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ashbery w jarrett earnest

Barrett Watten, “Ashbery Alpha and Omega: Presentism, Historicism, and Vice Versa.” Journal of Foreign Languages and Cultures (Changsha, China), no. 3 (2019): 87–93. For pdf, click here.

Abstract: This reading of a single poem from the last collection of verse John Ashbery published before his death in 2017 sees it as an example of a concept of “presentism” that differs from modernist or postmodern accounts of the “present” associated with abstraction or immanence. Rather, Ashbery’s presentism is historical in being based on overlapping and discontinuous linguistic and experiential frames. Ashbery’s poetic use of the content of experience is always mediated through its presentation as information, ranging from high to low values and often employing “low-mimetic,” pop cultural elements. What results is a suspension of certainty in which meaning is structured and informed by its status as information. Thus leaving open questions of knowledge, Ashbery’s poetry does not represent a fully present consciousness but relies on forms of cognition and information processing that are nonconscious, operating in the background and informed by decades of his practice as a poet. A brief comparison with the late paintings of Willem de Kooning, who experienced cognitive disability at the end of his life, points out similar nonconscious forms of cognition such as motor skill and even aesthetic judgment. The reading is thus informed by information theory, cognitive science, and neurophysiology in showing how Ashbery’s late style makes a present that is historical and structured on his entire oeuvre.

Keywords: Poetics, the New York School, information theory, cognitive science, late style

Headnote: This paper was given in a session titled “Social Readings of John Ashbery” at the Louisville Conference for Literature and Culture After 1900, University of Louisville, Feb. 2018. Thanks to Alan Golding and panelists Sandra Simonds and David Kellogg.

Image: detail from John Ashbery, Late for School, c. 1948. Collage, 12 1/2 x 8 inches. From “John Ashbery with Jarrett Earnest,” Brooklyn Rail (3 May 2016); link here.

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bw tattoo 1200

Yesterday I joined many millions throughout the history of humanity and submitted to ritual scarification, of my own volition and free will: I got a tattoo, my first after many years of sworn testimony that I would never do so. Like any complex choice, there was a before and an after—I had been visually imagining and verbally debating such a decision for years, months, and days leading up to the act, which took place on August 11, 2018, in the company of two friends, at the hand of Zach Hewitt at Signature Tattoo on Nine Mile Road in Ferndale, Michigan. The consequences of this act after resonate across time, space, and my work as a writer, beginning now. … More

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lost america of love cover ed

The question of my relation to the New Americans over the long decades since the ’70s has recently come up. In working through my last post, a response to a review that framed my 2016 book with a retelling of the poetic debacle of 1978, I linked to an essay I published in 2000 (per copyright date; it likely appeared in 2001) that was, at the time, my critical and historical assessment of some of its major figures: Robert Creeley, Edward Dorn, and Robert Duncan. Duncan (1988) and Dorn (1999) had already passed, and I do not think I sent the essay to Creeley, with whom I maintained good relations at the time (Creeley died in 2005). Creeley tended to glaze when I sent him offprints of my critical writing, for instance the essay on “poetic vocabulary” that links Jackson Mac Low and BASIC English, to which he wrote a one-word response: “Impressive.” Only later did I find, via a comment Creeley dropped in conversation and a letter in his Selected Letters, that BASIC English had been an influence on his work, after a high school teacher asked to write an essay using its minimal vocabulary.

The events of September 2001 decisively changed the focus of thinking through the poetics of the New Americans onto a more immediate political situation; the broad expanses of time needed for genial conversation on poetry and poetics would be displaced by a militarized discourse of threat, reprisal, and nonexistent WMDs. The essay itself was a kind of swerve, using a request from editor Timothy Murphy for a contribution for a volume of the academic journal Genre to be titled “Desert Island Texts,” with a prompt something like, “what one book would you want to have if stranded on a desert island.” … More

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boojum

Grant Jenkins opens his review of Questions of Poetics: Language Writing and Consequences (ALH Online Review, ser. 14:1 [2017]) with an anecdote that has now become canonical lore in American poetry, the encounter between me and Robert Duncan at the San Francisco State Poetry Center’s 1978 Zukofsky memorial. As the story is now forty (4-0) years old, it is more than surprising that it is used to frame a discussion of my 2016 volume of critical poetics, as if no one had ever heard it before:

