For those that aren’t regulars, I’m currently collaborating with John Matthias on producing an on-line and annotated full text version of Trigons, his magnificent sequence which was published in 2010. Progress continues to be made, we now have the third section of “Islands, Inlands” (the first poem in the sequence) in a usable state together with notes to John’s headnote for the sequence as a whole. I like to think that I’m a bit clearer on the amount of information to provide and to try and rely on what I’m thinking of as primary sources (diaries, memoirs, letters, interviews etc) to expand on a theme because secondary sources dealing with Greece since 1945, for example, all seem to have a very sharp ideological axe to grind. There’s also issues of self control, I’m now of the view that the whole world should know more about Michael Ayrton and his “The Testament of Daedalus”. I could therefore write a few thousand enthusiastic words on this remarkable man but I’ve recognised that this would be serving my needs rather than those of the reader. So, Ayrton gets about the same as Miller, Seferis and Durrell.
I think I also need to say what a privilege it is to work with someone as generous and thoughtful as John on this marvellous piece of work.
Given the attention tht this project seems to be getting, I’ve had several long thoughts about arduity and have decided to cull a few of the sections (those relating to theory and lit crit etc etc) and to concentrate on poems and poets whilst retaining pages on ambiguity, meaning and allusion. The site is also in desperate need of a Big Polish in that it currently has two page formats based on completely different style sheets and I need to tweak some of my prose. In the mood for spring cleaning, I’ve now added disqus comment boxes at the bottom of the Matthias pages and will now carry this across the rest of the site. I’ve avoided the comments issue on arduity primarily because it’s technically beyond me and I’m too stubborn to use a wysiwyg editor but now I think it would be a Good Thing to have feedback at the foot of each page.
I’ve also recognised that arduity gets more traffic than this blog (4022 user sessions v 822 so far this month) and this means that the material that I think might have some value to others might be best “parked” on arduity. There are probably a number of reasons for this imbalance- people use blogs in different ways to sites with more visible navigation, the wordpress metatags aren’t very good even and this means arduity invariably beats berowed in search engine results.
All of this is a long-winded way of saying that I’m going to write about poems and poets on arduity and use this to think out loud about poetry in a less specific way. The first development will be extended “experiments in reading” being placed on arduity so that they are more visible to google and the rest. Which brings me to a thought following on from John Dillon a fortnight ago about the relationship between the gloss and the text and in what way can a gloss be said to be part of the poem. I think I’m beginning to sort out an answer to that but the interweb gives us another dimension in that we now have comments on the gloss that the reader can chose to integrate into his or her reading.
I’ll try and give an example, the experiements in reading are an attempt to inject a greater sense of immediacy into my readings with a view to encouraging a wider readership and to get some feedback/help with regard to the tricky stuff.
By way of illustration, a week ago I posted an experiment re the first few pages of “The Anathemata” which drew this comment:
I just have a quick point about the opening prayer. The prayer is the Quam Oblationem. According to some theologians, it is an epiklesis whereby the celebrant prays that God will send down the Holy Spirit to change the bread and wine into the body and blood. One of the theologians who ascribed to that reading and who sees it as the actual beginning of the Consecration is Maurice de la Taille. In that sense, then, The Ana’s opening prayer acts as DJ’s invocation of the muse ( and quite a number of other things).
I’m of the view that this belongs in the body of my text as well at the bottom of the page because it enhances understanding and provides context that I don’t have. So, I will be asking permission to do incorporate this into the text in a way that acknowledges the source but is nevertheless part of the work.
This isn’t a clarion call for the “open” gloss whereby everybody can contribute what ever they want but it certainly does give another dimension that we should think about. The other dimesnion is where the speculation about meaning becomes part of the gloss. I’ve now written 2 x 1,000 word experiments on Keston Sutherland’s “The Odes” and there’s been a couple of enhanced speculations with regard to the depilated Janine:
Since we’re speculating … a (carefully circumscribed) internet search brought up adult film actress Janine Lindemulder. I’ll leave it to someone else to confirm her depilation, but the reference seems to fit with a recurring theme/trope of the poem; it also obviously adds another semantic valence to much of the quoted passage. Couldn’t decide if your ‘nagging’ doubt was about this line of inquiry, so I’ll tastelessly broach it for you.
I responded by suggesting that Alasdair Gray’s “Janine 1982″ was more likely. Here’s the response:
Damn, I like yours better, and have another book to read to boot. How can something be “hereafter congenital” for said textual/sexual Janine, assuming all her kidding is prophylactically voided? I’m tempted to go ‘full Prynne’ and trace congenital back to its conquest of of ‘congenial.’ Now that’s what over-reading would look like.
I’m of the view that this exchange should occur just after I first mention the prospect of “tackling” Janine. Then yesterday something else was thrown into the mix:
You’ve got me thinking about ‘congenitally depilated’. The word ‘congenitally’ contains the word ‘genitally’, so this could partially resolve to ‘genitally depilated’. Genitals and the word and the word do crop up elsewhere in the poem. This would certainly fit with the porn star reading. That still leaves ‘congenitally’. In line with the poem’s larger (troubling? important? brave?) preoccupation with childhood sexuality, I read ‘congenitally’ as collapsing the state of nature at birth into the infantilising and fashionable aversion to pubic hair among adults (not just porn stars), but here the aversion is inverted and to depilation and it’s that that’s defective. This is somewhat troubling, or at least challenging. I would justify the apparent awkwardness/senselessness of ‘hearafter’ as picking up on this temporal confusion. It also strikes me that if ‘congenitally’ can become ‘con genitally’, maybe ‘hereafter’ can be taken as ‘here after’, but I don’t know how much that helps. If it’s congenital it’s congenital from birth but in a different, artificial way, “always already” congenital in adulthood?
I think reading both of the above, it is important that when people have put some thought into things and expressed those thoughts with such clarity that they should be given a more prominent/noticeable place in the gloss.
There’s also a more precise reading:
‘aboriginal mucus’ thought of as an original inhabitant; impeccable darkness as opposed to the mere absence of light.
My unscrewed head is like a bulb in the palm of my hand. Certain kinds of ‘truths burn out and fly away’ for as long as it’s not connected to a Ground⏚
Ground is where the ‘stack of basements’ are
elevated; inundated in impeccable darkness.
My freezer has a freezer light. It’s behind a ‘grainy
blank’. Blank is another word for a cover or a plate.
I wonder what it would be like if all the world were like the contents of my freezer and only ever seen under that light. A ‘prophylactic void…’?
The etymology of Janine is the same as it is for John, John, but to take the etymological truth of Janine as gospel would be like removing the hair at birth. Are burnt out truths like hairs pulled out of your head one at a time?
I think you are onto something John. Probably something to do with the intersection between carrying secrets and burning out.
Which I need to find a place for. Of course, this wholesale lifting needs to be agreed with the writer before I move it but I do think that it’s a dimension that’s woth pursuing.