IT’S CURTAINS FOR YOU…CORDLE…CURTAINS…YA SEE?

We don’t read Harriet anymore.  It’s too dreary, too artsy-fartsy-friends-puffing-artsy-fartsy-friends, too boring.   But our man Gary Fitzgerald was kind enough to email us today to let us know that John Oliver Simon has not forgotten us.

Thanx, Gary Fitzgerald, John Oliver Simon, u rock.

Harriet, the Poetry Foundation Blog, who banned Thomas Brady, Alan Cordle, Desmond Swords, and Christopher Woodman at one stroke on September 1, 2009, is going through a little identity crisis at the moment: how shall I moderate?  How shall I banish?  Are those who post on my site a community?  Can posters police themselves?  What is my responsibility towards them, if any?

Before we start equating the firing on Fort Sumter (THE UNION IS DISSOLVED!) to the sarcastic squabbling between Kent Johnson, Michael Robbins, and Henry Gould and the current crop of boy scouts and girl scouts on Harriet, let’s remember that once a self-infatuated twit, always a self-infatuated twit.

Boyd Nielson suggested in a comment on a Harriet post recently that Harriet is a private blog  and can therefore ban and delete as she pleases. But instead of embracing this reality, Boyd Nielson continues, Harriet is failing to make her authority transparent, hiding behind proxies such as ‘thumbs up/ thumbs down voting’ and ‘report this comment’  to punish, to delete, to ‘hold for moderation’ and ultimately to ban, in a faceless manner that  is irresponsible, cowardly, and weak.

Scarriet (ya got somethin to say, say it)  is blissfully free of this.

To Harriet’s “identity crisis,” and to all the winding, administrative hair-splitting discussion it might elicit, we say: pffft.

Self-important Harriet, and other blogs like it, will 1) banish, 2) delete posts reporting the banishment, and 3)  delete posts complaining of those deletions and 4) practice this for infinity, a black-hole-ish, whirling cesspool of censorship.

Paul McCartney will play a concert for Harriet, and their devoted acolytes will sing:

Well, the rain exploded with a mighty crash as we fell onto a limb,
And the first one said to the second one there, I hope that you can swim!
Banned on a whim!  Banned on a whim!

Private enterprise is wonderful and Harriet’s status as a private club allows her to throw bums to the curb with impunity.  But merely being private is not the great thing, by any means.

Private enterprise is not wonderful because it allows Harriet, the private club, to throw to the curb whomever she chooses, for if it stopped there, ‘private’ would be synonymous with ‘tyranical.’

Scarriet’s existence fills out the formula of private enterpise as something truly good.  The private by itself is not good, nor is the private masking itself as the public good, either.

It is only competing private entities which allow for something truly wonderful: real freedom, real debate, sweet discovery, hot thrills, trembling chills, and freezing kisses, warm and exciting.

Ya got dat?…Travis…ya dirty rat…

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A BRIEF HISTORY OF U.S. POETRY: HAPPY NEW YEAR!

1650 Anne Bradstreet’s The Tenth Muse Lately Sprung Up in America: By a Gentlewoman of Those Parts published in London.

1773 Phillis Wheatley, a slave, publishes Poems on Various Subjects, Religious and Moral

1791 The Autobiography of Benjamin Franklin is published in Paris, in French.  Ben Franklin’s Autobiography appears in London, for the first time in English, two years later.   Had it been published in America, the Europeans would have laughed.  The American experiment isn’t going to last, anyway.

Franklin, the practical man, the scientist, and America’s true founding father, weighs in on poetry: it’s frivolous.

1794  Samuel Coleridge and Robert Southey make plans to go to Pennsylvania in a communal living experiment, but their personalities clash and the plan is aborted.  Southey becomes British Poet Laureate twenty years later.

1803  William Blake, author of “America: A Prophecy” is accused of crying out “Damn the King!” in Sussex, England, narrowly escaping imprisonment for treason.

1815  George Ticknor, before becoming literature Chair at Harvard, travels to Europe for 4 years, spending 17 months in Germany.

1817  “Thanatopsis” by William Cullen Bryant appears in the North American Review.

1824  Byron dies in Greece.

1824  Lafayette, during tour of U.S, calls on Edgar Poe’s grandmother, revolutionary war veteran widow.

1832  Washington Irving edits London edition of William Cullen Bryant’s Poems to avoid politically offending British readers.

1835 Massachusetts senator and abolitionist John Greenleaf Whittier mobbed and stoned in Concord, New Hampshire.

1835  Henry Wadsworth Longfellow appointed Smith Professor of Modern Languages at Harvard.

1836  Ralph Waldo Emerson publishes 500 copies of Divinity School Address anonymously.  He will not publish another book for 6 years.

