March 23, 2020

Entry 40: Isolate Flecks

It is only in isolate flecks that
something
is given off

No one
to witness
and adjust, no one to drive the car

—William Carlos Williams

21 March 2020

What I am to think about, in a room with others, is the nature of Zero Hour—our new life. Our colloquy is an opening to that question.

22 March 2020

The poet often sees oneself as an isolato, “a person who is physically or spiritually isolated from others.” We are collectively isolated, as well.

This is the common condition we have sequestered ourselves within. These are the occasions for what I am now writing: here begin.

23 March 2020

Putting on Vivaldi to get the morning started, I recognize the theme music Delta Airlines uses on its transatlantic flights, to CDG, FRA, or AMS.

Homeless panhandler on corner of southbound Lodge offramp and Forrest reaches out without direction as I round the corner, and falls over.

“With history piling up so fast, almost every day is the anniversary of something awful.” Under this rubric I find words I intend to use . . .

24 March 2020

Imagining our isolation through multiple visual maps: blue and gray dots colliding; exponential curves ticking upward; geography filling in at a rate.

The graph of deaths doubling every two days, every three or five days, every ten days—these are abstractions, what do they mean in the event?

Although concern increases with the incidence of disease, the percentage gap in belief stays constant at about 40% between red and blue states.

Am I a nonperson in a mask and hat, or the announcement of a social order to come? The learning curve for what counts as human is constant. … More

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March 14, 2020

Document 84: Modernity @ Zero Hour

Modernity @ Zero Hour: 
The Question of the Universal
and the Origins of the Global Order

ACLA Nonsite Seminar
March 20 and 21, 2020

With the cancelation of ACLA 2020, seminar members have agreed to hold a virtual seminar using conferencing software, across two continents and four time zones, consolidated into two sessions. A small number of invitations for non-presenting participants is available; contact organizer at address below.

Modernity @ Zero Hour I
Friday, March 20, 10:30 AM –1:00 PM

Barrett Watten, Wayne State University: “Modernism @ Zero Hour: Anticipatory, Punctual, and Retrospective Universals”

Maggie Rosenau, University of Colorado, Denver: “Objectivity: A Moment of Intersection Between the Avant-Garde, Denazification of the German Language, and Literary Goals after the Zero Hour”

David Kellogg, Coastal Carolina University: “Modernist Non-Events: Trials of Modernism in Malaya and New York”

Herman Rapaport, Wake Forest University: “Dismantling Modernity”

Modernity @ Zero Hour II
Saturday, March 21, 10:30 AM –1:00 PM

Lauri Scheyer, Hunan Normal University (China), “Modernism and Black Nationalist Identity: The Diaspora Before and Since the Zero Hour”

Parvinder Mehta, Wayne State University, “Fractured Feminine Selves and Autospecular Affect: Global Modernism and the Postcolonial Artist as a Woman in Meena Alexander’s Writings”

Zhai Yitian, SUNY Buffalo: “Sexual Difference, YinYang, and the Critique of Universals in Simone de Beauvoir and Luce Irigaray”

Gary Huafan He, Yale University, “Entropy and Utopia @ Zero Hour: Modernity and the Manhattan Project” … More

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February 18, 2020

Document 83: @ Louisville


Ahead of our “nonsite” event in Louisville Friday, I wanted to put the record of my contributions to the Louisville Conference up, to point to the critical and poetic work that has scarcely been considered in this instance. Content—not just projection—matters. I have added a sentence or two to each title, along with publication history, to give a sense of what my path through Louisville has been. The Louisville Conference has indeed been important for me, and I am deeply grateful for and committed to it. But I never shouted anyone down at this conference, though I did go on too long a couple of times early on.

Nonsite event

“Cancel Culture as Unfree Speech: Parrhesia @ The Louisville Conference,” independently organized, The Brown Hotel, Louisville, February 2020.

A brutal rationalization takes place in the neoliberal university beyond the wildest dreams of Mario Savio; the degradation of speech we have suffered is its symptomatic manifestation. The university has achieved a condition of unfree speech that has spread, in viral fashion, from the central core of the administration to the department and classroom, each internalizing and performing its version of the paranoia and defensiveness of the larger polity, where it reigns unchecked.

