Jacket 2 is now live and continues the excellent work of John Tranter and co. I considered the original incarnation to be fairly essential for those of us who take an active interest in contemporary poetry and criticism even though I have ranted in the past about some of the more pretentious contributions on Prynne.
So, I approached Jacket 2 with a mixture of trepidation excitement. The launch issue dispels any concerns that I may have had. There is an interview with Caroline Bergvall whose “Meddle English” I’m currently reading, a feature on Erica Baum’s “Dog Ear” which I wrote about last years and an exchange between Divya Victor and Vanessa Place which features “Statement of Facts” which I wrote about on arduity last month.
My relationship with Ms Place is becoming more complex which is a good thing. I first came across her stuff in the last issue of the Cambridge Literary Review and didn’t like it much but liked the idea (conceit) behind it enough to work out the reason for my dislike. I then came across “Statement of Facts” on Ubuweb and was staggered and thus goaded into writing the ‘conceptualist’ page on arduity. I was then alerted to the recording of her reading at last year’s cross-genre festival and became a complete convert- as in this woman can do no wrong and even when she is wrong it is still a wrong that I’m happy to defend.
The exchange in Jacket2 embodies much of what I disliked about the earlier version. There is mention of Bataille, Arendt, Kant, Adorno and others as if to add some notion of academic credibility but which has the effect of deterring most interested readers. The exchange isn’t as revealing as other interviews that Place has given mainly because this has all the insiderist smugness of the conceptualist coterie. There are some interesting points made about appropriation and about the function of text and speech that give me further food for thought and anything that brings Place’s work to a wider audience has to be a good thing- even though I would have been deterred by this without some prior knowledge.
Place makes some really good points and then makes some others that sound good but aren’t – arguments about authenticity and appropriation aren’t the same as ‘lies and truth’ and I’m not sure that lies are the opposite of truth in this particular context even though it sounds right.
I think that I’ve said all that I need to about “Dog Ear” except to note that I’m now of the view that the spectral “Card Catalogue” is probably the better work.
Caroline Bergvall takes language and the visual representation of language very very seriously but her work isn’t either sombre or portentous. Having read the interview in Jacket I wish I’d gone to see her Southampton show (I had the opportunity, it’s quite nearby and I wanted to see it…) when I had the chance. “Meddle English” is, as you’d expect an extended riff on all things Chaucer mixed in with bits of Russell Hoban and some earlier stuff that’s probably a bit too close to the dialogue from “A Clockwork Orange”.
I am however very fond of “Untitled” primarily because it uses a kind of repetition which is masquerading as notation. Here’s the last two lines of the third stanza:
piano ALL horns WITHOUT ONE GUT horns bass TRYIN horns MAKEITREAL
horns bass piano BUT COMPARED TO WHAT horns bass
There’s also an instance of repetition in “Goan Atom (Doll)” but I want to save that for the next part of the slow poetry manifesto. The interviewer is a bit fawning and doesn’t really ask particularly searching questions but it’s certainly a good introduction to the work and the thinking behind it.
One final point, before we get any further can they please fix the navigation- something even vaguely usable would be an enormous improvement on the current offering.