The Odes To TL61P of Keston Sutherland (at last)

This is the short version of this blog: It’s published, it’s a landmark, buy it.

That was fairly easy, the long version is much more daunting. But first of all I need to point out that we all owe a huge debt to Peter Target at Enitharmon for bringing this material to the wider world. The daunt stems from a couple of things:

• I’ve written about the Odes here and on arduity before when they were in gestation and I don’t want to repeat myself;
• I’m mindful of Peter Philpott’s comments re arduity and I don’t want to be explaining the late modern offside rule (again);
• it won’t be easy to put into sensible words just how significant this stuff is.

I’ll start on a purely personal level, I disagree with Keston’s Marxist analysis of where we are now in terms of social and economic development, I’m ‘against’ confessional poetry for the same reason that Michael Drayton was against it in the 1590s. I worry about poems that aim to shock. Therefore, I should not be nodding my head and smiling as I read these pages, I should not be using terms like significant and landmark. However, I do and I have and I’ve een trying to work out why.

For me, as an increasingly frequent poem maker, the Odes provide an additional dimension to what poems (rather than poetry) can do and I haven’t felt this as clearly since reading ‘Crow’ when I was 15. I think I felt this when I first saw the drafts but reading the proof has strengthened that feeling. I’m nearly 58 and I’ve been paying attention to contemporary poetry since I was 13 and most of it is dismally similar. The additional possibilities that the Odes open up are about ‘doing’ personal honesty and being able to sustain political acuity over 70 pages without sliding into polemic or becoming boring.

It’s quite a big claim to describe a poem as a landmark and I have thought quite hard (for once) about this particular noun which I can justify. In the history of the poem there are some poems that stand out as ‘game changers’, poems that break many of the accepted norms and yet still manage to work and to push others in a radically new dimension. Of course there are many of these landmarks that work and are radically different but fail to change the game. The Odes are a landmark because they stand head and shoulders above anything else in the last forty years in terms of innovation, technical brilliance and absolute honesty and more than deserve to change the game in quite fundamental ways.

The danger is that they won’t and this is because of the level of defiant intelligence shining out from these lines. In the past I’ve expressed more than a little disdain for the late modern reliance on obscure words and foreign phrases because it smacks of elitism and deters (intimidates) most readers of ‘serious’ poetry. The Odes are not littered with these but there are enough to worry me. This no longer annoys me because (I think) doing arduity on Jones and Celan has demonstrated that (in good, honest work) this material if often essential in enabling a poet to say what must be said. This isn’t excusing those poets who use the obscure and the foreign to disguise the fact that they don’t have very much at all to say. Keston Sutherland however has lots to say and most of what he says is really quite important.

My usual method of road testing this kind of material is to show it to intelligent and normally receptive readers of poetry for a reaction. The current reaction to the first page is positive but people begin to fall over on the second with ‘Eriphile’, ‘squamous epithelium’ and ‘squamocolumnar junction’ and fail to proceed any further whilst glancing at me with a look of bemused sympathy.

We now come to significant as in “sufficiently great or important to be worthy of attention; noteworthy; consequential, influential” (OED) and I’m justifying this by the nature of the rupture that it inflicts on the scheme of things. It is utterly different from anything else and it rents asunder many of our (mine) notions of what the poetic may be about. In fact it is this wrongness that demands attention because it works when it really shouldn’t and it shouts this fact with a kind of joyous intransigence. I often struggle with justifying my notion of what works as opposed to what doesn’t- in this instance The Odes work because they demonstrate verbal brilliance together with considered intensity that sweeps the reader (me) along without a technically duff note along the way and yet I know that this mix of analysis and disturbingly personal confession shouldn’t function especially when the analysis is old-school Marx and the confessional relates to accounts of childhood sexual experimentation and the uncomfortable fact that children have an ‘interest’ in sex too.

Of course it can be argued that I’m of this view because I was sent early drafts and this has in some way clouded my perspective. I don’t think this is the case, I like to think that I’m (unfortunately) sufficiently aware of the dangers of ‘capture’ and the halo effect to know when the soul has been sold but it is nevertheless a possibility that I acknowledge.

Of course there’s subtexts that I want to be present but might not be, for example we’re going to see ‘Not I’ at the Royal Court on the 25th because it’s a significant landmark in world literature and because I’ve never seen it live. The first part of Ode 1 has this:

    canal bound in stratified squamous epithelium to
    an alternatively screaming mouth, destined while
    dying inside to repeat before dying outside one
    last infinity of one-liners before snapping and giving
    up, or better yet pretending to, once you get it, once
    that is you really get it at all, or not at all, directly into

Needless to say, I’m now going to spend some time with my 1973 copy to work out if I’ve ever really got it even though the above might be about something else entirely.

The other it of affinity occurs with the observation that “if it’s not interesting to read what’s the point of doing it”. It just so happens that I’m putting on a series of poetry / music / storytelling and art events at our local arts centre and because this is not an audience of poets and poetry readers and I’m charging money at the door then the issue of interestingness in my own work is currently at the front of my mind and I have to report that poems that argue with what Levinas said about Celan in 1978 are not at all interesting whereas material about personal and political violence is. Needless to say, The Odes re endlessly interesting and full of stuff to think about, throw across the room and argue with. They must be read. Now.

The Landlying Project

This is essentially a shameless piece of self-promotion disguised as an extended discussion of the Poetic Collaboration problem. For the past few months I’ve been involved in a collaboration with Julian Winslow, a photographer, on the general ‘theme’ of landscape. Here’s a it of a taste:

The River Medina Feb 2013

Before we go any further, I need to point out that I have been a poetry purist in that I don’t think that the poem should be sullied by other forms of expression. This is primarily because one will inevitably detract from the quality of the other. I’ve felt this since being very disappointed by Hughes’ ‘Remains of Elmet’ in 1979 and there has been little to change my mind since.

So my excuse for the above is that it didn’t start as a poetic endeavour but as an attempt to construct a ‘mix’ of oral history and image in such a way that each element informs rather than illustrates/accompanies the other. Regular readers will know that I have a creative interest in the appropriation of what people say (in formal settings) about things that are important to them and their lives. I therefore determined to interview local people who worked on or with the land. I bought one of those voice recorder gizmos and then gathered about twenty hours of interviews with eight different individuals.

A further creative ambition of mine has been to create something with overlaid/fugal voices in a way that plays with our notions of coherence. I tried this initially last year in overlaying and phasing my own voice reading excerpts of the Saville Report and this endeavour had given me the confidence to take things a bit further.