One of the most infamous events in the history of “postmodern” or “experimental” US poetry is the 1978 argument between Robert Duncan, a veteran of the New American Poetry anthology generation who was 59 at the time, and upstart Barrett Watten, then the 30-year-old self-fashioned cofounder of the more recent school of modernist-inflected verse called “Language poetry.” The incident took place during a film screening at the San Francisco Poetry Center memorializing the “objectivist” poet, Louis Zukofsky, who had recently died at 74. According to most accounts, Duncan interrupted Watten because he did not like the younger poet’s reading of Zukofsky’s poetry.

… More

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Entry 32: For Kara Walker

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Context is everything. To begin with, there is the question of intent in the circulation of racialized images, and the way racism may be ascribed to them. To display racialized imagery in America is to open a Pandora’s Box of every conceivable projection and denial. This is not to separate intention from context, but to find ways of reading it that are contextual and historical. Pandora’s Box is an apt metaphor for the racial content of Kara Walker’s work. There was an incident, about a dozen years ago, when her work was to be first shown at the then-quite-stodgy Detroit Institute of Arts. Think of the recent film Get Out as another of Pandora’s Box—the basement and its horror of substitute body parts. Kara Walker was new to Detroit, and the DIA was still a bastion of cultural separatism in the city. In the film, black bodies are used as vehicles for whiteness that has run out its biological course and needs new life. Off hours, a black janitor encountered the work during installation and complained; the show was cancelled. A state of mind called “the sunken place” is introduced in the film as the horror of racial subjectivity. This is the kind of textbook case that organizations such as the National Coalition Against Censorship deal with all the time, from Huckleberry Finn to the controversy of Vanessa Place tweeting 140-line texts from Gone with the Wind. On the other hand, the contrast between that moment to the ramp up of Kara Walker’s career in museums could not be more marked. The art world itself is represented in the form of a blind gallery owner lusting for authentic talent. … More

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Entry 30: The New Blast IV

notmypresident

 

The New Blast (final 25)

Blast the Incarnation of Greed!

Blast the Body without Organs!

Blast the Monetization of Pain!

Blast the Nation off its Borders!

Blast the Tyranny of Dichotomy!

Blast Disappearance of the Other!

Blast final Monotony of the Same!

Blast Psychic Fantasy of Destruction!

Blast the Triumph of Anamorphosis!

Blast whomever is Not Listening!

Blast whomever Does Not Get It!

Blast Core Values of Individuation!

Blast the Blindness of Self-Interest!

Blast Regression Analysis of Fact!

Blast the Obscuration of Predictors!

Blast our Total Amnesia of the Past!

Blast our Presentism of Hate Speech!

Blast our Incomprehensible Futurity!

Blast Past, Present, and Future then!

Blast Action and Nonaction from Fear!

Blast Fear making Good People Quiet!

Blast Fear undoing Logical Inference!

Blast Fear perverting Common Sense!

Blast Fear returning us to Barbarism!

Blast Fear the Seducer of the People!

[after Wyndham Lewis; return to part I]

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Entry 29: The New Blast III

notmypresident

 

The New Blast (third 25)

Blast the Corruption of Language!

Blast the Purification of Language!

Blast their Misuses of Metaphor!

Blast our Mediation of Metonymy!

Blast all Originality of Authorship!

Blast endless Recycling of Copies!

Blast the News as Election Cycle!

Blast the Construction of Discourse!

Blast the Eternal Return of the Same!

Blast any Illusion of Transcendence!

Blast a Seething Snakepit of Tropes!

Blast the Apotheosis of Zarathustra!

Blast that Dawn over the Rockies!

Blast that Sunset of Verbal Debris!

Blast your Life as a Dumpster Fire!

Blast repeating Tidal Waves of Shock!

Blast needing to Get Through This!

Blast your Republican Uncle in 1960.

Blast your Democratic Father in 1968.

Blast even the Great Chain of Being!

Blast Trust Funds of Popular Culture!

Blast Hedge Funds of High Culture!

Blast the Banking System entirely!

Blast the Inertia of the Art Market!

Blast the Perpetuation of Ideology!

[after Wyndham Lewis; to be contd.]