1838  Poe’s translated work begins appearing in Russia.

1843  Transcendentalist, Unitarian minister, Harvard Divinity School student Christopher Pearse Cranch marries the sister of T.S. Eliot’s Unitarian grandfather; dedicates Poems to Emerson, published in The Dial, a magazine edited by Margaret Fuller and Emerson; frequent visitor to Brook Farm.  Cranch is more musical and sensuous than Emerson; even Poe can tolerate him; Cranch’s poem “Enosis” pre-figures Baudelaire’s “Correspondences.”

T.S. Eliot’s family is deeply rooted in New England Unitarianism and Transcendentalism through Cranch and Emerson’s connection to his grandfather, Harvard Divinity graduate, William Greenleaf Eliot, founder of Washington U., St. Louis.

1845  Elizabeth Barrett writes Poe with news of “The Raven’s” popularity in England.  The poem appeared in a daily American newspaper and produced instant fame, though Poe’s reputation as a critic and leader of the Magazine Era was well-established.  During this period Poe coins “Heresy of the Didactic” and “A Long Poem Does Not Exist.”  In a review of Barrett’s 1840 volume of poems which led to Barrett’s fame before she met Robert Browning, Poe introduced his piece by saying he would not, as was typically done, review her work superficially because she was a woman.

1847  Ralph Waldo Emerson is in England, earning his living as an orator.

1848  Charles Baudelaire’s first translations of Poe appear in France.

1848  James Russell Lowell publishes “A Fable For Critics” anonymously.

1848 Female Poets of America, an anthology of poems by American women, is published by the powerful and influential anthologist, Rufus Griswold—who believes women naturally write a different kind of poetry.  Griswold’s earlier success, The Poets and Poetry of America (1842) contains 3 poems by Poe and 45 by Griswold’s friend, Charles Fenno Hoffman. In a review, Poe remarks that readers of anthologies buy them to see if they are in them.

1848  Poe publishes Eureka and the Rationale of Verse, exceptional works on the universe and verse.

1849 Edgar Poe is murdered in Baltimore; leading periodicals ignore strange circumstances of Poe’s death and one, Horace Greeley’s Tribune, hires Griswold (who signs his piece ‘Ludwig’) to take the occasion to attack the character of the poet.

1855 Griswold reviews Whitman’s Leaves of Grass and calls it a “mass of stupid filth.”  The hated Griswold, whose second “wife” was a man, also lets the world know in his review that Whitman is a homosexual.  Whitman later includes the Griswold review in one of his editions of Leaves.

1856  English Traits, extolling the English race and the English people, saying it was English “character” that vanquished India, is published in the U.S. and England, by poet and new age priest Ralph Waldo Emerson, as England waits for the inevitable Civil War to tear her rival, America, apart.

1859.  In a conversation with William Dean Howells, Emerson calls Hawthorne’s latest book “mush” and furiously calls Poe “the jingle man.”

1860  William Cullen Bryant introduces Abraham Lincoln at Cooper Union; the poet advises the new president on his cabinet selection.

1867  First collection of African American “Slave Songs” published.

1883  “The New Colossus” is composed by Emma Lazarus; engraved on the Statue of Liberty, 1903

1883  Poems of Passion by Ella Wheeler Wilcox rejected by publisher on grounds of immorality.

1888 “Casey at the Bat” published anonymously. The author, Ernest Thayer, does not become known as the author of the poem until 1909.

1890  Emily Dickinson’s posthumous book published by Mabel Todd and Thomas Higginson.  William Dean Howells gives it a good review, and it sells well.

1893  William James, Emerson’s godson, becomes Gertrude Stein’s influential professor at Harvard.

1897  Wallace Stevens enters Harvard, falling under the spell of William James, as well as George Santayana.

1904  Yone Noguchi publishes “Proposal to American Poets” as the Haiku and Imagism rage begins in the United States and Britain.

1910  John Crowe Ransom, Fugitive, Southern Agrarian, New Critic, takes a Rhodes Scholarship at Oxford University.

1910  John Lomax publishes “Cowboy Songs and Frontier Ballads.”

1912  Harriet Monroe founds Poetry magazine; in 1880s attended literary gatherings in New York with William Dean Howells and Richard Henry Stoddard (Poe biographer) and in 1890s met Whistler, Henry James, Thomas Hardy and Aubrey BeardsleyEzra Pound is Poetry’s London editor.

1913  American Imagist poet H.D. marries British Imagist poet Richard Aldington.

1914  Ezra Pound works as Yeats‘ secretary in Sussex, England.

1915  Edgar Lee Masters’ Spoon River Anthology published.  Masters was law partner of Clarence Darrow.

1917  Robert Frost begins teaching at Amherst College.

1920  “The Sacred Wood” by T.S. Eliot, banker, London.

1921  Margaret Anderson’s Little Review loses court case and is declared obscene for publishing a portion of James Joyce’s Ulysses, which is banned in the United States.  Random House immediately tries to get the ban lifted in order to publish the work.