Lectures and panel presentations

“Refunctioning Surrealism: Eugene Lim’s Dear Cyborgs and Karen An-hwei Lee’s Maze of Transparencies,” The Louisville Conference on Literature After 1900, canceled February 2020. … More

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January 20, 2020

Document 82: Avant-Garde @ Zero Hour

CALL FOR PAPERS

Avant-Garde @ Zero Hour:
Destruction and New Meaning

“Crisis”: 7th Biennial Conference of the European
Network for Avant-Garde and Modernist Studies
University of Leuven, Belgium
17–19 September 2020

My proposed session(s) stem from on-going work on literary and visual modernism at the “moment” of destruction in 1945: Stunde Null or Zero Hour. I focus on the epochal date of 1945 (Stunde Null or Zero Hour, in its divergent forms across the global territories) as both the end of World War II and an inaugural moment of transition to the global order we now live. For one or more sessions at EAM, I propose to recover and theorize the avant-garde to interpret the “zero hour” of 1945 and explore the historical moment of crisis of 1945—of European destruction, the end of colonial empires, the origins of our global order—as progenitor of new forms of avant-garde writing, visual art, and thinking. I want to access key examples, or a larger overview, of how avant-gardes in Europe, the Americas, and globally gained new impetus from several related projects: overturning the cultural violence of fascism; finding an ethical imperative in “bare life” in the forms of destruction; and resisting recuperation into already existing historical and artistic narratives. What was “new” in 1945 was not “new” in the sense of modernist innovation; rather, it was to see the world as it had never been, as a locus of destruction and creation with historical possibility but also with the undoing of progressive narratives. In this sense 1945 is no longer only an epochal date for the avant-garde per se but a defining moment of modernity, at which its aesthetic, ethical, and historical horizons coincide uniquely. Creation and destruction in modernity at 1945 can be comprehended through the work of a number of avant-garde writers and artists, particularly in their dialectic between “particulars,” unique and intractable values and forms, and “universals,” values and forms as applicable universally, across languages and cultures. Send proposals for interrogating the work of post-1945 avant-gardes, seen in relation to the form of historical crisis of 1945 and its challenge to progressive historicism, by Thursday, January 30, for submission by Saturday, February 1, to:

Barrett Watten, English, Wayne State University
b.watten@wayne.edu or barrett.watten@gmail.com

Image: Eugene Von Bruenchenhein, No. 877, May 30, 1960.

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December 21, 2019

Entry 39: Ozone Holes

Pleased to learn of publication of my anti-Trump poem “Plan B” in Lana Turner, I took the magazine’s offer of a free download of Lana Turner 11 (the digital version of Lana Turner 12 is not yet out) as an anticipation of things to come. The website also links to Lana Turner 10, where I published a poem written after the 2004 election, “Blue States (After Fearing),” and indeed there is a connection to the present “Plan B,” written in November 2016. (The paywall is still up for Lana Turner 10, and readers should get the entire issue, but I will provide a .pdf of the poem here). In that poem, I tracked the psychological state I was in after the 2004 election—where George W. Bush achieved his first popular majority, thought he had a mandate, had earned capital and was going to spend it by demolishing Social Security, only to fail spectacularly to do so. At the time, my serious interest in the emergence of fascist imaginaries in American democracy began, and I would spend the next dozen years interrogating their present and past history, through my research, teaching, and travels in Germany. “Plan B” is a culmination of this effort, a poem registering the psychological state of the 2016 election through the perversion of public discourse that, in Adorno’s words from The Authoritarian Personality, indicate a “readiness” to accept anti-democratic forms of government. Adorno links these psychological preconditions of “readiness” to an ensemble of personality traits in and as “ideology”: … More

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December 2, 2019

Document 81: An Example

I was angry with my friend;
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow. … More

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October 26, 2019

Event 87: Metropole

New York, 4–8 October 2019
“It’s nice to have a separate month” —Bill Berkson

Friday, October 4
Delta DTW > LGA

Tony Torn

Walt Whitman’s Words
@ The Center for Book Arts

Marjorie Welish

Christian Marclay @ Paula Cooper
Ishiuchi Miyako @ Fergus McCaffery
Teresa Burga @ Alexander Gray
Pope L., Jonathan Lyndon Chase,
Cheyenne Julien & Tschabalala Self
@ Mitchell-Innes & Nash
High Line Hotel … More

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September 14, 2019

Entry 38: > Ekaterina Zakharkiv

I met Moscow poet Ekaterina Zakharkiv in St. Petersburg in November 2016, at “Other Logics of Writing: Arkady Trofimovich Dragomoshchenko at 70,” the Second International Conference on Dragomoshchenko and experimental poetics. Ekaterina was co-winner of the Dragomoshchenko Prize for younger experimental writers, presented at the new Alexandrinsky Theater on the Fontanka in St. Petersburg. Recently we began an exchange on digital poetics from our respective cultural, linguistic, and theoretical perspectives. This is a first attempt to speak of digital/media poetics across two distinct “regions of practice.”