In terms of collaboration, I’m very fortunate to have Julian Winslow, an outstanding professional photographer, as my best friend. This creative partnership works for us because we respect each other’s respective skills and because we don’t need to worry about offending each other. Needless to say we haven’t produced what we intended to but we’ve allowed things to move in the direction of the material. Talking to people has revealed, in this narrow but eclectic sample, the central importance of parental influence in engendering an interest in the natural world and that one of the first steps into this interest is the naming of things.

For an ego-maniacal control freak like me this was intensely annoying because I wanted people to talk about moments of epiphany and transfiguration and about the placing of the body and about the myriad of processes in the environment occurring at the same time. What people actually said (once I’d let go of my ‘themes’) was far more compelling because it was considered, heartfelt and honest. People did want me to understand their experiences and perspective and were incredibly generous with their time so that I could clarify what was being said.

With this kind of generosity and honesty comes a sense of responsibility. My first fifteen efforts were aimed primarily at technique and pandered to my own preference for the abstract with short phrases that I’d ripped completely out of context and overlaying that too often fell into non-coherence. I then started to give some thought to the wy that polyphony has developed in different cultures and this gave me a new ‘hook’ to build the audio around.

I decided to use longer extracts and to concentrate on what I feel are the most honest and authentic things that people said, things that people seemed keenest to get across, the things that matter to them. This ranged from seeing the landscape as a primary source of education, a site of ecological paradox, a place of interlocking narratives to a place of healing and an ongoing source of child-like wonder. I also tried to honour the multi faceted nature of landscape processes by overlaying the voices so that the listener does have to concentrate to follow one or more particular thread.

The other quite important point to make is the absence of purpose involved in the collaboration. Early on we got accustomed to the idea that we didn’t know where this project was taking us and (after a while) relaxed into that fact and have tried to let it become both a key feature and a technical advantage. I’m not going to get too ‘deep’ about this but I’ve certainly found being playful for it’s own sake has had a significant and positive effect on my other activities.

One of the best aspects of collaboration is enhanced objectivity, as a fully fledged bipolar suffering artiste I have this inbuilt tendency to destroy almost everything within two days of making it. I now have to explain to Julian why stuff isn’t any good and this (it turns out) means that I keep much more- and I have a range of non-depressive reasons for doing this. This has also led to a reconsideration of ‘failure’- previously I’ve judged my output in terms of its proximity to what I want to achieve and rejected anything that was remotely wide of the mark. Now, I find I’m taking an interest in those things that turn out different and trying to work out why this is and what might be done with them.

We now come to the music, I really struggled with the use of recorded music initially but the reaction thus far has been that the minimal/repetitionist music of Lawrence Crane and the monotone trumpets of South Sudan do help to ‘frame the audio in a way that is (oddly) more involving on the ear.

In conclusion, Id like to thank those who contributed so much of their time- Irene Fletcher, Mary King, Chris Kidd, Tim Johnson, Julian Winslow, Max Hastings, David Biles, Keri Highland and Ian Boyd.

Feedback on any of this would be much appreciated. On the audio track below, things start with 10 seconds of almost deliberate silence.

Medina river Feb 2013

Simon Jarvis, Adorno and complicity

This is the second attempt to do some kind of justice to “Lessons and Carols” from the recent ‘Eighteen Poems’ collection. In view of the response to the first attempt, I think I should reiterate that what follows is entirely provisional and that I am likely to change my mind as time goes by.

This particular poem is ‘about’ many things but one of the centralish threads would seem to be that we participate in the current ways of doing even though we deplore them and, in turn, deplore ourselves for knowing this and continuing to participate. Before taking this any further, I think that I should present some evidence for this bold assertion:

    All that I feel for them floats in an ether of foolish
      half-waking conjecture, cutting the circuit short just
    where thought might become painful, might tell me how to wake up.

The ‘them’ refers to the gifts that we buy for family members at Xmas and I’m currently reading these as a kind of metaphor for all the products of the free marketplace- a place that lulls us into this kind of anaesthetized thoughtless folly. This is accomplished stuff in that it covers a lot of ground in just three lines and carries a couple of deft phrases. This ‘half-waking conjecture’ in which feelings float is effective but I’m not entirely sure that it can be described as ‘foolish’ – the point for me is that my participation in this bauble-driven world is anything but foolish, I am fully aware of the compromises that I make and tell myself all kinds of stories (at least I’m doing something, I try to live an honest and decent life etc etc) to make this reasonably bearable.

Just after writing the above paragraph I fell across (in a big book about Gerhard Richter) a quote from Adorno which may inform some part of this theme:

Whilst thought has forgotten how to think itself, it has at the same time become its own watchdog. Thinking no longer means anything more than checking at each moment whether one can indeed think….The socialization of mind keeps it boxed in, isolated in a glass case, as long as society is itself imprisoned.

Jarvis is probably this country’s strongest Adorno advocate, his ‘Critical Introduction’ is an incisive endorsement of all aspects of the Adorno project. Coupling this with Jarvis’ view that poetry can ‘do’ philosophy really well and it is possible to read ‘Lessons and Carols’ as a working through of what Richard Haidu describes as Adorno’s ‘testy pessimism’.

I don’t share this pessimism although I can see that the analysis behind it has some merit. I’m more convinced by the gauntlet that Bourdieu throws down in ‘Distinction’ which points out that all forms of creative expression are fundamentally tied to the prevailing economic order. I’d like to think that most of my adult life has been spent finding ways to act/intervene that make small but incremental changes to this dynamic. If I didn’t do this then I’d probably remain in the Slough of Despond for a Very Long Time.

So, this poem offers both an ideological and personal challenge that asks questions about the current Bebrowed strategy for changing the world. It also further undermines my view that poetry and ideology don’t mix. Jarvis’ work over recent years has moved me closer to a grudging acknowledgement that poetry that ‘does’ ideology can be successful in both arenas.

This is an accomplished and adept poem but it sometimes goes over the top in making its point. The second ‘might’ on the third line quoted above is an example of (to my ear) too much emphasis being given so that the ‘message’ is diluted.

The other aspect that springs to mind is the use of the first person to make the wider point- he presents his own situation as being compromised by ordinary things and thus gently suggests that the reader should consider the extent of compromise in his/her own life. This is of course well worn device but Jarvis gives it a final twist:

    May the bereft state continue its care for our welfare
      there in the dark, where its artless security shines!
    I shall go walking back home, while these measures and lines
      borrow some part of their tune from the fictional spirits.

I’m not usually a fan of the self referential in poetry. There was a time when I thought it was clever and daring but now I find most of it to be too knowing and mannered for its own good and this is probably a reasonable example. The theme has already been spelled out with some aplomb but is somewhat undermined by this ending which seems to say that only ‘some part’ of the poem is bound up with society’s imprisonment whilst Adorno and Bourdieu would both say that all of creative expression is thus fettered.