1922  T.S.Eliot’s “The Waste Land” awarded The Dial Prize.

1922  D.H Lawrence and Frieda stay with Mabel Dodge in Taos, New Mexico.

1923  Edna St. Vincent Millay wins Pulitzer Prize for Poetry.

1923  William Butler Yeats wins Nobel Prize for Literature

1924  Robert Frost wins Pulitzer Prize for Poetry

1924  Ford Madox Ford founds the Transatlantic Review.   Stays with Allen Tate and Robert Lowell in his lengthy sojourn to America.

1924  Marianne Moore wins The Dial Prize; becomes editor of The Dial the next year.

1924  James Whitcomb Riley Hospital for Children opens.

1925  E.E. Cummings wins The Dial Prize.

1926  Yaddo Artist Colony opens

1927  Walt Whitman biography wins Pulitzer Prize

1930  “I’ll Take My Stand” published by Fugitive/Southern Agrarians and future New Critics, John Crowe Ransom, Robert Penn Warren, Cleanth Brooks, Allan Tate defend ways of the Old South.

1932  Paul Engle wins Yale Younger Poet Prize, judged by member of John Crowe Ransom’s Fugitive circle.  Engle, a prolific fundraiser, builds the Iowa Workshop into a Program Writing Empire.

1933  T.S. Eliot delivers his speech on “free-thinking jews” at the University of Virginia.

1934  “Is Verse A Dying Technique?” published by Edmund Wilson.

1936  New Directions founded by Harvard sophomore James Laughlin.

1937  Robert Lowell camps out in Allen Tate’s yard.  Lowell has left Harvard to study with John Crowe Ransom at Kenyon College.

1938  First Edition of textbook Understanding Poetry by Fugitives Brooks and Warren, helps to canonize unread poets like Williams and Pound.

1938  Aldous Huxley moves to Hollywood.

1939  Allen Tate starts Writing Program at Princeton.

1939  W.H. Auden moves to the United States and earns living as college professor.

1940  Mark Van Doren is awarded Pulitzer Prize for Poetry

1943  Ezra Pound indicted for treason by the United States government.

1946  Wallace Stegner founds Stanford Writing Program.  Yvor Winters will teach Pinsky, Haas, Hall and Gunn.

1948  Pete Seeger, nephew of WW I poet Alan Seeger (“I Have A Rendevous With Death”) forms The Weavers, the first singer-songwriter ‘band’ in the rock era.

1948  T.S. Eliot wins Nobel Prize

1949  T.S. Eliot attacks Poe in From Poe To Valery

1949  Ezra Pound is awarded the Bollingen Prize.  The poet Robert Hillyer protests and Congress resolves its Library will no longer fund the award.  Hillyer accuses Paul Melon, T.S. Eliot and New Critics of a fascist conspiracy.

1950  William Carlos Williams wins first National Book Award for Poetry

1950  Gwendolyn Brooks wins Pulitzer Prize for Poetry.

1951  John Crowe Ransom is awarded the Bollingen.

1953  Dylan Thomas dies in New York City.

1954  Theodore Roethke wins Pulitzer Prize for Poetry.

1957  Allen Tate is awarded the Bollingen.

1957  “Howl” by Beat poet Allen Ginsberg triumphs in obscenity trial as the judge finds book “socially redeeming;” wins publicity in Time & Life.

1957  New Poets of England and America, Donald Hall, Robert Pack, Louis Simspon, eds.

1959  Carl Sandburg wins Grammy for Best Performance – Documentary Or Spoken Word (Other Than Comedy) for his recording of Aaron Copland’s Lincoln Portrait with the New York Philharmonic.

1959  M.L Rosenthal coins the term “Confessional Poetry” in The Nation as he pays homage to Robert Lowell.

1960  New American Poetry 1945-1960, Donald Allen, editor.

1961  Yvor Winters is awarded the Bollingen.

1961  Denise Levertov becomes poetry editor of The Nation.

1961  Louis Untermeyer appointed Poet Laureate Consultant In Poetry To the Library of Congress (1961-63)

1962  Sylvia Plath takes her own life in London.

1964  John Crowe Ransom wins The National Book Award for Selected Poems.

1964  Keats biography by Jackson Bate wins Pulitzer.

1965  Horace Gregory is awarded the Bollingen.  Gregory had attacked the poetic reputation of Edna Millay.

1967  Anne Sexton wins Pulitzer Prize for Poetry.

1968  Shakespeare’s Romeo & Juliet, directed by Zeffirelli, nominated for Best Picture by Hollywood.

1971  The Pound Era by Hugh Kenner published.  Kenner, a friend of William F. Buckley, Jr., saved Pound’s reputation with this work; Kenner also savaged the reputation of Edna Millay.

