The above is the second poem (of two) in ‘F subscript zero’ which was published by Equipage in 2007. I’ve written about the first poem before and had decided that the above was too introspective / self-indulgent to be bothered with. I’ve re-read it a couple of times over the weekend and am now of the view that it should be bothered with because some of the things that it does work really well.
It’s also possible/feasible to draw more of a line from ‘The Unconditional’ to ‘Dionysus Crucified’ through ‘Symp’ in terms of the way that some things are done. I thought it might be useful to highlight some of the more important obvious elements rather than to hazard a tentative guess at what things might ‘mean’.
It would appear that readers are identified and addressed as throats and, less frequently, other body parts involved in speaking (teeth, necks, palates, ventricles) as if to encourage a level of identification with the poet:
O fellow throats! O o"'"s! Perhaps you also have known one hour
at which no string but bitters nor no alone grunt can wring out but a tit
or perhaps you alone have also known one infintesimal "and" therefore real.
Tub. Dur. Tat. I begin again. Tub. O fellow throats! lever a buccal gap to and approx mouth shape now and retch
thoughts in their proper order to the sink: improper objects to the exit hole. T
This emphasis on speech components might suggest that this is a poem to be read aloud but may also be about the vulnerability of the throat and the fallibility of the words that it makes.
This would be a difficult poem to read aloud because it isn’t clear as to how some phrases should be vocalised- ‘Hmm mph r mm/get’ or the missing word used above- and the last page contains a pattern which is a top to down phrase using one letter per line as with ‘T’ above.
We have a range of obscure words, I’m still defining ‘obscure’ as words that I don’t know the meaning of or need to check. There is also this line:
as obsolete or foreign words dud or incarcerate down into a priamel and legible only as mock or booty.
which I’m taking as an acknowledgement of the difficulties presented to the reader although it does come in the middle of the obligatory ‘car’ section (see below). The OED tells me that ‘priamel’ is still being used and provides this definition- ” Originally: a type of short poem cultivated in Germany in the 15th and 16th centuries, culminating in a witty or ingenious turn of thought. Later applied to similar literary forms; spec. (in ancient Greek poetry) a device in which a number of items or options, culminating in a preferred one, are listed for comparison”. I think I’m also going to include ‘pop habitus’ as obscure because not everyone has read Bourdieu (even though they should) and not include it in the foreign section because it has now become part of English- hasn’t it?
The use of ‘vel’ as in ‘so the most important to paint / vel no-muck’ is both obsolete and obscure whereas ‘ipseity’ is just obscure. The use of ‘catachretic’ as in ‘its figuring retina-soul convert to ocean / being the thus catachretic body parts they are’ is either a typo or a bit too clever as ‘catachrestic’ is defined as ” Of the nature of catachresis; wrongly used, misapplied, wrested from its proper meaning”. The aforementioned ‘buccal’ is also obscure. I’m not including ‘interstitial’ but I do think that ‘interstitial void’ is an example of trying too hard.
Foreign words and phrases.
Regular readers will know that frequent and/or extensive use of foreign phrases is one of the things that we are implacably against. The reason for this is twofold-
- readers who are not multilingual and haven’t spent a lifetime in the academy might feel more than a little intimidated by the use of foreign terms and phrases and may feel discouraged from reading further;
- it is usually superfluous in that things can be said equally well in English.
There are exceptions to the second part of this when the use of the foreign term is the only way to carry the full weight of what needs to be said but these exceptions are few and far between.
‘SYMP’ starts with ‘Durch grub vers lux or lunch deflected……’ which doesn’t bode well and then we have this as a complete line-
Durch men-ya blub and men-ya langsam dop hei special ranger
I’ll freely confess that I haven’t gone to any lengths at all to work this out and I also need to point out that it was this that has deterred me from bothering with the poem until now. This is a pity because the rest of the poem desists from this kind of gesture and more than rewards attention.
I’m fully aware that this practice isn’t going to change anytime soon but that doesn’t mean that it’s an okay or reasonable conceit even though it has a long pedigree and is considered conventional by some. I take some encouragement from the fact that this particular trait doesn’t seem to have been inherited by the younger group of poets recently anthologised in ‘Better than Language’.
To try and bolster my case, I would argue that there are other ways of saying “The remainder is imperfect repetition of the immergleich novel in episodes of pluswert night on night” and that this ‘mix’ just feels awkward.
Simon Jarvis poems usually contain reference to the British road network and/or cars. Simon has explained this in a recent interview and ‘SYMP’ contains this oddly powerful passage-
Twigs and parts of a wire cut off some sections of a removed area just over by where the cars
could not be said to wait or stand but were: could not be said in an emphatic sense to be
more than the vehicles shining with all flung work of gorgeous metals not less barbaric than alien
in surfaces of almost wholly suppressed colour singing out as brightly to the abstractly possible sight
as obsolete or foreign words dug or incarcerate down into a priamel and legible only as mock or booty.
What I think I admire most about Jarvis’ work is his ability to be cerebral, lyrical and appropriately odd at the same time- “all flung work of gorgeous metals not less barbaric than alien”- ‘gorgeous’ really shouldn’t work in this context and I have yet to work out why it does.
So, the use of pattern, the continued references to roads / cars and the use of verse to do philosophy are all developed here in advance of ‘Dionysus’ as is the use of myth (in this case the story of Actaeon’s death) to do more complex things. The descending ‘ATTEONE MORTO’ down the lines of the last page anticipates the much more complex patterning in Dionysus but both poems seem to be pointing in the same kind of direction.
“all flung work of gorgeous metals not less barbaric than alien”- ‘gorgeous’ really shouldn’t work in this context and I have yet to work out why it does.
I think gorgeous works so well because the line as begins with a standard of two unstressed syllables between each stressed syllable in my scanning, before the ambiguous stress of “all flung work” which then steps into an again-metrical iambic two-step: “of gorgeous metals”; which pivots out of “metals” into the two unstressed syllables pattern again.
SJ is really really phenomenal with his metrical variation. Or rhythmic variation. His meter isn’t free verse so much as swirling metrical standards that are raised and dropped every few words. It feels like he is constantly trying to shift gear but the car keeps catching.
He is phenomenal and I’m of the view that we all need to pay serious attention to what he does with and against the wiles of prosody because this points to the way that poetry might begin to progress.