I also need to confess that I don’t understand the exclamation mark which seems simply inept but Jarvis is too accomplished to succumb to this level of naffness.

This is a provisional reading that’s in some kind of progress, on the next occasion I want to tackle the more complex nature of the spirits and the gifts.

Simon Jarvis and the Bloke Thing

We’ll do the puppy dog enthusiasm first. Anyone with even a passing interest in English poetry in the 21st century needs to obtain a copy of Jarvis’ ‘Eighteen Poems’ which was published by Eyewear at the end of last year. This is because his work is important and exciting and more challenging than almost everything else that I’ve read in the last ten years. End of the tail-wagging thing.

One of the recurring themes in Jarvis’ very broad range of work is the plight of the middle aged bloke, one of the other themes/interests is the Great British road network. I’ve had a few problems with the bloke thing because it’s felt scratchy but never quite scratchy enough although there are elements of ‘The Unconditional’ that come close. The usual Jarvis angle on the Bloke Thing is the troubled issue of complicity with regard to cash and the extent to which we all have to play capital’s game. Many, many middle aged writers do this and most of it is an extended whinge about how difficult life is and how the ways of the world force us into new depths of melancholic sadness. The Jarvis take is usually more effective than this and the first poem in this collection raises the Bloke Thing to new heights of non-wallowing expression. These are the opening lines of ‘Lessons and Carols’

    The ring road rests, and frost settles over the meadow;
      down at the river the lights are strung out into faint
    points of attention and silence envelops the dark.
      Here I am standing again on the path on the edge of the city.
    Here I am set with a face looking up at the black
      exit from lighting, the place where the money runs out.

This sets the scene for an elegaic account of Bloke Things which seems to use metre to set up a kind of incantation effect. I’ll deal with this shortly but I think the most striking feature of the above lines are their lyrical strength- I’m particularly fond of ‘faint / points of attention’ and ‘the black / exit from lighting’ because both do clever and evocative things in a few words. The ‘points of attention’ manages to be both lyrical and complex without seeming to try.

I’m going to ignore the ringness of the resting road for the moment and talk a bit more about this Bloke Thing. There has always been a miserablist faction within the Bloke school of poets and this kind of self-lacerating exhibitionism has won more than a few plaudits and continues to do so. This is fair enough, there’s obviously a readership for what Drayton once call ‘ah, me’ verse but I find it inherently dishonest and reasonably loathsome so I approach the Jarvis forays into this territory with a degree of prejudice. It turns out here that he’s not pleading for sympathy but delivering a thesis that’s been one of his semi-formed bones of contention for a while. He’s also elaborating on the Bloke as Dad gizmo in a way that Doesn’t Quite Work.

We’ll continue with the retail problem, J H Prynne is more than a little scornful of the devices used to get us to buy things but Jarvis seems intent on taking this to a new level:

      Each knows, sees us. Although we can never believe it,
    under this laboured neutrality lurks a persisting
      terror of scorning them, terror of giving offence to them.
    We must by gifts; we must come to the store,
      leaving our monoglot offerings there at the checkout
    leaving with objects apparently filled up with life.
 

Most blokes will confess to disliking shopping (I’m banned from shopping because of my obvious desire to get the whole thing over as quickly as possible) but this is an analysis, description of how retail is supposed to work on our soul and make us feel inadequate if we don’t participate to the full. It’s very well done and sustained through most of the poem and I like it because it gives me something to test my own prejudices and phobias against- I’ve long been of the view that we can’t live on this planet without being compromised by the money machine and that retail does a reasonable job of pulling us in further by means of deception and guile but I’m not convinced that in the many Blokes there ‘lurks a persisting terror’ of ignoring the whole rigmarole. In fact I think most people are aware of the compromises involved and ‘succumb’ anyway- which is probably more worrying but akin to the feeling that the current austerity binge is somehow our fault.

I’m not sure that ‘apparently’ works on the last line but the rest is another example of Jarvis using metrical constraint to get his point across.

The road/driving motif is preserved with

    the telephone smooth as a baby, the shallow recessed
      hand-holds which welcome me into my family car,
    all are quite empty of thought or motive: all, all
      think nothing at all, think all that a stone thinks or less than it.
    All that I feel for them floats in an ether of foolish 
      half-waking conjecture, cutting the circuit short just
    where thought might become painful, might tell me how to wake up.

This is brilliant because it uses simple objects and our feelings about them to make a wider point. It doesn’t matter that the point has been made many times before- what matters here is the ery human elegance with which it is expressed. The ‘ether of foolish half-waking conjecture’ is wonderful and currently the subject of some debate in the Bebrowed household.

I’m not entirely clear that the dilemma of the Bloke as Dad theme works quite as well because it’s trying to do too many things and has this:

    just as a father wants to protect his dear children
      holds them against him, enfolds them in cuddles, for fear
    that his own strength will be too small to save them all, knowing
      he floats like a twig in a river of pitiless money

I am going to come back to this and the conclusion at a later date because I think it needs to be unpicked in the context of the Jarvis Project as a whole but for now I’d like to conclude that this is brilliantly expressed, thought-provoking stuff and that ‘cuddles’ really doesn’t work on any level. At all.

Projective verse and breath-units, the Olson/Celan mix.

This might take some time, I’ve been adding some stuff to the Celan section of arduity with regard to the notes and drafts to the Meridian, a book which was published in 2011. In the course of looking through the notes I came across a reference to the “breath-units” and “(Buber)”. Now, I’d normally see this as vindication of the view (nearly wrote ‘fact’) that the thought of Buber was more influential in Celan’s poetry than Martin Heidegger ever was. To some this may seem a small and trivial point but it’s one of the view bits of lit crit that are important to me simply because putting, as many still do, the poetry within distinctly German brackets (Heidegger, Rilke, Holderlin etc) is missing the point.

We now come to the Charles Olson element in this revelation. Aficionados of all things Cambridge will know that Charles Olson produced in 1950 a statement of poetics, ‘Prospective Verse’ which contained this:

And the line comes (I swear it) from the breath, from the breathing of the man who writes, at the moment that he writes, and thus is, it is here that, the daily work, the WORK, gets in, for only he, the man who writes, can declare, at every moment, the line its metric and its ending—where its breathing, shall come to, termination.

Here is Maurice S Friedman’s (1955) description of the Bible translation into German undertaken by Buber and Rosenzweig:

The translation is set in the form of cola (Atemzüge) rhythmic units based on natural breathing pauses. These serve the purpose of recapturing the original spoken quality of the Bible.

Given that Celan gave his speech in 1960 it is likely, according to my small brain, that (as a literary translator) he would have been aware of the Olson manifesto but it is Buber’s name that appears in the notes. Given that Olson was fairly ploymathic, it may be equally reasonable to suppose that he was aware of the rationale behind Buber’s translation.