1971  W.S Merwin wins Pulitzer Prize for Poetry.

1972  John Berryman jumps to his death off bridge near University of Minnesota.

Berryman, the most “Romantic” of the New Critics (he was educated by them) is considered by far the best Workshop teacher by many prize-winning poets he taught, such as Phil Levine, Snodgrass, and Don Justice.  Berryman’s classes in the 50’s were filled with future prize-winners, not because he and his students were great, but because his students were on the ground-floor of the Writing Program era, the early, heady days of pyramid scheme mania—characterized by Berryman’s imbalanced, poetry-is-everything personality.

1972  Frank O’Hara wins National Book Award for Collected Poems

1975  Gary Snyder wins Pulitzer Prize for Poetry.

1976  Humboldt’s Gift, Saul Bellow’s novel on Delmore Schwartz, wins Pulitzer.

1978  Language magazine, Bernstein & Andrews, begins 4 year run.  Bernstein studied J.L Austin’s brand of ‘ordinary language philosophy’ at Harvard.

1980  Helen Vendler wins National Book Critics Circle Award

1981 Seamus Heaney becomes Harvard visiting professor.

1981  Derek Walcott founds Boston Playwrights’ Theater at Boston University.

1981  Oscar Wilde biography by Ellman wins Pulitzer.

1982  Sylvia Plath’s Collected Poems wins Pulitzer.

1984  Harold Bloom savagely attacks Poe in review of Poe’s Library of America works (2 vol) in New York Review of Books, repeating similar attacks by Aldous Huxley and T.S. Eliot.

1984  Marc Smith founds Slam Poetry in Chicago.

1984  Mary Oliver is awarded the Pulitzer Prize for Poetry.

1986  Golden Gate by Vikram Seth, a novel in verse, is published.

1987  The movie “Barfly” depicts life of Charles Bukowski.

1988  David Lehman’s Best American Poetry Series debuts with John Ashbery as first guest editor.  The first words of the first poem (by A.R. Ammons) in the Series are: William James.

1991  “Can Poetry Matter?” by Dana Gioia is published in The Atlantic. According to the author, poetry has become an incestuous viper’s pit of academic hucksters.

1996  Jorie Graham wins Pulitzer Prize for Poetry.

1999  Peter Sacks wins Georgia Prize.

1999  Billy Collins signs 3-book, 6-figure deal with Random House.

2002  Ron Silliman’s Blog founded.

2002  Louis Menand’s The Metaphysical Club wins Pulitzer Prize.

2002  Garrison Keillor’s Good Poems published.

2004  Foetry.com founded by Alan Cordle. Shortly before his death, Robert Creeley defends his poetry colleagues on Foetry.com.

2004  Franz Wright wins Pulitzer Prize for Poetry.

2005 Ted Kooser wins Pulitzer Prize for Poetry.

2005  William Logan wins National Book Critics Circle Award

2006  Fulcrum No. 5 appears, featuring works of Landis Everson and his editor, Ben Mazer, also Eliot Weinberger, Glyn Maxwell, Joe Green, and Marjorie Perloff.

2007 Joan Houlihan dismisses Foetry.com as “losers” in a Poets & Writers letter. Defends the integrity of both Georgia and Tupelo, failing to mention Levine is her publisher and business partner.

2007  Paul Muldoon succeeds Alice Quinn as poetry editor of The New Yorker.

2008 Poets & Writers bans Thomas Brady and Christopher Woodman from its Forum. The Academy of American Poetry On-Line Editor, Robin Beth Schaer, is shortlisted for the Snowbound Series prize by Tupelo at the same time as Poets.org bans Christopher Woodman for mentioning the P&W letter as well.

2009  The Program Era by Mark McGurl, published by Harvard University Press

2009  Following the mass banning of Alan Cordle, Thomas Brady, Desmond Swords and Christopher Woodman from Harriet, the blog of The Poetry Foundation, a rival poetry site is formed: Scarriet.

GOING RUG

Harriet’s policy is sure to win admirers in the banal, small-minded circles of po-biz.

Did Ruth Lilly give all that money so her memory could lie down with pettiness and paranoia?

The dear lady, who loves all Harriet Monroe stood for, must be outraged.

Readers of this blog: shouldn’t you be, too?

The Poetry Foundation’s Blog-Harriet has deleted on-topic posts and comments without explanation. Yes, Harriet has inhibited discussion with secretive, autocratic vitriol.

Please make your feelings known on Harriet.

We are banished—no reason ever given—so we cannot express our feelings on Harriet.

Which is just as well.

We are having such an awfully good time — right here.

“I GAVE UP EVERYTHING, EVERYTHING TO BE A POET” –FRANZ WRIGHT

…….Franz Wright Grab

 

James and Franz Wright, poets, and miserable sons-of-bitches.

“A Blessing” by James Wright is maudlin crap, perhaps the worst poem ever published.

