempted to reflect on the promise of this contribution: what of it lends new potentialities to poetic composition rather than merely adding another exhibit or further commentary to the museum of Weltliteratur? Of more promise than his retelling a myth, for example, in his “Leda and the Swan,” is what he seems to discover in the compositions of Ghandl and Skaay, the most condensed statement of which is perhaps at the beginning of the fifth chapter of A Story as Sharp as a Knife. Bringhurst writes that he calls Skaay’s stories poetry
because they are dense, crisp and full of lucid images whose power is not confined by cultural fences—and because they are richly patterned. But the patterns are syntactic and thematic more than rhythmical or phonemic. For all the acoustic beauty of these poems, that is not where there obvious formal order resides. They are distinguishable by a thinkable prosody of meaning more than by an audible prosody of sound. (111)
That Bringhurst often places such great emphasis and value on such syntactic and thematic patterning in his appreciations of the verbal art of Skaay and Ghandl and often that of other art, as well, must strike anyone acquainted with the tradition of Structuralist literary analysis as a little de trop. The studies of Roman Jakobson and Michel Riffaterre, for example, are characterized by their detailed and exhaustive analyses of just such syntactic and thematic symmetries as well as phonemic and prosodic patterning. Indeed, given the inescapability of just such a “prosody of meaning” in a literary text one can’t help but wonder how any poet or story teller worth study can not produce texts possessed of just such structures. One is left wondering, then, how to put to use what Bringhurst’s tremendous labours have imported into the English language. The profound and prevalent influence of Pound’s “invention of Chinese poetry” and his ideogrammic method or the way many Twentieth century avant garde poets have turned the poetics of the Western hemisphere’s autochthonous cultures to their own absolutely modern ends (e.g., Anne Waldman’s “Fast Speaking Woman” based on the syntactic symmetries of the Mazatec shamaness María Sabina’s chants) exemplify how the work of translation can vitalize a target culture’s language. Nevertheless, regardless of what Bringhurst himself or other poets have been able to make of his vast importations, the cosmopolitanism of his oeuvre remains unquestionably impressive.
Bringhurst’s translations also feed that aspect of his work that touches on and converses with thinking, a thinking that increasingly mulls over matters of ecological urgency. The philosophical content of his writings calls for and could doubtlessly sustain a painstaking study, but I want to reflect on an essential theme of that thinking, language. As a polyglot, translator, and recognized and respected authority on typography, Bringhurst in his poems, essays, and talks returns endlessly to the nature and function of language. In this fascination, his ruminations chew over a matter central to Western thought since the Eighteenth century and one painfully familiar to any graduate student in the humanities. Bringhurst’s theses on language demand a scrutiny both because of their centrality to his own work and to that of the culture at large. Bringhurst, like the post-structuralist postmodernists he disdains, participates in the general inflation of language characteristic of much of the humanities in the Twentieth century in the wake of Structuralism. In The Solid Form of Language, consistent with archaic wisdom and contemporary zoosemiotics, he first reminds us of those other, nonhuman languages, “the calls of leopard frogs and whales, the rituals of mating sandhill cranes” (11). Then, in A Story as Sharp as a Knife, he expands the linguistic beyond the communicative circuit, writing
We read the tracks and scat of animals, the depth and lustre of their coats, the set of their ears and the gait of their limbs. We read the horns of sheep, the teeth of horses. We read the weights and measures of the wind, the flight of birds, the surface of the sea, snow, fossils, broken rocks, the growth of shrubs and trees and lichens…We read the speech of jays, ravens, hawks, frogs, wolves, and in infinite detail, the voices, faces, gestures, coughs and postures of other human beings. (14)