The reason that this apparent similarity struck me is that I’m an undiluted fan of both and really want them to be singing from the same song sheet if only because the breath principle undermines many centuries of syllable and rhyme-based notions of form and structure.

The only problem that I have as a reader is that I don’t see this breath-unit mularkey reflected in the subsequent work of either poet but this may be because I haven’t been looking. In my head, Olson has always been more about what the line does rather than what it is. With Celan, the vast majority of lines seem to be too short to be ‘breath-units’.

I can however see how both poets were attempting to struggle free from the traditional constraints of verse and produce work that was a conscious challenge to what had gone before. There’s also the fact that poems were spoken before they were ever written down and that the breath is probably a more authentic unit in this regard than the metre.

Olson’s ongoing concern with the line is much more in evidence in ‘Maximus’ and this goes back at least as far as his time at Black Mountain College in the early fifties, in a letter to Robert Creeley he remarks what a pleasure it is to talk with Cy Twombly about the line because they both had the same view. Obviously this is not the place to juxtapose the Twombly line(s) against those of Olson but it is to suggest that Olson might be more concerned more about what the line can do rather than as a measurement of breath.

I’m going to try and illustrate this with Olson’s poem about his dad which starts of in fairly conventional fashion:

      I have been an ability - a machine - up to 
    now. An act of "history", my own, and my father's
    together a queer (Gloucester-sense) combination
    of completing something both visionary - or illusions (projection? literally
    lantern slides, on the sheet in front-room Worcester,
    on the wall and the lantern always getting too hot

The minor breaks with tradition consist of double spaces between words and lines starting in the middle of the page and some passages with bigger indents than the rest.

The end of the poem has lines which are impossible to put into HTML, some slant upwards forming a curve which is followed by a circle of text which starts with two upwardly slanting lines in the middle, the words then go anti-clockwise in a circle. After the circle is more or less complete, there is a way line that is upside down before we conclude with lines that slant down / up / down / up ending with ‘Forever Amen [...]‘

I would argue that the very variable line length in ‘Maximus’ does not relate to the exhalation of breath but is more concerned with what that physical length achieves as well as the occasional use of block capitals and lines from one word to another and the use of single and double underlines. I am however more than prepared to be proved wrong, I’ll readily confess to having only a superficial knowledge of the Projective manifesto but it does seem to be contradicted in the work.

Olson is much more accessible than Celan but both of them have a clear interest in line length and the shape of the poem- this ‘Vom Grossen’ from the Atemwende collection:

    BY THE GREAT
    Eye-
    less
    scooped from your eyes:

    The six-
    edged, denialwhite
    erratic.

    A blind man's hand, it also starhard
    from name-wandering,
    rests on him, as
    long as on you,
    Esther.

Any attempt to pay attention to the above must, I would argue, delve around the Eye- / less line break and have a look at six- / edged as well to try and get an idea of what’s going on with line length and whether this is just about structure and shape or whether these breaks place a different kind of emphasis on the sense. What I think is reasonably clear is that single syllable lines can’t be counted as ‘breath-units’ unless each line break is meant to signify a pause for breath but this seems to spoil the run of ‘starhard / from name-wandering’ which is a completely brilliant phrase in itself but which would be marred with a pause.

Incidentally, Pierre Joris has recently posted Two uncollected Celan poems on his blog from 1968.

Roland Barthes and the generosity of pornography

A couple of evenings ago Tomas Weber tweeted: “roland barthes said there was no genorosity in pornography. discuss” and I indicated (on only two large glasses of red wine) that I’d like to ‘discuss’ – a suggestion warmly welcomed by Tomas. Think I need to make a couple of things clear before we proceed:

• Roland Barthes was French and wore a black leather jacket. A lot;
• Tomas Weber is one of those annoyingly but outrageously talented poets that we ought to be very grateful for;
• pornography is a movable feast;
• Barthes was writing about photography and makes a distinction (being French) between the “‘heavy’ desire of pornography and the ‘light’ (good) desire of desire of eroticism”

Now, the temptation is enormous in this discussion to try my hand at some distinctly Gallic meanderings in consideration of porn and literature but instead I’m going to get personal. I think first of all we need to mark some distance between pornography and material (in whatever format) that disturbs. I’m accepting here the entirely sensible OED definition of pornography which is:

The explicit description or exhibition of sexual subjects or activity in literature, painting, films, etc., in a manner intended to stimulate erotic rather than aesthetic feelings; printed or visual material containing this.

Of course, here we have the moveable feast- did Joyce intend only to stimulate aesthetic feelings, can aesthetic feelings also be erotic feelings, what (exactly) is an erotic feeling?

If I understand the reactionary position on porn correctly, it is that this material causes its users to become in some way depraved or defective. In the UK recent murder trials have increasingly featured the accused’s use of ‘violent’ porn as conclusive proof of his inherent badness. I therefore worry about Barthes’ bracketed ‘good’ as quoted above.

For me, there’s a line between that which arouses me and that which disturbs me. Given my professional background, there isn’t much of human behaviour that disturbs me but there are two passages of prose that I haven’t been able to remove from my head. Thirty or so years ago I read something by John McVicar (reformed bank robber) describing a riot at Durham prison where he and others got access to the files on Ian Brady (moors murderer, subject of ongoing moral panic etc etc) that contained transcripts of the tapes that Brady had made whilst torturing his victims, who were all children. The only specific aspect of this that was described has disturbed and upset me ever since. The other disturbance is much more recent and occurs in Bolano’s 2066- one aspect of one of the very many serial murders that he describes has had an equivalent effect.

I don’t think that I’ve been depraved by either of these, I don’t want to carry out these acts and I can accept that others would not be disturbed whilst a very (very) small minority might be aroused hence the ‘moveable feast.

All of the above is reasonably standard ‘enlightened’, middle ground, Guardian-imbibing stuff, I even feel a surge of reasonableness welling up within me as I type and then we come to the Jonny Liron problem.

Before we get to this particular point I must digress to the fact that Barthes was writing with specific reference to one of Robert Mapplethorpe’s early photographs:

This boy with his arm outstretched, his radiant smile, though his beauty is in no way classical or academic, and though he is half out of the photograph, shifted to the extreme left of the frame, incarnates a kind of blissful eroticism; the photograph leads me to distinguish the “heavy” desire of pornography from the “light” (good) desire of eroticism; after all, perhaps this is a question of “luck”: the photographer has caught the boy’s hand (the boy is Mapplethorpe himself, I believe) at just the right degree of openness, the right density of abandonment: a few millimetres more or less and the divined body would no longer have been offered with benevolence (the pornographic
body shows itself, it does not give itself, there is no generosity in it): the photographer has found the right moment, the kairos of desire.