The lust for horsies and the ‘break into blossom’ trope is embarrassing in the extreme.

“Northern Pike” is a close second: “we prayed for the muskrats”

“I am so happy.”    Good grief.

His football poem isn’t much better; “gallup terribly” is a trite way to describe the violence of football.  One can tell he’s just a nerdy observer.

“Their women cluck like starved pullets,/Dying for love.”  Lines like these are destined for the ash heap.

Don’t get me started on the treacly, self-pitying exploitation of George Doty, the executed killer.

What to do with James Wright, who is nothing more than smarmy Whitman-haiku?

[Note: No woman poet seeking entrance to the canon would be permitted to get away with Wright’s metaphorical slop.]

“Depressed by a book of bad poetry…”

“I have wasted my life.”

Yea.

The times (1972) were right for Whitman-haiku poetry, so James Wright’s Pulitzer is no surprise.  Plus, Wright was associated with a lot of big names: Roethke, Kunitz, Tate, Berryman, Bly.

Franz faced a difficulty as a poet.  His father was a name.  Say what you will about Whitman-haiku, his father did it well.

Franz seems to have genuinely admired his father’s poetry and made no attempt, as a poet, to get out from under his father’s shadow.

Junior poet looks up to senior poet and uses the same straight-forward, plain-speaking, self-obsessed, sentimentality of approach: Look, reader, here is my transparent chest; take a look at what I am feeling.  You might think I’d be sad—and good Lord, I have reason to be—but something about the inscrutability of the universe and my inner faith makes me happy.

Recently on Harriet, Franz Wright wrote the following, which Franz never should have written and which Harriet never should have published, and which we publish here because…oh, we forget why.

[Warning: Wright’s comment on Harriet does contain abusive language]

Henry–I have no opinion about your “work”, or the “work” of others like little Kent and the others you masturbate with. My suggestion to all of you is: give up everything for the art. Everything. Can you do that? I did it 35 years ago–do you think that might have something to do with what you little whiners call “being on the inside”? I am not on the inside of shit. I gave up everything, everything, to be a poet. I lived in financial terror and homelessness, sometimes, for nearly 40 years. Can you do that? You little whining babies. Franz Wright, 12/20/2009 Blog:Harriet

Now, that’s poetry.

Granted, it’s hyperbolic to say you gave up everything to be a poet.  What does that even mean? No one wants to suffer, and to say in hindsight that you suffered for your art is arrogant, because even if you thought it were true, it can never be proven by anyone, anywhere, that the more outrageously you suffer, the better your art will be.   There’s no substance to such a “brag.”

But we love the balls of it.

GOLDEN GLOBES SNUBS KEATS FILM ‘BRIGHT STAR’

Jane Campion’s gorgeous film, Bright Star, as noted here on Scarriet  [click here and here for our 2 articles], was hardly discussed on the Poetry Foundation’s Blog:Harriet  despite the well-written and timely article by Abigail Deutsch [click here] — yet another example of the failure of Harriet  to discuss anything to do with poetry after the blood-letting of September 1st.

We at Scarriet  had a feeling this sobering, sad, but breathtakingly beautiful effort on behalf of the poet John Keats and his friend Fanny Brawne, by one of the best directors in the business, would be ignored by the entertainment industry’s honoring system as well.

Avoiding every pitfall of the Hollywood bio-pic, Bright Star  features an intelligent script, extremely moving performances by Ben Whishaw, Abbie Cornish, Kerry Fox, Paul Schneider, and Edie Martin, (as Fanny’s little sister) and  is a feast for the eyes and ears.

The old days, when films such as Amadeus and Room With A View earned major nominations and awards, seem to be gone.

Let’s skip the rant on the increase of cultural ignorance—for such a thesis could only be a rant.

We’ll just recommend you get the CD soundtrack, or see Bright Star, with its moving depiction of Keats,  Charles Armitage Brown, Fanny Brawne and her family.

And switch from Harriet to Scarriet, of course, to stay abreast of what’s really happening in poetry!

TRAVIS NICHOLS PLAYS HIS FINAL CARD, AND THE THUMBS ARE DOWN AT LAST!


“…to-day the editor of Harriet holds a show of his own, and wins applause by slaying whomsoever the mob with a turn of the thumb bids him slay…”
……………………………………………loosely adapted from Juvenal, Satires (III.36)

For a beautiful example of everything George Orwell tried to expose in Politics and the English Language, read The Poetry Foundation’s letter just posted on Blog:Harriet [click here]

In the Letter, the Editors try to cover up the appalling mess Travis Nichols made out of what had been one of the most vibrant poetry discussion sites in America.

Today Harriet is at Zero!

Yes, the Like/Dislike thumbs are down at last, having served their purpose — which was simply to remove four figures, Thomas Brady, Alan Cordle, Desmond Swords and Christopher Woodman.

