Ich weiss nicht, was soll es bedeuten dass ich so traurig bin

 

Lyric Poetry

Sung to the lyre, it has a certain fascination. American lyrics from Irish ballads to Emily Dickinson to Annie Finch. Whitman, that lyric maelstrom. What about Heine? Could any man write these lyrics now? Is lyric poetry only written by women today? And then there’s Dylan (Bob) with the “lowest form” of lyric: the song lyric.

Most poetry is lyric, isn’t it?

W.F.Kammann

.

………………………………….Harlem

………………………………….What happens to a dream deferred?

………………………………….Does it dry up
………………………………….like a raisin in the sun?
………………………………….Or fester like a sore—
………………………………….And then run?
………………………………….Does it stink like rotten meat?
………………………………….Or crust and sugar over—
………………………………….like a syrupy sweet?

………………………………….Maybe it just sags
………………………………… like a heavy load.

………………………………….Or does it explode?

………………………………………………………………..Langston Hughes

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THE DIGERATI SHOVEL BACK: Shoveling and Shoveling on Blog:Harriet..

Shovel Grab 0 copy

Today on Blog:Harriet, November 1st, 2009, marks The 60th day After the Banning of Thomas Brady, Desmond Swords, Alan Cordle and Christopher Woodman. To commemorate the occasion, we take the opportunity to examine the only thread in that period that has attracted more than a handful of desultory comments, and that is Kenneth Goldsmith’s rip-roaring, The Digerati Strike Back with a staggering 55 Comments!

To read the most recent of those comments and some even more staggering statistics, click here.

But don’t expect much about poetry, as even the posters themselves acknowledge it’s just shoveling, and because they are Travis Nichols‘ friends and colleagues, they’re obviously proud just to snip, snap and snuggle. Because that’s how you comment if you’re really on the  ‘in’ in the poetry establishment, unlike Thomas Brady, Desmond Swords or Christopher Woodman who actually read and write it, or Alan Cordle, so passionate and well-informed on the ethical and social issues, and a well-trained librarian.

But no passion please, we’re Blog:Harriet — no risk, no commitment, no challenge, no outrage or devotion, no Annie Finches, no Martin Earls, no Eileen Myles, no one who posts poems because they actually love them like Catherine Halley, or poets they would like to understand better like Joel Brouwer, and who give others both the space and the encouragement to explore difficult subjects in depth. Excellent Contributing Writers, and there are still some of those left, deserve better respondents — not just cynics and academics and a handful of groupies, insiders and glad-handers.

How sad, and nobody at The Foundation seems to care that Harriet is vacant. I guess that’s the way the Management  likes it, though how that serves Ruth B. Lilly’s larger mission remains to be seen!

WE WERE THERE TOO: But We’re Banned from Blog:Harriet now. And WHY? Did Martin Earl find us troublesome? Or what about you, Annie Finch, or you Camille Dungy? Don Share? Cathy Halley? You were all there along with Gary Fitzgerald and Michael Robbins? Who in the light of the International Poetry Incarnation of 1965 could possibly have allowed this to happen in 2009, and at The Poetry Foundation of all places???

International Poetry Incarnation,
The Original Program,
The Royal Albert Hall, June 11th, 1965,
Smoking Permitted.

Albert Hall 1aAlbert Hall 2

FISH II GRAB

Thomas, Gary, Christopher, Camille, Annie, Michael, Don, Cathy, others…

I certainly don’t see a problem, and I second Thomas’s drift in this comment. The thread is about open space, cornfield, Nebraska style space. Thomas has a point. You read what you want to read. Volume can only be stimulating, especially when the discourse is conducted at such a high level. I’m sure this is exactly what Ms. Lilly had in mind, free and open forums which grow organically. Any given post can sustain pointed commentary for only so long before drift, meta-commentary, opinion, personal ideology and the gifts of individual experience begin to take hold. I, for one, feel extremely lucky, as one of the hired perpetrators these last few months that the threads unfold the way they do. Maybe Gary has a point – some people could be scared away by the clobbering breadth of the most enthusiastic threaders. But perhaps not. I suspect a lot of people are reading just for the fun of it, for the spectacle, without necessarily feeling the need to contribute. And I’ve seen enough examples of people, late in the day, breaking in without any trepidation. Thomas has brought up a lot of good points here about the way things are supposed to work. And I would say, having observed this process over the last six months, that, given the lawlessness, there has always been a sense of decorum, even decorum threaded into the syntax of insult (a wonderful thing to see). We are all at a very lucky moment in the progress of letters. A kind of 18th century vibrancy is again the order of the day. We should all thank the circumstances that have led to this moment. We should drink a lot of coffee and get to work.

