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Document 08: Laura Ulewicz

Stephen Vincent, in response to my entry on Sylvia Plath [Entry 06: “Sylvia Plath’s Collage”], sent a poem by little-known California poet Laura Ulewicz. Ulewicz, who was born in Detroit, spent the early 60s in the U.K., where she met Plath, returned to San Francisco in the late 60s, then lived in Locke, Calif., where she died in 2007. Vincent is editing a selection of her work. His note follows the first section of the poem (which is set in Detroit). Of particular interest to me is the narrative/sentence interface, between confessionalism and the New Sentence:

from Nightmares to Be Born

I. Reality

Elizabeth Barrett hunched up in a book
While the foxes in my head ran round a tree
The foxes in my head ran round a tree
Under the ether. The nurses joked together,
“Freud at five.” Everyone (my father
And mother) disapproved. Baba, I cried
Because they’d bury the foxes that were so happy.
I hid the foxes alive inside my crying.

The Brontë sisters—But my own real friends.
Detroit a sex machine. Joey
And I, thirteen, peddling into Duns Scotus.*
Trees. Sanctuary for birds, God.
But then she was racing, racing. The boys put a stick
In my spokes. Falling I hit them. Hit them old
As the naked man in the basement who pumped his head
And lied. Oh, if I should grow up Beatrice.

… More

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Document 07: L’événement

Non-Events I

Morning turns inside out. The engine
        is diseased, as it floats along
        approximate ice. High contrast
geometry of persons straightens out from
        meandering road. Desperate focus
never looks back. Progress makes possible
        a paralyzed attendant, set apart
        an end to himself (moral noise).

 —Frame: 1971–1990 (Sun & Moon, 1997), 13

Avenue Poupelard in the center of this devastated city pulses with life and reeks of death almost two weeks after the earthquake. Before what Haitians call “the event,” it was a chaotically bustling street of lottery kiosks and cybercafes, gated homes and shacks, churches and schools. Now, a coffin maker spends the day hammering wood as fast as he can get it, while the body of a 6-year-old boy decomposes in the ruins of a school. … More

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The astonishment (aftershocks) bordering on terror (tremor), the (tin) horror and awesome shudder (shaking), which grip the spectator in viewing (victims) mountain ranges towering to (of) the heavens, deep ravines (research) and the raging torrents in (to) them, deeply shadowed wastelands (Wednesday) inducing melancholy reflection, etc. (but), is in view of the safety (shaken) in which he (we) knows himself to be, not actual (agency) fear, but (and) only an attempt (article) to involve (injured) ourselves (otherwise) in it by means of the (not) imagination, in order to (be) feel the power of (by) that very faculty, to combine (crumbled) the movement (measures) of the mind (more) thereby aroused with its (her) calmness (collapse), and so to be superior (seismic) to nature within us, and thus (toll) also that outside (ongoing) us, insofar as it can (who) have an influence on our feeling (fearing) of well-being.

—Kant, Critique of the Power of Judgment, trans. Paul Guyer (152);
“Fierce Quake Devastates Haitian Capital,” New York Times, 13 January 2010

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Document 05: Haiti and Ideal

To Toussaint L’Ouverture

 Toussaint, the most unhappy man of men
   Whether the whistling Rustic tend his plough
   Within thy hearing, or thy head be now
Pillowed in some deep dungeon’s earless den;
O Miserable Chieftain! Where and when
   Wilt thou find Patience? Yet die not; do thou
   Wear rather in thy bonds a cheerful brow:
Though fallen thyself, never to rise again,
Live, and take comfort. Thou hast left behind
   Powers that will work for thee; air, earth, and skies;
There’s not a breathing of the common wind
   That will forget thee; thou hast great allies;
Thy friends are exultations, agonies,
   And love, and man’s unconquerable mind.

—William Wordsworth

… More

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Link 05: Plasma in Italian

“Plasma,” the lead poem in Plasma/Paralleles/”X” (Tuumba, 1979), has been translated into Italian by Gherardo Bortolotti in the online journal G A M M M (joining previous translations into French, Dutch, and site-specific sculpture). The text and link are provided below. The next thing for me to do, clearly, is to attempt a homophonic translation!