Now with Harriet on her back in the blood soaked dirt, weakly raising her left hand for mercy, Travis’ hysterical fans indicate no mercy — and the stunt becomes a fait accompli. Harriet is dead now for sure.

Of course there’s no mention of any of that in the letter. Just spin, faulty figures, bluff, and bravado — like the last administration on the state of Iraq in the months following the invasion!

Indeed, not one word of this Poetry Foundation letter is truthful. Like the stats in it — foully cooked! Everybody knows you can cut the stats on a blog in a thousand different ways, and not one of them will give you a true figure. Travis has cut the Harriet stats all in his own favor — and just look at him up there in the picture to see where he’s at!

And dear Catherine Halley, the On-Line Editor at The Poetry Foundation, you should be ashamed to add your signature to that letter. You did your best to prevent the debacle, we know that, and are tremendously disappointed in you for capitulating now.

We’d love to post a list of the myriad voices who have vanished from Harriet since the ugly puscht, lending us their support through their silence.  Those of you who know the Blog can trot out their names with ease. Their absence cries shame on you, Travis and Catherine. Shame on your petty vendetta.

And shame is the word.

Thomas Brady,
Alan Cordle,
Desmond Swords,
Christopher Woodman

DEAR AMBER, BE NOT “LAZY” OR “DUMB”

We loved your latest Hawaii/Benazir Bhuto dream essay, but we noticed you haven’t been participating in the conversations of other posts on Harriet.

It’s not enough to just send missives.

You need to be present.

That blog needs your help.

And you can help yourself by sharpening your intellectual teeth there.

I know there’s not much to choose from.   Harriet doesn’t have much going on.

Perhaps you feel intimidated.

Allow us to break down for you a recent Harriet post and comments.

A post by Kenneth Goldsmith quotes Christian Bok (it’s the one with the guy who looks like he’s got indigestion, holding a book in front of the mike, blue background).

Christian Bok is a Canadian professor who wrote a best-selling novel consisting of chapters which use only one vowel.   He read the dictionary five times before he wrote it.    That’s all you need to know about him, really.  Not particularly original, he’s one of those contemporary exotics doing wild experiments in the corner of some ancient fingernail.

Let’s look at the key portion of the lengthy Bok quotation in Goldsmith’s Harriet post.

We”ll look at it in two parts.

First part:

“I’m probably technically oriented and it seems to me that among the poets that I know, many are very lazy and very dumb. I always joke with my students that poetry couldn’t possibly be as hard as they think it is, because if it were as hard as they thought it was, poets wouldn’t do it. Really, they’re the laziest, stupidest people I know. They became poets in part because they were demoted to that job, right? You should never tell your students to write what they know because, of course, they know nothing: they’re poets! If they knew something, they’d be in that disciple actually doing it: they’d be in history or physics or math or business or whatever it is where they could excel.”

Don’t be freaked out by this, Amber. It’s pretty simple.

This is lifted right from the Greek philosopher Plato “If they [the poets] knew something, they’d be in that discipline and actually doing it: they’d be in history or physics or math or business or whatever…”

Plato’s argument is quite sound and the only decent refutation of Plato’s point of view comes in the form of poems—by poets who happened to be very much tinged with Platonism themselves: Dante, Milton, Shakespeare, Shelley, and Keats–which is all that can be expected.

Your typical inferior poet, however, becomes upset when they hear Plato’s argument.  They’re not up to Plato’s challenge.

This is the first part of Bok’s quote you need to understand.

Here’s the second part (as quoted by Kenneth Goldsmith in his Harriet post) :

“I find this very distressing that the challenge of being a poet in effect to showcase something wondrous or uncanny, if not sublime, about the use of language itself, that we tend to think that because we’re conditioned to use language every day as part of a social contract, we should all be incipient poets, when in fact people have actually dedicated years or decades of their lives to this kind of practice in order to become adept at it and I think that craft and technique are part of that. If poetry weren’t informed by models of craft then nobody would need take a creative writing course. I joke with my students again that if it was simply a matter of saying, “You know you’ve written a good poem just because; you’ll know it was a good poem when it happens.” To me, that’s tantamount to telling your students that “You should just use the force, Luke” in order to write a poem. I don’t think it’s very helpful. But to be able to say “Here’s a series of rules of thumb that always work under all circumstances and if you adopt them slavishly, blindly, you can always be assured of writing something, producing something of merit.”

Again, this doesn’t require much thought.

Here Bok is making use of the Greek philosopher, Aristotle.   Aristotle didn’t ban the poets from his ideal “Republic” as Plato did.   Aristotle accepted poetry as something humans do, and focused on whether it is done well, or badly.

Aristotle would not have accepted the notion we are all poets, and Bok, when he mentions “people have dedicated years or decades of their lives to this kind of practice…” is implicitly agreeing with the philosopher.