To which we might add (as Bringhurst does) that language includes even “the chemical messages coming and going day and night within the brain” and all that is “chemically written into our genes.” As remarked, Bringhurst is hardly the first to be inspired by the compelling charm of this vision of universal semiosis. Hölderlin famously writes “Ein Zeichen sind wir” (we are a sign) in harmony with Novalis’ thoughts on the hieroglyphs of The Book of Nature, a metaphor that itself originates in the Latin Middle Ages and that Bringhurst himself affirms in his talk “The Voice in the Mirror” collected in The Tree of Meaning (2008): “The original book is, of course, the world itself” (132). However imaginatively appealing and prima facie ecologically sane this positing of nature as a book, the inflation of the linguistic that underwrites it also conflates certain conceptual distinctions whose erasure is fateful. Among others, what is lost is the genus-species distinction between understanding in general and understanding language. Whenever I perceive something as something, I understand, I interpret, as would happen whenever I “read” an ecosystem or “the tracks and scats of animals”. However, specifically linguistic understanding necessarily involves an address, a conversation. What happens when I take a non-linguistic (albeit interpretable) phenomenon as a linguistic address? I must posit a speaker, an interlocutor. In the world order that originally imagined the Book of Nature, that speaker or writer is God. But who, in the absence of God, writes what is “chemically written into our genes” for instance? The metaphor of the genetic code was criticized at the moment of its inception precisely on these grounds, that it was an inappropriate application of linguistic or information theoretical concepts. Lily E. Kay sums up these criticisms nicely in her Who Wrote the Book of Life? (2000):
Information theorists, cryptologists, linguists, and life scientists criticized the difficulties (some would say inappropriateness) of these borrowings in molecular biology, arguing that the genome’s information content cannot be assessed since the key parameters (e.g., signal, noise, message channel) cannot be properly quantified. DNA is not a natural language: it lacks phonemic features, semantics, punctuation marks, and intersymbol restrictions. So unlike any language, “letter” frequency analyses of amino acids yield only random statistical distributions. Furthermore, no natural language consists solely of three-letter words. Finally, if it were purely a formal language, then it would possess syntax only but no semantics. Thus the informational representations of the genome do not stand up to rigorous scrutiny. (2)
However much “reading” natural phenomena does “not stand up to rigorous scrutiny,” it enables a grasp of what is read that empowers the reader, as present-day genetic technology undeniably demonstrates. Attributing a message or intentionality to non-linguistic, spontaneous things is an extension of the Platonic metaphysics that conceived of all things as if they were products made according to a plan or Form. This productionist metaphysics is the first chapter of the story that leads to our present technological society. The presupposition that Nature possesses a plan, whether written out in hieroglyphs or mathematics, enables us to articulate that plan and thereby order Nature to our own ends. The disastrous consequences of this instrumentalization of Nature are too-well known. Even and especially those “hunter-gatherers, who study the great book day after day, night after night (Tree, 132) do so for the sake of their own survival and flourishing, to bring the natural world under enough of their own control so they may, at least, feed themselves. The contemporary, ecologically-motivated desire to transcend the Adamic monologue that imperiously names natural things, to imagine instead what it would mean to hear, understand, and converse with Nature, gets caught up in a dialectic that reveals the character such well-intentioned listening shares with the worst excesses of scientific-technological interrogation and literally murderous exploitation.
In the preceding, I have tried to come to terms with Bringhurst’s impressive oeuvre from a “dialectical” perspective, registering only a very few of its undeniable accomplishments while simultaneously probing what I perceive to be some of their inescapable limitations. Admittedly, I have proceeded at neither the length nor detail the work calls for. Nor has the approach been sufficiently immanent, applying standards that might arguably find their orientation outside Bringhurst’s own. But what I do want to argue, finally, is for the pertinence and profound challenge of the work, one that calls upon lay readers, poets, thinkers, and scholars—citizens of the earth, all—to enter into all that Bringhurst lays before us, to take up the challenges of the work and to at the same time challenge it for the sake of those values it has sought to speak to and at best sing.
Bringhurst, Robert. A Story Sharp as a Knife. Toronto: Douglas & McIntyre, 1999.
—The Solid Form of Language. Kentville: Gaspereau, 2004.
—The Tree of Meaning. Berkeley: Counterpoint, 2008.
—Selected Poems. Kentville: Gaspereau, 2009.
Kay, Lily. Who Wrote the Book of Life? Stanford: Stanford University Press, 2000.
