Archive for October, 2013|Monthly archive page

On not disputing taste

The teapot in the tearoom of the North American poetry milieu is all aripple again and cups aclatter in their saucers. Boston Review publishes a conversation with poet, critic, and scholar Stephen Burt and (via the Véhicule Press blog via Evan Jones) one can read Adam Plunkett in the The New Republic take Burt to task—on the matter of taste. Taste? In 2013?!

I quote a supposedly well-known poet-critic:  “Consider the way of the scientists rather than the way of an advertising agent for a new soap.”

This serious artist has more important things to attend before Time’s wingéd chariot kindly stops for him. Or, to quote again that well-known poet-critic:

I would much rather lie on what is left of Catullus’ parlour floor and speculate the azure beneath it and the hills off Salo and Riva with their forgotten gods moving unhindered amongst them, than discuss any…theories of [taste] whatsoever….I shall not argue.

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Slobodzian’s “Ars Poetica” en français!

Slobodzian’s “Ars Poetica” en français!

The indefatigable Antoine Malette has produced another translation of a fine, uncollected poem by George Slobodzian. Both the English-language original and Malette’s translation are readable at the link!

Twits in the Twitterverse: Ellis, Munro, and the Nobel

One splash Alice Munro’s winning this year’s Nobel Prize for literature made stirred a teapot tempest in the Twitterverse, proving again, if any further evidence were called for, just how anathema Twitter is to thought. To wit, Brett Easton Ellis tweeted “Alice Munro is so completely overrated,” then expanded on his judgement an hour later:  “Alice Munro was always an overrated writer and now that she’s won The Nobel she always will be. The Nobel is a joke and has been for ages….” The cacophonous reaction was as swift, overwhelming, and damning as it was puerile.

First, I unreservedly applaud Munro’s winning the prize and the well-deserved attention the award will bring to her oeuvre. What interests me is why Ellis, given the kind of prose he writes, might be moved to remark what he does about the regard given Munro’s writing and the character of the Nobel Prize.

Even a passing familiarity with these writers’ works prompts an initial answer:  Ellis is a satirist of modern, urban life, whose writing is intimately bound up with the present, sociocultural moment, so much so his novels have been adapted to the screen and subject to virulent denunciations. Munro, on the other hand, is characteristically described by The New Yorker magazine fiction editor Deborah Treisman: “Her work is very provincial in that it’s based in small towns and rural parts of Canada for the most part. At the same time, what she does with the characters in those places is show us their universality, their humanity.” The same CBC article goes on to sum it up quite nicely:

Munro… has been called Canada’s Chekhov. Similar to the work of the Russian short-story master, plot is usually secondary.

Munro’s stories focus on striking portraits of women living in small-town Ontario. They revolve around small epiphanies encountered by her characters, often when current events illuminate something that happened in the past.

Clearly, the ends and means of Ellis’ and Munro’s writing couldn’t be more different. However much resentment might be blamed for Ellis’s tweet, the terms of praise for Munro’s work are revealing and illuminate the second part of Ellis’s second tweet concerning the Nobel Prize’s being “a joke.”

Munro’s stories are praised for focussing on character more than plot, on her characters’ “universality, their humanity.” The universal humanity of these characters is revealed in their experiencing “epiphanies” that illuminate their and by virtue of their universality our little slices of shared life. The critical idiom here is hardly as spontaneously universal as Munro’s characters’ epiphanies. Rather, it’s the discourse of a conservative, humanist, classicist aesthetic, the same operative, for example, in Yeats’  and Eliot’s being awarded the prize (despite their respective dalliances with fascism and antisemitism) but not Joyce. The drama and prose of the late Thomas Bernhard remain second to none in their stylistic bravura and social and existential profundity, but they would never have been considered for the prize precisely because of their obsessive style, pitiless intelligence, and relentless truthtelling. Examples could be multiplied.

The most telling judgement is Munro’s being called “Canada’s Chekhov.” But the Chekhov invoked here is the tamed, canonized caricature of the writer

who amazed his audiences in the early 1880s. He was particularly interested in the absurd, and repatterned the anecdote and vignette forms of the popular press into innovative forms of writing:  pieces in the guise of National Census questions, a test set by a mad mathematician, a proposal to the board of a medical school, the twisted “questions and answers” of popular women’s magazines….

The smug propriety of the praise showered on Munro is arguably as shallow as Ellis’ dismissal and the subsequent brainlessness of the backlash to his tweet. The bitter grain of truth in Ellis’ second tweet is that prizes, however much they materially further even a deserving writer’s career, are perhaps more revealing of literary values than of a writer’s worth.

John Bloomberg-Rissman: From In The House of the Hangman, with a commentary on the work in progress

422006_3308566443616_978961831_nJohn Bloomberg-Rissman: From In The House of the Hangman, with a commentary on the work in progress

Despite my persistent efforts to make my own work singularly weird, it is sometimes gratifying to find other poets working along similar lines, ameliorating somewhat my sense of alienation from the poetic milieu. Here and in other texts, John Bloomberg-Rissman composes in a manner similar to the method I adopted in the triptych Swim or Sear, Seventh Column, and March End Prill, in this instance “written / composed /constructed in real time, daily, out of the materials presented by that day (whether via RSS feed, Facebook, books received in the mail, emails, tv, conversation, or anything else the day brings).” My own application of this method was perceptively appreciated in a recent review.

New Selected Poems of Paul Celan

Celan-JpegI’ve been hunting up and following those of my contemporaries eager to slip between the Scylla of Academic L=A=N=G=U=A=G=E poetry and the Charybdis of the Mainstream Workshop poem, and synchronicitously I see a new selected poems of Paul Celan is in the offing, one whose selection upsets the reception of Celan that would make of him an anti-lyrical, formalist, proto-L=A=N=G=U=A=G=E poet. As Station Hill’s catalogue puts it:

Paul Celan, arguably the mid-20th century’s most important German-language poet, is commonly pigeonholed as a poet of the Holocaust—a term, however, he never used. Undoing facile assumptions about Celan, Corona charts a more idiosyncratic and personal path through Celan’s large oeuvre, choosing 103 poems from among the more than 900 Celan published. The bilingual selection includes work from all of Celan’s periods and genres. Without ignoring the poet’s well-known work of memory and memorialization, it seeks to open a space for new appreciation of Celan’s love poems, as well as his poems on political events, painful reflections on his stays in mental hospitals, and quasi-burlesque verse.

My interest is piqued!

Corona:  Selected Poems of Paul Celan