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VOTE (LIVE) 
AS IF YOUR LIFE (VOTE)
DEPENDS ON IT

We are in a bad situation, a situation not of our choosing, painted into a corner once again. But I say, friends, with the greatest conviction and enthusiasm, I am going to cast my ballot for Hillary Clinton! I have been voting in elections since 1968, the beginning of the long turn to mediocracy in the election cycle. It is a deliberately constructed mediocrity, a fabric of denial, compromise, and opportunism. Democracy is impossible, but it must be preserved! The most important thing we must do is fight the eruption of fascism in all its forms. American polity is shot through with undemocratic tendencies—is that what makes it democratic? The situation is only getting worse. Once started, political irrationalism spreads like wildfire. It is a condition of language, where words are detached from their referents and free-floating desire makes any interpretation out of them it likes. Behind these words are narcissistic identifications and hateful abjections. We have not seen anything like it in our lifetime. Looking out the window, it is a beautiful fall day in the suburbs, the traffic is flowing regularly downtown, there are mild signs of hope among the populace, life is good! The worst is over, the worst is yet to come. Here is why I am going to cast my ballot for Hillary Clinton and as many down-ballot Democrats as I can identify:

  1. Anti-fascism! A vote for Clinton is a vote against planting the seeds of fascist psychology among the unsuspecting masses. There must be decisive counter-measures to stop this threat, and a vote for Clinton is tactically the only available option. Vote Clinton!
  2. Women’s emancipation! A vote for Clinton is a vote for the continuing emancipation of women, and is framed against the most stunning public misogyny we have witnessed. We must put an end to the “normalization” of this hateful personality disorder. Vote Clinton!
  3. Anti-racism and defense of immigrants rights! Decisive action is needed in the public sphere to counter the emergence of racist, xenophobic, Know-Nothing politics and psychology. Again, we must end the “normalization” of this violently depraved discourse. Vote Clinton!
  4. Long live Occupy and the Sanders campaign! To the extent that anti-capitalist and anti-Wall Street politics are a verifiable part of the Clinton campaign, she deserves support. Vote Clinton!
  5. End war mongering and military adventurism! We must bring our criticisms of foreign policy adventurism to the only party that will listen to them. The alternative is an aggressive, bullying, reactive, xenophobic, America First politics that will lead to world catastrophe. Vote but criticize Clinton!
  6. Reject left sectarianism! We do not give up our right to pursue politics to the left of the election cycle. A vote for Clinton is an immediate tactical necessity. Criticize the left!

This is the position I am taking. It is not a matter of indifference. The election is decisive in more ways than we can yet understand. Fight fascism, end the denigration of women, racism, and xenophobia, continue to pursue social justice in the spirit of Occupy, #blacklivesmatter, and the Sanders campaign, and be vigilant toward the excesses of American military adventurism. Vote Clinton and encourage others to do so as well!

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Entry 25: 17 Reasons Why!

questions of poetics 1600

 

Reason 1: Language writing should not be understood in merely formalist terms.

Reason 2: It is a consequence of the cultural logic of the period(s) in which it was written and has its influence.

Reason 3: But, we must ask, what is a cultural logic, and how many of them are there to name?

Reason 4: If Enlightenment is a cultural logic, not just an abstract universal, the poetics of this situation are yet to be found out.

Reason 5: It is not exaggerating to claim these debates have scarcely been engaged, and will continue past publication of this volume.

Reason 6: The relation of Language writing to identity is a major motivation, as is the question of free speech as liberationist goal. … More

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Entry 24: 17 Reasons Why!

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17 Reasons Why! 

“17 Reasons Why!” is a key site in the cognitive map of San Francisco during the period in which Language writing emerged, the 1970s. The cryptic formula, for which no adequate explanation has been given, overlooked the Mission District at the intersection of 17th and Mission—and yet also seemed hardly to be there. Its address was always already iterative and non sequitur, always a prompt for questioning. I left the Bay Area before it came down in 2000, but it has a solid place in the firmament of urban legend, as in this article, from which we learn: “The 17 did refer to the fact the store stood on the corner of 17th Street. But what were the reasons? ‘People would ask what the 17 reasons were, and we would guff it off. There were no 17 reasons,’ [the former owner’s son] said.”

[To be contd.]

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