Rothenberg, Jerome. Technicians of the Sacred. Berkeley: University of California Press, 1985.
I’d been eavesdropping on the recent kerfuffle around Stephen Burt’s “Nearly Baroque” mainly via the Montevidayo blog and had been provoked to compose a far-reaching, involved, learned response, but then I read the definition that opens Burt’s essay:
The twenty-first-century poets of the nearly Baroque want art that puts excess, invention, and ornament first. It is art that cannot be reduced to its own explanation, that shows off its material textures, its artificiality, its descent from prior art, its location in history. These poets want an art that can always give, or could always show, more.
That “art that puts excess, invention, and ornament first” is the point of contention engaged at Montevidayo, not impertinently. But the points that follow strike me as stale and suffocating (an impression that could be articulated and defended at tiresome length).
First, no poem, no matter how close to pedestrian speech, no matter how prosaic, no matter how close to “writing degree zero” it may be is ever reducible “to its own explanation”: no discourse is even reducible to its own repetition, since no word let alone any utterance is ever reducible to a single meaning.
The concerns over the fore- or backgrounding of material texture, artificiality, descent from prior art, or location in history are much more complex and interesting and would lend themselves to lengthy excursus were I tempted to be more self-indulgent and less respectful of my reader’s learning and patience. Briefly, all poems possess a graphic or phonic dimension, an artificiality (being an artefact), a relation to if not descent from prior art (poetry or otherwise), and relation to a given constellation of historical conditions, the visibility of which is dependent on the perceiver’s sensibilities. The poem by itself cannot flaunt or foreground any of its possible aesthetic dimensions because their perceptibility is itself contingent. (This play of presence and absence and its historical contingency became the principle of late Formalist literary history, as in the work of Mukarovsky.)
At work here is a reified opposition variously expressed by pairs such as work/text, symbolic/semiotic, word/world, absorptive/antiabsorptive, readership/thinkership, etc, which are all arguably subsumable under the opposition between the Classic and Mannered (an opposition not itself undeconstructable…)—but that was the topic of the aforementioned long-winded response I here eschew for the sake of the sanity of all concerned.
In brief, every poem always gives more and can be made to show more because of the very nature of the poem as a linguistic artefact. As an example I offer a brief study of the sonic qualities of a most non-Baroque poem, here.
When T. S. Eliot died, Ezra Pound famously and bitterly quipped: “Who is there to share a joke with?”
I’ve been in a similar funk for some time now. This sense of acute isolation was recently aggravated by a friend’s lauding the sense of collaborative community she felt working with her publisher. Ironically, this same publisher recently despaired over getting any interesting conversations going given the hermetic nature of most social circles that are too often made up of like-minded, nodding heads.
That’s why it’s heart-warming and somewhat heartening to escape this dilemma and collaborate by chance. Yesterday, Bruce Rice, a poet I knew when I resided in Saskatchewan, posted a picture of a chickadee feeding from his hand at a writer’s retreat where he’s staying. The picture reminded me of a little ditty from March End Prill, which I shared with him. My lines, in turn, prompted him to compose a pantoum and put the picture, my poem, and his together as a spontaneous, e-broadsheet, which I share here, thankful for the ephemeral community that enabled the collaboration (including the chickadee!).
Today, I read on Facebook a friend rightfully take to task a new anthology of Canadian poetry for its lack of translations. Later, I read how one poet tweeted squibs over a retrograde and self-indulgent column that riled a friend of the columnist to snark back via his own blog while everyone ignores the column’s sentiment was preemptively taken down by happy synchronicity days before. A poet-publisher laments the roadblocks to conversation and posits turning his back on the futility of finding the like-minded to work it all out in private in his journal instead. Meanwhile, the work goes on, here, a translation, from English to French, of a fine, understated lyric, “Happy Hour”.
If you didn’t get your copy of March End Prill when it came out, here’s your chance to get it at nearly half price, as BookThug is Publisher of the Month at Small Press Distribution. BookThug is one eclectic publisher, so a quick browse of its list is likely to turn up other valuable discoveries, never mind the mindboggling offerings at SPD.