I’m of the view that the shows/gives juxtaposition says much more about the author than it does about the subject and that any assertion of generosity (or otherwise) is more than a little spurious because it misses the ‘point’. I’m going to try and open up this point with the honourable example of J Liron:

            unforgetting skin banner boys in
            oh, you fell and broke your leg so
            your polychild made up the last
            wake up poem ain't attacked to any
            menopause / touched to the scum
            hilt of infernal chauvinism like it's
            not an issue because . universe .

Enter warchild; war child is naked and dirty, covered in flesh and old blood
and oil, soil and some of Leonardo Di Caprio's bone fragments. A ragged fore-
skin hangs out of his mouth, he is fucking himself with the severed head of
Leonardo De Caprio, he has already tied up war girl and is making her kiss the
dead head of Leonardo Di Caprio. She cums into a cup which war child drinks
before fucking her and then squatting and taking a shit while war girl tries to
fuck the head of Leonardo De Caprio, she unties herself and starts to smear her
cunt with the fresh faeces of war child who masturbates as she does this. War
child is tied up and then fucked by war girl, the faeces on her cunt mingling
with his smeared small cock when they both cum.

           language and theories de cauterize
           and un captivate the attention of a 
           child bent fixed hell for leather of
           fucking like a pretend dog, this should
           be what you stand for, not the press 
           or forgetting.

I have a bit of a history with the above, I wrote one piece condemning this as (and I paraphrase) as a highly mannered piece of attention seeking – then I read more of Liron’s work in ‘Better than Language’ and recanted because I had arrived at the view of his strategic importance in whatever the future of English poetry might be. There are many people who would consider the prose paragraph as pornography in that it is explicit and depicts some activities that could be considered as depraved. I’m of the view that (as with Joyce and Bataille) these things do need to be viewed in context and read with authorial intention in mind.

Just realised that I’ve neatly glided over the ‘generosity’ problem- I am tempted to appreciate the Gallic paradox: the more you reveal the less generous you become but this assumes that generosity is a quality that can or should be applied. It isn’t. Discuss.

Conceptualist constraint and the death of poetry

I was going to write a long but considered piece about why I’m against Oulipo-style constraint, using ‘One’ (written by Blake Butler and Vanessa Place and ‘assembled’ by Christopher Higgs as an up to date example of why these things don’t work most of the time.

Then I realised (belatedly) that the poetic form is about constraint, that even ‘free’ verse is constrained by what it isn’t, and that it is these constraints that separate poetry from prose. So, I’m now trying to work out what it is that I dislike and, hopefully, why.

I also need to acknowledge that my own work is acquiring more and more of a conceptual tinge although I’m currently trying to think of this as more documentary and archival. I also need to confess to thinking about doing some constrained film narrative-related stuff on Twitter that has nothing to do with the 147 constraint.

This is further complicated by the fact that I don’t share the purist disdain for all things conceptual which I see as sentimental yet I find some kinds of constraint objectionable. I had thought that this disdain was due to a suspicion of the overly clever or complex which can reduce the worth/value of the ‘result’. Then I recalled the conceit for Nathan Austin’s ‘Survey Says! which is:

Austin alphabetized contestants’ responses to the television game show Family Feud. All of the answers from a five-week run in 2005 and another three weeks in 2008 were arranged according to the second letter of the first word of the phrase, providing the same arbitrary structuring order as many other assemblages of found texts but without the immediately palpable sense of predictable progression that conventional alphabetization provides.

And this is from the work itself:

They save their marriage certifi cate. They save their wedding ring. They say their prayers. They shave it all off. They simply don’t like it? They soak their feet. they step on them. They take a shower when they wake up from a nap. They talk on their cell phone. They twiddle them. They use room spray, or air freshener. They use wolves—wolf. They walk out; they cry; they get popcorn; they go to the bathroom; they leave their seat—no! they get refreshments. They want the temperature to go up.
They wash their hair. They wash their hands. They worry about losing their hair. Oh, golf. Chicago. Chicken. Chicken fingers. Chicken noodle. Chicken of the sea. Chickens fly. Chiffon. Chihuahua. Philadelphia. Children’s education. China. China. China. Think. Chips. Chips. Chips. Thirteen. Three or four, at least. Thirteen. Thirty days. This isn’t me, but: make love. + is might be a little inappropriate, but . . . the sex. This time, we’re going to try cluck. Oh no! I hold onto my emotions. Phone number. Shop. Shopping with his lady. A horse—a workhorse.

This isn’t bad in that it ‘works’ as a conceit and the result is sufficiently interesting, in a banal kind of way, to hold my interest for longer than 30 seconds or so but it isn’t good enough to merit any kind of serious attention and I’m deeply suspicious of any intro/apologia that contains a phrase as inept as ‘the immediately palpable sense of immediate progression’.

I think this leads me to the view that good constraint can be very, very good indeed- Both Simon Jarvis and Kenneth Goldsmith spring to mind from opposite ends of the ‘lit’ spectrum as writers who exemplify the best results of constraint whereas the Butler / Place / Higgs effort demonstrates its weaknesses.

I now need to have a bit of a digression on the death of poetry. Last summer I wrote an incisive and reasoned piece which took Vanessa Place to task for her claim that she had killed poetry. There has now appeared on the web this short film which purports to show Vanessa in the act of killing poetry. This may or may not be a riposte to my riposte- the page includes my (real) name as part of the intro- but I think I need to gently point out again that poetry, if it dies at all, won’t die this way whether at the hand of Vanessa Place or anyone else and the now enacted claim simply isn’t worthy of her and is disappointing because most of the time she is more astute than anyone else currently writing. End of short digression which has neatly avoided the Spenser plan for Irish poetry analogy- this would have made it much longer.

I’m still of the view that the problem with poetry is the poetic and that we need to ditch this pervasive lyricism but I think I still cling to some equally sentimental view of poetry being somehow free and inspired. I think I now what to make a distinction between constraint and gimmick. To my mind Raymond Roussel’s ‘New Impression’s of Africa’ is a gimmick because the constraint renders the work unreadable, George Perec’s two lipograms just seem cleverly silly.

In his introduction to ‘One’ Christopher Higgs lists the constraints given to both Butler and Place:

1. First Person;
2. Present tense;
3. Compose – 40-60 pages;
4. Because I want to avoid prefabricated cohesion, while at the same time I feel the need to offer a framework within which to play, I’ll suggest that you think in terms of three movements: Discovery-Secrecy-Escape. These need not be sequential, in other words feel free to think in terms of Escape-Discovery-Secrecy, or whatever arrangements of those you want. My hope is that by suggesting these three specific movements it will give you helpful boundary demarcations, and also it will allow me to locate common vector points at which I might establish pivots for the final construction.