Martin
POSTED BY: MEARL ON JULY 6, 2009 AT 12:02 AM

Honestly, you all, go and read such passionate and well-informed commentary, and BLUSH! Go and read it right here, and then look at Harriet today!

Christopher

MULTICULTURAL WRATH IN ALABAMA: LEVERTOV SCOLDS PANEL

BAMA PANEL III:  Indeed, Denise Levertov is increasingly appalled…

The third in a series of 5 articles on the 1984 University of Alabama Poetry Conference by THOMAS BRADY.


Denise Levertov

A perception of Wallace Stevens as participant in the “common life” was all Helen Vendler had in her defense against Louis Simpson’s charge that she (Helen Vendler) was a living embodiment of the staus quo.  Vendler’s “aim in life,” she said, was to “change the status quo,” and the example she produced in Alabama that morning was that she was on a life-long quest to find some way to convince people that tubby Wallace Stevens was not a wealthy, racist snob who wrote show-offy, goofball verse. (Good luck with that, professor Vendler.   You might want to check out William Logan’s review of the new ‘Selected Stevens’ in this month’s New Criterion.)

Charles Bernstein, with his back against the wall, finally…after a ‘Stern’ grilling…named… T.S Eliot.

Hendler Vendler…zonked by the poet Louis Simpson…attempted to save herself… with… Wallace Stevens.

Both Eliot and Stevens were students of the aesthetic philosopher George Santayana at Harvard.

Vendler was a full professor at Harvard.

Bernstein studied under Stanley Cavell at Harvard.

Denise Levertov, poetry editor for The Nation in the 1960s and Mother Jones in the 1970s, had heard enough.  She exploded.  She hit the ceiling.  She yawped.

“I’m getting increasingly appalled…”

Uh Oh…

“OUR DISCUSSION KEEPS GETTING MORE AND MORE PROVINCIAL, PAROCHIAL…”

A feeling of shame moved through the panelists…

“WE KEEP IGNORING…”

“The Crimson began to turn red…”

“THERE IS A WHOLE BODY OF LITERATURE…”

Sweat trickling down the faces of every professor in the room…

“VERY EXCITING LITERATURE…”

Panelists frozen in horror…

“DEVELOPING AND BEGINNING TO FLOURISH WILDLY AND WONDERFULLY…”

“Wildly and wonderfully?”  Denise, get this over with!  Kill us now!

“BLACK POETS…”

The panelists and the audience  (all white) were suddenly drained of color.

“AND CHICANO POETS.”

Damn!  Not Chicano poets, too!

(Maybe she said Chicago poets!  no…no…Chicano poets.  We’re cooked.)

Denise Levertov wasn’t finished.

The panelists didn’t move.

“All this is totally ignored and perhaps even more important…”

No one breathed.  Not even Louis Simpson, the WW II vet, batted an eyelash…

“we are talking away here…talking about prizes and naming names…”

Bernstein and Stern looked at the floor…Vendler began to chew on her lip…

“and all this is absolutely parochial irrelevancy and IGNORES THE FACT…”

The panelists, one by one, began to slowly hide under the table…

“THAT AS A SPECIES WE ARE STANDING ON THE VERY BRINK OF EXTINCTION…”

Vendler, under the table, drank a glass of water very fast…

“THAT WE LIVE IN A TIME OF UNPRECEDENTED CRISIS.”

Louis Simspon, WW II vet, is now weeping into Vendler’s shoes…

I MEAN…TALK ABOUT FIDDLING WHILE ROME BURNS!!

It brings the house down.  Furious applause.  Papers, books, flying everywhere.   Spontaneous suicides.

Alabama has never seen anything like this.

It’s unprecedented.

End of Part III.

Part IV will examine  everything else you’ve wanted to know about how American poetry got to be where it is but didn’t know how or what to ask.
STAY VERY FINELY TUNED…

‘BAMA CONFERENCE, PART II: HELEN VENDLER, LOUIS SIMPSON

BAMA PANEL II:  Foetry covered up in leaves, Vendler style.

The second in a series of 5 articles on the 1984 University of Alabama Poetry Conference by THOMAS BRADY.


..Helen Vendler,…………Louis Simpson,…….Simpson, Vendler and Bernstein

There were more fireworks at Hank Lazer’s 1984 Tuscaloosa Conference.

The distinguished poet Louis Simpson, steely, feet-on-the-ground, World War Two veteran, rebuked panelist Helen Vendler’s attempt to take the high road above the foetic mire.

Simpson to Vendler: “The status quo. If the establishment ever spoke, it would say exactly, I’m sorry, what you just said.”

What did Vendler say to elicit this response?

Vendler was obviously taken aback by Simpson’s remark.   She had just addressed what she termed the panel’s “ill feelings” (especially those of Bernstein’s) with a long speech.