Bok didn’t mention this, but I want to mention it to you:  Aristotle did pay heed to Plato’s objection that poetry makes us “soft” with fake emotionalism; Aristotle got around Plato’s objection by saying that poetry’s indulgence in emotionalism purges these emotions from us.  Aristotle managed to turn a drawback into a virtue.

But here is why Platonic poets tend to be the best: They take to heart Plato’s objection, rather than using Aristotle’s glib betrayal of it.

As soon as you start believing in Aristotle’s purging theory (Catharsis) you make a fatal error; you buy into the idea that poetry’s emotion is a separate thing from it, and then you essentially become a pedantic, doctrinaire kind of poet.

Anyway, the important point that Bok is making in the second part of the quote here is the Aristotelian one: there’s a proper way and form and method to making poetry.

As he did with the purging theory, Aristotle resorts to a doctrinaire pedantry in order to ‘get one past’  his master (Plato was Aristotle’s teacher).

This is important to understand, Amber.   You’ve got to go Greek, and you’ve got two choices, Plato’s truly challenging road, or Aristotle’s pedantic road.  Most people don’t go Greek at all and groan under both Plato and Aristotle.  But you can’t escape them, really.

You can see this in the reactions to Bok in the comments to Goldsmith’s post:

Carolyn, the first one to comment seriously, writes this, “I honor people’s attempts to express themselves in whatever manner suits them.”

Here is the typical modern response.   As you can see from her statement, and from what I told you above, she rejects Plato and Aristotle.  She has no Greek.  She is ignorantYou can ignore these people.  Better to be a pedant than to be someone who says ‘express yourself in whatever manner suits you.’ This point of view loses in philosophy what it gains in being nice.  It is a tempting vice, this point of view.  Avoid it at all costs.

Silem’s post #7 basically sums up the Plato and Aristotle positions and then repeats Bok’s mention of “the uncanny,” which is largely the basis of Romanticism: the “Sublime,”  produced when Platonism contradicts itself and produces poetry–a sly but positive phenomenon which I alluded to above.  As Longinus said in his famous treatise “On the Sublime” 3rd century, AD, the sublime is both “moral” and “fearful.”  The sublime is a contradictory idea–which is the secret of its religious power and appeal.

Comment #8 is by Henry Gould. We can sum up all his comments this way: Mumble.

Comment #9 is by Kent Johnson, who is poison.  Here’s a sample.  It should make you shudder:

“I strongly suspect that from the bourgeoning technical-hip formation represented by Bok and Mohammad (and both of them very brilliant, to be sure) a more elevated measure of professional status for the poetic vocation will come, via ever more sharply defined knowledge-sets and rigorously applied instrumental techniques.”

Ugh.

Gary Fitzgerald made a witty remark, but was buried by negative votes.

Conrad and ZZZZ had a brief dispute on what position the “avant garde” should take in relation to the mainstream.  Pedestrian stuff, really.  Not worth your while.

The remaining comments fizzle away into inconsequence.

Maybe Terreson will add something interesting.

(But we’d rather not encourage him.)

And there you have it,  Amber.    Harriet 101.   I hope this helps!

TRAVIS NICHOLS WARNS: LOUSY POETS WANT TO EXPERIMENT ON OUR BRAINS!

Beside running Blog-Harriet into the ground, Travis “The Enforcer” Nichols has another gig writing scientific articles for The Huffington Post. 

The mission: Attempt to make really bad contemporary poetry mainstream.

Step One.   Find a fairly eclectic topic covered by the mainstream press.

Take it away, Travis:

As you read this, Dr. Jacopo Annese is slicing up a brain. Not just any brain, but the brain of Henry Molaison, a man famous for his inability to form new memories after he underwent brain surgery in the early 1950s. Dr. Annese, a San Diego scientist, is digging into Molaison’s gray matter with hopes of figuring out exactly how human memory works. The NYT reports that recordings of Molaison’s brain slices will “produce a searchable Google Earth-like map of the brain with which scientists expect to clarify the mystery of how and where memories are created–and how they are retrieved.”

“The NYT reports…”   Good job, Travis!  That’s good. “The NYT reports…”  I like that.   OK…you’ve found something about the brain.  Good.  Someone is “slicing up a brain.”   That’ll perk their interest. 

Step Two.  While no one is looking, change the topic to poetry.

So Dr. Annese and his compatriots are, in effect, plunging into the greatest poetic mystery of all time.

Yeaaaa  “…greatest poetic mystery of all time.”   Way to go!   

Step three.  After mentioning a few dead poets in a erudite manner, politely name-drop your contemporaries as much as possible.  It might prove helpful one day.