Higgs goes on to say that he wanted Butler to focus on external perspectives and Place to focus on those from within. The idea was that Higgs would then put the two offerings together in a way that ‘something magical might be achieved’. I’m now going to lightly skip over the dismal quality of Higgs’ prose and get to a sample of this magical thing:

Now the crack of guns I became in me come back washing and lick all up the center of my guts giving shape by wet of being and tongue definition so I can hurl. Throw both my hard arms towards the over-forehead, which Corrections has already appended with new screaming bulbs, the colours of my thoughts enplasmed with them, hulking as an infant at a thrall.

In the blank of drums in my new standing I hear a shrieking and with my nose I turn around inside the smell of these years already pressed upon us stitching up my nostrils and pinching in crafty lines of neon ants. My head’s weight rotates on an axis that descends into my tummy, tucked with the nothing in kaput. No more blood and no more cellmake, no more doors or potions.

Maybe it’s me but this is about as unmagical as it gets which is a pity because it’s clearly trying very hard indeed but I’m afraid that crafty line of neon ants gives the game away- the ambition and effort all too often slide into facile cliche. Unfortunately ‘One’ appears to be another example where the constraints are given too much emphasis at the expense of the content

Poetic rupture and innovation.

One of the many challenging things that Michel Foucault said was that progress or innovation proceeds by means of catastrophic rupture rather than gradual change and I’ve been thinking about whether or not this applies to poetry and why some ruptures succeed whilst others fail.

There are two kinds of ruptures:

• those poems that represent a significant break with the accepted notion of what poetry is;
• those poems that are a significant move away from the poet’s previous work.

Many would argue that Eliot’s ‘The Waste Land’ is the most obvious rupture in both senses and the most successful in terms of lasting influence. It is possible to see this poem as significantly and radically different from anything before it but I’ve always been of the muddle-headed view that there is a gradual and reasonably logicial progression from ‘The Love Song of Alfred J Prufrock’ through ‘Gerontion’ to the Ur-text itself. I’m not arguing that ‘The Waste Land’ wasn’t seen at the time as radically different from all that had gone before nor am I saying that it didn’t represent a significant break with the past but I don’t think that it came entirely out of the blue.

This is from ‘Prufrock’:

    My morning coat, my collar mounting firmly to the chin,
    My necktie rich and modest, but asserted by a simple pin-
    (They will say: 'But how his arms and legs are thin!')
    Do I dare
    Disturb the universe?
    In a minute there is time
    For decisions and revisions which a minute will reverse.

    For I have known them all already, know them all-
    Have known the evenings, mornings, afternoons,
    I have measured out my life with coffee spoons, 
    I know the voices dying with a dying fall
    Beneath the music from a farther room.
       So how should I presume?

There’s a voice within ‘Prufrock’ that is both playfully and intently ambitious, a voice that has a keen interest in how the universe might be disturbed. I think I can also make a case for this early poem with its juxtaposition of the demotic and profound as more modernist than its successor. I’ll also confess to considering everything after ‘Prufrock’ as a bit of a decline.

Eliot had intended to begin ‘The Waste Land’ with ‘Gerontion’ but was dissuaded from doing so by Ezra Pound. I think this might illustrate the point that I am trying to make:

    The goat coughs at night in the field overhead;
    Rocks, moss, stonecrop, iron, merds.
    The woman keeps the kitchen, makes tea,
    Sneezes at evening, poking the peevish gutter.
                                     I an old man,
   
    A dull head among windy spaces.
    Signs are taken for wonders. 'We would see a sign!'
    The word within a word, unable to speak a word,
    Swaddled with darkness. In the juvescence of the year
    Came Christ the tiger.

Given Eliot’s original intentions, it isn’t altogether surprising that many elements of the Waste Land are presaged here, my point is that the rupture isn’t as suddenly as we might think.

By way of contrast, Geoffrey Hill’s ‘The Mercian Hymns’ was a complete break with what had gone before in his work and was completely out of step with the rest of English poetry of the time. The sequence is in prose and ostensibly concerns Offa, king of the Mercians, but does this by mixing the Anglo Saxon past with the 1971 present in a way that is incredibly accomplished and quite mysteriously evocative. Hill hasn’t published anything like it since and it doesn’t seem to have started any kind of trend. I was fourteen and busy reading ‘Crow’ in 1971 and completely missed this piece of brilliance until about 2005 but it still feels like a major break that should have had much greater effect.

The Prynne trajectory is much easier to trace. ‘Brass’ was also published in 1971 and contained this:

                 yet
    the immediate body of wealth is not
    history, body-fluid not dynastic. No
    poetic gabble will survive which fails
    to collide head-on with the unwitty circus
              no history running
                  with the French horn running
                         the alley-way, no
                  manifest emergence
              of valued instinct, no growth
                  of meaning & stated order:

Is a head-on collision with the unwitty circus also a rupture or is the essential thing about rupture that it renounces and/or ignores the circus? Does the recent publication of ‘Kazoo Dreamboats’ mark another significant rupture in Prynne’s work?

Geoffrey Hill isn’t after collisions but he also seems to hold his peers at arms-length, I can make a case for ‘The Triumph of Love’ as a sequence that breaks (ruptures) most of the rules and conventions yet still manages to be defiantly wonderful.

What Foucault didn’t mention was the stupidly high proportion of failed ruptures- those breaks with the past that are not followed by others but are nevertheless just as brilliant as those that succeed. Into this camp I’d place ‘Piers Plowman’, ‘Speke Parrot’ ‘Sordello’ and ‘The Anathemata. There are those that would argue that Langland’s reputation is actually secure and the poem continues to attract critical acclaim but my point is that it wasn’t followed through by others in the same way as Chaucer, Hoccleve and Lydgate. John Skelton was probably deeply dislikeable as a man but his work stands apart from what preceded it and ‘Speke Parrot’ would mark a rupture in any decade but hasn’t influenced anybody since. ‘Sordello’ was a critical and popular disaster but it does shine out as the most ambitious and genuinely innovative poem in the Browning oeuvre- Ezra Pound claimed that he was the only person on the planet who fully appreciated it.

I’ve written many times about the criminal neglect of David Jones’ ‘The Anathemata’ but the fact remains that it hasn’t been followed and is currently in danger of being forgotten altogether even though some of us regard it as one of the very best poems of the last hundred years. The reasons for this are many and various but pride of place has been given to difficulty and/or obscurity. I’m more inclined to the view that it presented a major challenge to Eliot-inspired modernism and failed to find an audience because it didn’t ‘fit’.