Plasma

Un paradosso è mangiato dallo spazio che gli sta attorno.

Ripeterò ciò che ho detto.

Far diventare una città una stagione è come indossare occhiali da sole dentro un vulcano.

Non dimentica mai i suoi sogni.

L’effetto della mancanza d’effetto.

… More

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Entry 07: Is This Anything?

My resolve for this website project, at least at the outset, has been to post “something” once a day. But what counts as something? One of David Letterman’s fugitive routines suggests a standard for judgment: “Is it something, or is it nothing?” Not remembering the correct title for the routine, I searched the internet and came up with a number of philosophy sites that had used the line as a cue—but nothing like a record of Letterman’s usage.

The last post is an example. As the time frame for posting “something” on January 20 neared its end, due to the lateness of the hour and the difficulty of the day, I was starting to draw a blank. That in itself could be “something,” properly framed. I searched the internet for traces of “something” and, following the faintest of threads, came up with a 90-minute video I had not previously seen, a virtual screen test from the ontological bunker of aesthetic theory.

This was truly “something,” and suggested an idea for my next post: an account of David Letterman’s routine, were I able to substantiate it. Perhaps it was entirely ephemeral, made up—but the ghost of its effects in the larger culture remain. Chris Vitiello, on Facebook, posted a random entry that showed the way: “Who the **** is Jay Leno?” This may have been the origin of the routine, as I have never understood what Jay Leno is about, if anything.

… More

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Link 04: Poetry Is

In 2007 or thereabouts, I ran into Detroit poet Chris Tysh on W. 26th Street in Chelsea. It must have been Saturday. Simultaneously, we were hailed (as it were) by the poet George Quasha, who invited us in to the White Box Gallery to take part in a video project he was making. In another version of this story, I must have been contacted by Quasha, who invited me to the gallery, and I arrived at the same time as Chris Tysh. In a third version of the story, Carla Harryman was also present, to be hailed or invited by George Quasha.

In any case, Quasha asked me to compose myself, face a video camera and speak in whatever manner I chose, at whatever length I might, to the topic “Poetry is . . . .” After giving it some thought I did so. Carla Harryman likewise spoke to the question. Chris Tysh composed herself and spoke, while I remained at a respectful distance, not wanting to interfere. Kristin Prevallet may also have been there, composed herself, and likewise spoke.

Later, I wrote George Quasha about whether the project had come to fruition. He answered in inspecific terms. From that time forward I heard nothing more until, clicking on a Google link to an rss feed site called Tumblr, I came across evidence that the work existed and that I was in it, along with almost anyone else who might have an answer to that question. The resulting video is a compilation of some interest that just might speak to what “poetry is . . . .”

The video has been out for about one week. My segment can be found at 34:45.

poetry is [vol. I] from George Quasha on Vimeo.

… More

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Link 03: Mark(s) Archived

Mark(s), the Detroit-based, multigenre, poetry/art webzine, has concluded its ten-year run by putting up a remediated archive of the work it curated and published: www.markszine.net. Mark(s) was notable for developing a transformative digital aesthetics that worked between word and image, always attentive to the ways the developing display, linking, and animation possibilities of the medium could reinterpret the work. Designer Deb King accomplished this spectacularly in one of my own contributions, “Question of Interpretation”:

Link

The work was a series of twelve four-line serial poems, each highly subjective in their content and interpretation, introduced by a “Rorschach” inkblot image made by the author about age 12. I had preserved these icons only to discover them, and their proper use, decades later. … More

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Modification of the cover of Total Syntax by Ray Craig.

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Johnson County Courthouse, Iowa City.

I am reminded by Rod Smith’s move to Iowa City of my own arrival in January 1970. I had driven a driveaway Buick from California with several other students; stopped over in Iowa City to drop off my things and just miss an encounter with Alice Notley, then moving to New York; and brought the car to its owner near Kosciusko Boulevard in Chicago, returning by bus. That first night in Iowa City I slept in the car in front of the Johnson County Courthouse, a building renowned for its stolid but eerie architecture. In the morning, when I awoke, I saw farmers dragging fox carcasses up the stairs of the courthouse for bounty. … More

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