Memory–and the wonder and terror it inspires–has generated great poems from Simonides, famous for eulogizing ancient Greek nobility, to Coleridge, who longed for his faraway friends in “This Lime-Tree Bower My Prison,” to the contemporary poets writing an “experiment in collective autobiography,” The Grand Piano. These poets–Ron Silliman,  Rae Armantrout,  Lyn Hejinian,  and Carla Harryman among them–have spent their careers using poetry to prod the brain in other areas besides just the comfortable spot where (to paraphrase Wordsworth) emotion is recollected in tranquility.

“…have spent their careers…”   Nice touch.  People will think you had no choice but to mention them in your article. 

Step Four.  Discuss the work of your contemporaries as if it’s new and important, even if it isn’t.

Poetry in this tradition–one that is less interested in telling stories and more interested in exploring how story-language works–attempts to make the emotion present in the reading experience. Tranquility can come later. They’re not re-telling memories in a poem (like the memory recounted in William Stafford’s much-anthologized “Traveling Through the Dark”, but rather using word combinations, sound patterns, and different types of sentences to engage a reader’s brain while he or she is reading (Bernadette Mayer‘s writing is a great example of this kind of thing). To varying degrees, these poets have delved into what literary critic Reuven Tsur has called Cognitive Poetics, a field of study that has taken “reader-response” theory to a whole other level.

For example:  “…using word combinations, sound patterns, and different types of sentences to engage a reader’s brain while he or she is reading…”  “…different types of sentences…”  Great!

Step Five.   By now, the only readers still with you are those contemporaries you’ve name-dropped.  So you might as well name-drop some more.

Tsur makes the case that certain sound patterns have inherent properties that fire up the “poetic” parts of the brain, and that by paying attention to those patterns we can read poetry in an entirely new way. A wave of contemporary poets–the Grand Piano folks as well as Clark Coolidge, Bhanu Kapil, Renee Gladman, Eric Baus,  Christian Bok,  and, in his way, Tao Lin–have taken up Tsur’s ideas about reading and used them in their writing. A “Cogntivie Poet” won’t simply say “When I first made out with so-and-so, I did the happy dance!” Rather, she will use word combinations that cause the attentive reader to feel, to create a new experience, a memory, by the act of reading. It will make the reader’s brain do the happy dance.

Step Six. It might make one or two people suspicious if you do all that name-dropping and don’t quote at least one bit of actual writing to demonstrate your thesis, so find a poem by someone hot and throw it out there.

Here’s how Bhanu Kapil handles a childhood memory in her poem “The House of Waters”:

Mud walls whose surfaces belonged to the plantar surfaces of human hands. I could see finger marks, whorls. Once, I was a living being, embellished with skin: fortunate and blighted in turns. I turned. In circles. In the adventure playground, which was concrete. When I fell, the nurse would daub me with yellow smears, that stang.

 “Mud walls.”  That’s good.   Now praise what you’ve just quoted and be sure to mention a dead poet in connection to it.

It’s heady stuff, and it follows in Gertrude Stein’s footsteps much more than Robert Frost’s.

Artsy-fartsy is the new brain science.

Step Seven. Finish up, lest a reader ask themselves what bad poetry has to do with the science of the brain.

It also can be full of messy failures that achieve nothing at all besides piles of linguistic gobbeldy-goo (it’s experimental, after all). For these reasons, only the most adventurous poetry readers have so far taken it up . This kind of poetry isn’t a comfort. Rather, it’s a challenge. It’s an experiment much like that of Dr. Annese, who, when he first sliced into H.M.’s brain uttered the quite expressive phrase, “Ah ha ha!”

“Ah ha ha!”  

Warn them, Travis, warn them!

SCARRIET KILLED THE HARRIET STAR

Dear Amber,

We’re sorry.

Your guest appearance on Harriet was kind of a bust.

It wasn’t really your fault.

You could not have known the secret plan of Harriet’s management: (which I’m giving a pretty name, after Emerson) Operation When Half-Gods Go, The Gods Arrive.

The editors of Scarriet were sent packing from Harriet on September 1.

Your reign as guest writer began on September 1.

The fireworks of the summer—tons of comments, thought-provoking responses, nudity (OK, 2 out of 3) proved too dangerous for Harriet (pants and noses were singed).  

 With the Scarriet editors gone, and others embarrassed by Harriet’s house-cleaning (done without any explanation) you entered a Harriet Blog-Site reeling from a bad judgment.

You entered a dead zone.

We’re sorry!

Your Scarriet Buddies

SCARRIET GIVES THANKS TO HARRIET

…………….….

………………………………………Harriet Monroe, editor ‘Poetry.’

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………………………………..We have been, and now we are.
………………………………..The planet was red—how blue, this star.
………………………………..In the mist and confusion of those days
………………………………..Harriet never dreamed of Scarriet.
………………………………..Now, distantly in the dusk, music plays.

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…………………~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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…………………………………..、ハリエットありがとう
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