We know come to the rupturist par excellence- Paul Celan’s later work marks a chasm between our current notions of what poetry can do and Celan’s view of what it must do. Most serious poets now recognise Celan as the greatest 20th century poet but few have been brave enough, with the honourable exception of Edmond Jabes to follow in his wake. It is impossible to overstate the violence of this particular rupture which began to tear its way to the surface in the late fifties and continued to Celan’s death in 1970. Suffice it to say that it’s body of work that rips apart all the usual notions of meaning and addresses language as a matter of survival and thinks of the poem carrying the quite desperate potential for an encounter in this struggle for life.

Both Prynne and Celan work at the extremes of ambiguity and allusion, both are rejected for their elitism and obscurity just as both are criticised for writing unpoetry. I’m still of the view that these are the names, above all others that we’ll remember in 200 years’ time.

Paul Celan, Emmanuel Levinas, Maurice Blanchot and the ‘Wholly Other’

I need to than John Bloomberg-Rissman for drawing my attention to this review of ‘What are Poets for?’ By Gerald L Bruns. In normal circumstances I would have rushed to order this as it deals with Prynne, Matthias and Celan in ways that seem congruent with my own improvised and haphazard way of reading but the Bebrowed financial controller has made it clear that some of the recent acquisitions should be read first. There is however this paragraph that caught my eye:

“The highlight of the collection is a rather aphoristic essay on poetry and ethics centered around the work of Paul Celan and Emmanuel Levinas. For Bruns, Levinas’ ethics, which demand a sense of radical responsibility toward the other, find their literary expression in Celan’s desire to fill language up with strangeness. Just as Levinasian ethics demands that we disregard our own sense of autonomy or fulfilled obligations and allow our sense of self to be determined by the other beings we come into proximity with, Celan’s poetry forgoes having a unified, consistent speaking voice in order to fling itself into the void of otherness. Poetry, Bruns seems to be suggesting, is ethical in relation to the people and things it narrates because the form of selfhood it expresses comes into being as an attempt to reach out to the other; poetry is being-for-the-other, and therefore capable of having an ethics even when it seems to be at its most abstruse. The essay is delicately constructed and a delight to read, seeming to approach a central idea again and again through readings of different authors and texts (Celan and Levinas but also Charles Bernstein, Martin Heidegger, Osip Mandelstam, Maurice Blanchot, Jacques Derrida, and Samuel Beckett) without ever quite making contact.”

Ignoring the list of usual suspects at the end, I initially took issue with Levinas connection and his notion of our need to focus on the needs and demands of the universal other. I’m reasonably familiar (and agree) with the central Levinas position, especially as articulated by Blanchot, but I hadn’t thought of Celan’s references to the other as anything but a consideration of alterity and the ‘strange’. So this was going to be a robust denunciation along the lines of Celan’s concerns are primarily about the Jewish victims of the Holocaust which are a clearly defined group of ‘Others’ whereas Levinas is more concerned with the universal ‘Other’. I was going to illustrate this with suitable extracts from the later works and the Meridian and rest the bulk of my case on the frequent appearance of Martin Buber (more than anyone else) in the notes made in preparation for the Meridian address and the complete absence of any reference to Levinas. The I re-read the Meridian and fell over this:

“But I do think – and this thought can hardly surprise you by now – I think that it had always been part of the poem’s hopes to speak on behalf of exactly this strange – no, I cannot use this word this way – exactly on another’s behalf – who knows perhaps on behalf of a totally other.”

(I’m using the Pierre Joris translation because I trust it more that the others although Felstiner does have ‘wholly’ rather than ‘totally’.)

Now, the term ‘wholly other’ is how ‘tout autre’ is translated in Levinas’ ‘Time and the Other’ which was published in 1948 as in “through the diverse figures of the sociality facing the face of the other person: eroticism, paternity, responsibility for the neighbour as the relationship to the wholly other (Tout Autre)” which seems to get to the nub of the Levinas position.

Celan’s major philosophical interests in Heidegger and the distinctly Jewish aspect of Martin Buber’s thought is mirrored in Levinas so it is likely that Celan would have read ‘Time and the Other’ and that his use of ‘wholly other’ in italics is a reference to that work- or perhaps this is just because I want it to be.

In Celan’s poetry many poems are addressed to a ‘you’ without any clear indication of who this ‘you’ might be and it may be that some poems do address this universal Other. The notes seem to refer to both addressing the other (“it silences itself toward something foreign and Other imagined as a You”) and speaking on behalf of the other (“..to let the incommensurable of the other speak too”). I’ve chosen three of the likelier candidates from the later work. This is ‘Wirk Nicht Voraus’ from the ‘Lichtzwang’ collection published in 1970:

I’m using Michael Hamburger’s translation for all three poems.

Do not work ahead,
do not send forth,
stand
into it, enter:

transfounded by nothingness
unburdened of all
prayer,
microstructured in heeding
the pre-script,
unovertakable,

I make you at home,
instead of all
rest.

This is ‘Mitt Der Stimm Der Feldmaus’ from the ‘Schneepart’ collection which was published in 1971:

With the voice of the Fieldmouse
you squeak up to me,

a sharp
clip,
you bite your way through my shirt to the skin,

a cloth
you slide across my mouth
midway through the words
I address to you, shadow,
to give you weight.

Finally, this is 'Alle Die Schlafoestalin' from the 'Zeitgehoft' collection which was published in 1976:

All those sleep shapes, crystalline,
that you assumed
in the language shadow,

to those
I lead my blood,

those image lines, them
I'm to harbour
in the slit-arteries
of my cognition-,

my grief, I can see,
is deserting to you.

For those who don't know, Celan was a Holocaust survivor who committed suicide in 1970. I'd like to add the point made by Maurice Blanchot that our responsibility to the other is infinite, unbearable and strips us of our identity yet it is also impossible to ignore.

All three of the above poems can be read as being addressed to either a specific other or a universal other and it may well be that Celan is concerned here with both.

The first poem begins with a series of commands, followed by a description that may refer to the poet's burden is responding to the other and ends with the poet 'making home' for the other. 'Nothingness' recurs as an active entity or participant in Celan's work and it could be read here as equivalent to infinity ie something so vast that it becomes nothing at all, it could also be that there is no longer any need for prayer because Celan is answering this call or because these others are already dead- changed by nothingness.

To make someone at home is how the good host would respond to the needs of a guest. In English, we often say "make yourself at home" as in, "please feel free to behave as if your were in your own home" as a way of making a guest feel welcome. This gesture embodies a key virtue in virtually all cultures across the world. Celan's 'welcome' is tempered by a recognition that the 'you' has already gone beyond any notion of rest and may actually be dead.