September 12, 2019
Dear Ekaterina—

Hello! You asked about my approach to analyzing the internet poetic discourse.

I’ve cut and pasted your letter as you will see to create conditions for dialogue:

I am a graduate student of the Institute of Linguistics of the Russian Academy of Sciences, so my methodology is only starting to form, in general it may be said that the study is conducted from pragmatic-linguistic positions, in particular—the theory of speech acts, and also the linguistic poetic method.

My own basis in poetics is heavily indebted to the Formalist tradition, especially Shklovsky, Tynjanov, and Jakobson. There is a disconnect between that method—which influenced early Language writing, particularly with Hejinian, Silliman, and Harryman (and was very much in play when we had our “Letnaya Shkola” in Petersburg in 1989)—and the influences of critical theory, cultural studies, and now digital theory. I am trying to work at these intersections while being “language-centered.”

… More

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September 8, 2019

Document 80: Refunctioning Poetics

CALL FOR PAPERS

Refunctioning Poetics

The Louisville Conference
on Literature and Culture After 1900
University of Louisville, February 20–22, 2020
Organizer: Barrett Watten / contact by September 16

This is a call for one or two participants for a session on the “refunctioning” of literature (focusing on poetry and poetics in terms of “the making of the work” but including other genre possibilities). Recent texts suggesting such a “refunctioned” poetics include Lyn Hejinian’s Positions of the Sun; Kevin Killian’s amazon.com writings; Eugene Lim’s cyber-novels; and others proposed by panel participants. The concept of “Refunctioning” (Umfunktionierung) comes from Walter Benjamin, via Bertolt Brecht, in his keystone essay “The Author as Producer” (1934). How can new forms and genres of poetics be seen as “refunctioning” the aesthetic as political, given that Benjamin’s world has been “refunctioned” in the “new presentism” we live and suffer? Returning to Benjamin’s 1934 essay, in the context of the struggles against fascism but also in contestation with socialist realism, the panel asks, what does “refunctioning” authorship, and the literary and cultural work, mean in the present? Participants may approach this question by rethinking the status of the author; theorizing poetic making from a gendered perspective; seeing material production and digital reproduction as central for rethinking poetics as “the making of the work”; and reading new genres of experimental writing, after the Millennium, that incorporate its precarious presentism.

… More

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September 2, 2019

Document 79: Modernity @ Zero Hour

CALL FOR PAPERS

Modernity @ Zero Hour: 
The Question of the Universal
and the Origins of the Global Order

American Comparative Literature Association
Chicago, March 19–22, 2020

This seminar will address the relationship between literary modernism (traditionally seen as having its end date at 1945, but expanded to include work in genres not usually associated with high modernism) with the Zero Hour of the end of World War II (seen as a crisis of modernity that decisively set in place processes of globalization). Seminar participants will read works of modernism, from American, European, and non-Eurocentric sources, that imagine and constitute while they challenge and critique “the universal” as an entailment of modernist forms (which are often seen as characterized by forms of parataxis and the foregrounding of particularity that suspend any notion of the universal). In the process of critiquing modernist particularity, we will also interrogate the vertical, idealist, and even authoritarian aspects of mid-century modernism and their entailments for the post-1945 order. High modernist authors could include Eliot, Woolf, Williams, Pound, Breton, Stein, Beckett, and so on in the Eurocentric tradition, but these figures may be placed next to lesser-known and nonliterary figures, movements, genres, and works. We would then try to connect the aesthetic “universalist” aspect of these authors and works with political claims for universal ethical and aesthetic values, in historical frameworks that range from the Nuremberg Trials, on the one hand, to the rise of abstraction as a universalist aesthetic, on the other. Finally, we will move from the Eurocentric constructions of universals to query their possibility in “alternative modernities,” represented at 1945 by Russia, China, and India as non-Western states and cultures, along with the decolonizing world, as anticipating non-Eurocentric frameworks for the emergent global order that must be taken into account in any notion of the “universal.” The seminar will expand the implications of modernism for global and transnational pedagogy; should interest students of modernist, transnational, and postcolonial literature; and will engage theoretical concerns of Critical Theory and the gendering of modernity whenever possible.

Submit proposals to ACLA by Monday, September 23
For the ACLA portal: click here
Contact b.watten@wayne.edu or barrett.watten@gmail.com

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