Simpson’s reply must have felt like a slap in the face.

The distinguished poet Louis Simpson was like knight royal at the conference; he was the only male U.K. member, rather elderly, and he was also the best poet there.

In her speech, Vendler, the plumpish bird of Keats/Stevens plumage, played her ‘Tenured Queen of the Criticism Priesthood’ card, obviously an attempt to 1) restore order to the proceedings, 2) give dignity to the proceedings, 3) soothe hurt feelings as a mother might and 4) impress everyone.

Simpson’s remark was so wounding that all Helen of Harvard could make in the way of reply was that she had worked  hard all her life to make people realize Wallace Stevens was no snob, but a real man, and…and…if that wasn’t using the High Road of Criticism to challenge the status quo, then, what was?

Simpson, silent and unmoved, must have thought to himself, ‘Wallace Stevens?  Is that all you’ve got?’

All Bernstein had was T.S. Eliot.

Now all Vendler had was Wallace Stevens.

O O O O that Official Verse Culture-

It’s so elegant

So intelligent

 Vendler began her speech by juxtaposing the practice of high and beautiful Criticism with the practice of low and necessary Reviewing.

Contemporary reviewing, like the game of love, was bound to make people unhappy; rejected by a lover because you are not a beautiful blonde, rejected by a tenure committee because you are not Helen Vendler,  rejected by a prize committee because you are not Jorie Graham, are just parts of life and it’s best not to nurse grudges and throw stones at tenure committees and call them old fogies because, dear Charles, you just have to be patient, OK, sweetie?  What really matters is how we feel about the dead, with all personal jealousies and animosties removed, time and death fostering a love of what is true.

Foetry covered up in leaves, Vendler style.

“When we are all safely dead…”

“Temporary abrasiveness between prize committees & reviewers and the poets they’re judging or giving prizes to shouldn’t be confused with differences between poetry & criticism.”

Ah, but Helen, this sort of abrasiveness isn’t temporary.

It lasts forever.

One can hear the anger even in the playing of that blue guitar.

Vendler: “Milton cannot feel bad that Dr. Johnson didn’t think well of his poem, ‘Lycidas.'”

Stern: “He’s furious.”

End of Part II.

Part III will deal with multicultural wrath in Alabama.
Sound good?
STAY EVEN MORE TUNED…

25 YEARS ON: FOETICS DOMINATES 1984 ALABAMA POETRY CONFERENCE

BAMA PANEL I:  Charles Bernstein does NOT name the ‘Official Poetry Policemen.’

The first in a series of 5 articles on the 1984 University of Alabama Poetry Conference by THOMAS BRADY.


Charles Bernstein, Gerald Stern, and T.S.Eliot.

Gerald Stern: “Names…of the policemen.”

If this October 20, 1984 panel discussion had taken place in London or Paris, or one of America’s major universities, it might have struck a mythic chord in American Letters.  If poetry mattered more to the American public, we might still be discussing the poetry session which took place 25 years ago this month.

Helen Vendler, Marjorie Perloff, Charles Bernstein, Denise Levertov, Kenneth Burke, Louis Simpson, David Ignatow and Gerald Stern put on a show in sleepy Tuscaloosa, as post-modernism faced off against modernism in a throat-ripping dog fight

Modern poetry’s factions exploded in the flesh, as po-biz insiders erupted in a spontaneous public quarrel.

The more dignified members of the panel probably regret their trip to U. Alabama in those controversial days of the 1980s culture wars.   I’m guessing most of the participants would prefer this conference be forgotten, but we at Scarriet would hate to miss an opportunity  to see big players like Helen (of Coy) Vendler and (Prince) Charles Bernstein naked.

We want to thank Annie Finch for finding the transcript of the panel discussion–we would have missed it otherwise.

Scarriet will do a series of posts on the ‘Bama Panel, as we observe its 25th anniversary.  There’s too much great stuff here for just one post.

So here we are back in 1984.  When asked a bland question by the conference host:

“What do you perceive the function of poetry to be, Charles?”

Bernstein, the unemployed ex-editor of the magazine, L=A=N=G=U=A=G=E,  quickly got himself in a foetic tangle:

“[it] has to do with audiences, distribution, jobs, professional networks, things like that, which I think we tend to underrate.  It seems interesting to me that professional academic poets are making this particular issue apparent in this context…”

“I think it’s unfair not to realize that it’s actually poets who are the policemen of official verse culture in the United States.  And so from the perspective of a poet outside the academy and from the perspective of many people that I know who are not associated with academics, cannot get teaching jobs…”

Iowa Poetry Workshop teacher and poet Gerald Stern broke in:

“I don’t think you’re right, Charles. Who? What poets are the policemen? Would you like to name some poets who are the policemen?”