Trying to recognise and take into account my original bias, I'm still of the view that the 'you' in this poem is more likely to be those murdered during the Holocaust and this is not the exact equivalent of the Levinas 'wholly other' which is about every other in the world, living or dead.

The 'Fieldmouse' poem is much more straightforward (in my head, at least) in that it is a description of the demand made by the other together with Celan's response. This makes more, albeit tentative, sense if we read 'shadow' as 'neighbour' and the last verse as the transforming/muting effect that this neighbour has on the poem which exists to transfound the nothingess of the shadow into something more substantial. The biting of the skin through the cloth of the shirt might refer to the real pain in our awareness of the nature of this responsibility.

As someone who has actively planned to kill himself on a number of occasions, I have a real problem with maintaining any kind of objectivity with the third poem which I read as an anguished cry from the soul about the intolerable/impossible burden that the dead impose on the poet and a foreshadowing of his own self-annihilation. I'd like to undertake a rational and attentive reading as with the other two but I can't because all I can read is the personal pain and suffering that is expressed in these heartbreaking lines. I'm also not entirely comfortable that it was published posthumously without knowledge of Celan's intention and feel a little queasy about this kind of material being made available without Celan's consent. End of short speech.

Of course, the reviewer may have misread what Bruns was saying about Levinas and I'm actually arguing with no-one but it has at least enabled me to think (regardless of Blanchot's extremism) about the possibility of creative responses to this impossible demand which brings to mind Prynne's insistence on self-removal as part of the poetry-making business..........

J H Prynne’s Unanswering Rational Shore (again)

Eighteen months ago I wrote with more than a little enthusiasm on the above and have been intending to take this a bit further since then. This may have been a productive gap because I’ve since discovered more aspects of URS to be enthusiastic about.

URS was published in 2001 and consists of 14 poems each of which has two seven line stanzas. There is a completely blank page between poem 7 and eight and rhyme does occur at least once. I’m making the assumption that this is a sequence and not simply a collection of unrelated poems and I’m trying to consider what the poem does rather than what it might mean in an attempt to respond to and build on Ben Watson’s remarkable ‘Madness and Art” which focuses on URS.

I’m also very grateful to Ben for explaining the ‘lo mismo / lo mismo’ epigram- ” a compacted lettrist sonnet made of Francesco de Goya’s despair of finding anything other than the Spanish words for “the same” to title his endless pictures of the horror of war” which has (at last) unlocked for me the recurring use of ‘same’ in ‘Streak~~~Willing~~~Entourage~~~Artesian’. URS entertains me and this is part of Prynne’s intention. I need to add that this isn’t just about making jokes, like most serious poets his jokes are invariably bad, it is about gaining my interest and then involving me in a satisfying dialogue or conversation about what language might be doing. I get annoyed when John Ashbery and Geoffrey Hill attempt to engage me in this way because they don’t deploy much verbal dexterity whereas with Prynne the potential for dexterity may very well be the ‘point’ or at least one of them.

I’ve also found that the way I read this material has changed. Two years ago I think I was still looking for clues that might help with gaining more of a foothold but now I’m trying to absorb stuff for the sense of involvement that it brings because it’s that involvement that is the attraction.

I want to use several bits from the sequence to try and illustrate what I mean about involvement and why URS makes me smile. This is from the second stanza of the ninth poem (unless we’re counting the blank page as a poem):

Elastic bravery tell your friends, profile margins

dilate the soft annular parallax. In such due process

with a furry wrap the favourite minces a hot share

of the pie, the offertory selection hoarded at par

for dark x-linked transfer......

One of the cleverer aspects of this is the things that aren’t said, those things that are nearly said that would allow us to make a bit more ‘sense’. Profit for profile, granular for annular, diligence for process, cake for pie and collection for selection would combine to make a much more straightforward reading which raises the possibility of a ‘shadow’ text running alongside the one that it on the page. This aside, there’s more than
enough here to hold my attention.

The first two words raise the obvious question about whether and in what circumstances bravery or courage or fearlessness can be described as elastic or stretchy or pliable?

A reading of the OED clarifies a few things about ‘elastic’ which I should have been able to think through. The main feature of elasticity is that it is pliable under pressure but springs back to its original shape and size once that pressure is removed. On a very basic level, an elastic band can be stretched but will revert to its original position once we’ve stopped stretching it. The OED also reminds me that it can be used to describe personalities- “Of feelings, temperaments, etc., hence, also, of persons: Not permanently or easily depressed; buoyant” which relates better to bravery in its primary sense. This is of no apparent help with ‘tell your friends’ which brings us back to the recurring retail trope that I wrote about last week. I have read this particular device as a sarcastic comment on and protest against the facile and unsubtle way that retail sloganeering plays upon and exploits our baser instincts but this may not be the case in this instance. “Tell your friends” can carry a number of different connotations but in a retail sense it is a term used to encourage marketing by word of mouth whereby satisfied customers are urged to recommend a particular shop or service to others. This is of course fraught with danger because you don’t have any control over what is ‘told’ although it does help a new business develop a customer base- I speak from personal experience.

To make any real sense of what might be going on, the best place to start is probably at the end, x-linked diseases are so-called because they are “single gene disorders that reflect the presence of defective genes on the X chromosome. This chromosome is present as two copies in females but only as one copy in males”, one of these diseases is muscular dystrophy in its Duchenne and Becker forms.

With this, things begin to fall into place thus:

• muscles function because they are elastic in that they return to normal after stretching or being made tense;
• myscular dystrophy is a degenerative condition that is characterised by changes to the shape and size of muscles;
• ‘parallax’, as well as the astronomical senses, can also mean a distortion;
• ‘annular’ has a secondary definition of ” esp. in Physiol. of ringed or ring-like structures. annular ligament: a strong muscular band girding the wrist and ankle”;
• for anybody who may be carrying this genetic disorder, there is an obvious imperative to inform partners of this fact prior to making a decision about having children.

Working this out, making the connections, is satisfying especially for those of us that get easily distracted and need a bit of a challenge to ‘engage’. It’s also intriguing to see how this theme of disability and genetics relates to the rest of the sequence and whether any of this is any help at all with the still baffling first part of the second sentence which will need further attention even though there’s the potential Langland connection with hot pies and the proceeds from the offertory….

The reason that URS makes me smile is that it is packed with verbal ingenuity and forces me to think in a completely different way- a way that has to carry several dimensions at once and it’s this, rather than the ‘message’ which brings on a reconsideration of the wider world. For example, what does it require to run a ‘ghost’ text alongside the main event? Can the workings and logic of capital be compared to the resistance to treatment and relentless degeneration of MD? The list is endlessly absorbing.

URS is in the 2005 edition of the ‘Poems’ which is available from the usual suspects and I believe the original is still available from Object Permanence.