This was the defining moment of Bernstein’s career.  Had Bernstein “named names,” backing up his claim that ‘policemen poets’ were oppressively enforcing ‘official verse culture,’ he might never have found a job in academia.

Bernstein replied, “Yeah, I’ll give you a group, I’ll give you a group.”

Stern was a bulldog.  He would not let the matter drop.

Names…of the policemen.”

Bernstein:  I’ll give you a group.  You want me to?  No, I’m not going to, I’m going to give you institutional groups, I’m going to say those poets, those poets who…

Stern: I’ve got the names of thirty-seven hard, fast Communists in the State Department…McCarthy never named one…

Hank Lazer, ‘Bama host, and friend of Bernstein, attempted to smooth things over by leading the discussion back to the ‘function of poetry’ question.  Lazer must have been thinking: ‘My conference is going to destroy the career of my friend!’

But Stern wouldn’t quit: “Would you tell me who the policemen are, please, Charles?  Would you give me a list of names?”

Bernstein answered foetically: “Yeah, I’m talking about those poets who are involved in the award networks, the creative writing programs, and the major reviews.”

Charles Bernstein was explicitly talking foetry 20 years before Cordle and Foetry.com.

The only difference between Cordle and Bernstein was Bernstein was not naming names–and not naming names was, to the poet Gerald Stern, an even worse McCarthyist offense.

Stern had won the Lamont Poetry Selection 7 years prior, when Stern was 52: judges Alan Dugan, Phil Levine, and Charles Wright.  Doors had obviously opened for Stern since then, leading to his job at Iowa, and his invitation to this conference.

Did Stern think Bernstein was going to name Dugan, Levine, and Wright?  Who did Stern think Bernstein was going to name?   Who did Bernstein have in mind back there in 1984?

In the end, after more McCarthyism talk from Stern, Bernstein saved his career and meekly mentioned one poet, a dead one:

T.S. Eliot.

Bernstein used another dead poet to save himself:

“I would give you as a central instance the person that William Carlos Williams called the great disaster for our letters, T.S. Eliot…”

Bernstein made a non-answer.

Eliot’s “officalizing role” as a poet is a truism.

Everyone knows Williams and Eliot shared many mutual friends, including Pound.   Williams and Eliot both gained credentials by their accentuated differences: Williams’  obscure career was made to seem more ‘popularly American,’ while Eliot was assured high-brow points in the comparison to the Jersey scribbler.  The whole matter is the very opposite of the played-out platitude in the po-biz press.  Rather than shedding crocodile tears for Williams, was Bernstein instead playing on the opposition between revolutionary secular Jew and conservative Christian?  This is more likely.

To the Eliot v. Willams charade,  Ignatow said, “You’re right there.”

Bernstein: “Thank you.”

Indeed.

End of Part I.

Part II will examine Helen Vendler’s role in the same 1984 panel.
STAY TUNED…

More Keats with No Heart, No Risk, No Fancy!

LISTEN!

So much lost on Blog:Harriet! When I read the new article about the Keats film with all those seductive reviews and then saw virtually no replies, I was staggered. I mean, how could this have happened? Because it’s such a wonderful article, Abigail Deutsch’s, a sheer delight including the illustration, but where are the souls that can rise to it? Why the stilted silence?

How much I learned during my 3 months on Blog:Harriet, and oh, how grateful I was to be part of such a diverse, passionate, unselfconscious community. And look at it now? A pale shadow — just chickens pecking in the dust, and of course keeping not too far away for fear of foxes, big RED ones! Nobody dares to dance anymore, nobody dares take chances.

How I loved Annie Finch’s contributions, for example, and how they flew.  109 comments she got after “Why I Am a Woman Poet” —  CLICK HERE and your heart too will be broken.

Yes, there is Terreson’s comment after Abigail Deutsch’s article, but he’s just repeating things he’s said a hundred times before. Earlier on Harriet he was much better. Go to “Why I Am a Woman Poet” and see how he could write when he wasn’t trying so hard to sound professional. Indeed, click here for Tere’s longest post on the “Woman Poet” thread, 792 words, if you can believe it — of course a distant second to dear Desmond Swords who hit almost 2000.

Here’s what Desmond said right at the end, and needless to say, there weren’t any grumbles!

“The post contains no satire or smart-assery, but picks up on Terreson’s comment on Eisler, because this theory of a 50/50 Poetic is something which all my learning has led to and this post is merely my latest try at clarifying what is essentially one of the central planks to a Phd equivalent of my own bardic brand which culminates at grade seven ollamh (poetry professor), which i have another 4 years to go before finding out if i got there or not.”

And then I did my best to rise to all of that as did we all. Here’s what I said, and it hurts to read it again because now I’m not allowed to write on Harriet at all!

Christopher Woodman