I may have to extend this particular fortnight by a week or so and then come back with some more during the summer, hadn’t realised how much there is that I want to write about.
I mentioned the derived traffic island as a problem for a listener without access to the text. I’ve been given some consideration as to what this strange description might involve. The relevant long lines are:
I from a nylon jacket announce recombinance because it is unreasonable that my skin not also learn to survive in plastic consciousness of objecthood So when I in congealed oil products may orange it to the top at the derived traffic island or at some other holy place as though some beacon were lit Then I precisely may not die and may not be killed but persist like toxins or persist like some unvanquishable god-component in e.g. chthonic
To those of us familiar with the Late Modern strain, this isn’t too tricky although it is convoluted. The only stumbling point is this piece of road accoutrement that is said to be derived. In the most commonly used sense, to be derived is to be based on or developed from something else which doesn’t make any kind of sense especially when the traffic island is described as a holy place which seems to bestow something along the way to immortality. Having alluded to this in the previous post I mulled it over and tried the usual bebrowed method of looking at the OED but nothing immediately clicked into place and then another possibility came to mind. The Situationists made use of ‘derive’ and Guy Debord defined it in 1958 as:
In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.
Psychogeography has since gone through a variety of phases, permutations and (in the UK) moves from being in vogue to relative obscurity every five years or so. Without wishing to overread too much and acknowledging that I do want the Jarvis Project to at least nod towards Debord, it is possible to see this traffic island a a fixed point on a geographical contour. This point also is a place of safety from being knocked down and holiness might spring from what some see as the ritual significance of ‘sight points’ in the landscape, hence the reference to lit beacons.
Of course this is more tentastive and provisional than usual but I’m going to have to look at the other road bits in the rest of the poems to see whether this hunch can be supported. This might be timely because I understand the next long poem is going to relate a series of journeys through the landscape.
We now come to noise and its relationship to sound. Last year I did four or five gigs involving multiple voices speaking simultaneously and made a couple of audio-visual pieces using the same technique. Having spent many hours mixing and layering what people say in interviews, I’ve come to the conclusion that two voices saying different things at the same time is reasonably intelligible (sound) whereas three voices isn’t (noise). Having already written about the first use of two overlaid voices, I want to pay some attention to the other three:
The first of these starts at about 21.30 on the track and is a rendition of what I think of as ‘the cross page’ because its central feature is the figure of a cross over most of the page with the text interspersed in and around it. This is another section where the two voices follow each other. Listeners with no previous knowledge/familiarty will need to make their own mind about coherence but I have trouble following what’s being said even when I have the text in front of me. It can be argued that this is due to the apparently random setting out of the lines but it is more likely due to the speed of the delivery and the very short gap between the voices. I accept that some of the lines are quite a challenge in themselves (Ive so you can rip / Girlyboy up now / Peeping Non / Mummy hates him too) but read this way doesn’t help, unless the intention is to make noise rather than ‘sense’.
The second is more conventional and ‘works’, it occurs in three places on the Messenger section of the poem, the first two lines are:
Were screaming for Cheryl and Ashley to get back together or else for essential supplies of fresh water impaled on the fir So hard I could hardly remember the theme tune that Pen had reminded me made up the keycode which opened in matchless pain
So, the long lines are read by Simon with Justin providing the brief interjections and this ‘works’ because the pace is easier and the voices don’t seem to be in competition with each other. This has the effect of drawing the audience in rather than the previous bombardment.
The last piece takes up almost all of the Canticle page and starts at about 28.15 on the track. This was completely unexpected because I recognised that the setting out of the lines was unusual but hadn’t worked out that this was written for a singing and a speaking voice using different lines from the text. I’m guessing that most listeners will find these last few minutes very challenging indeed but I think it’s brilliant and an example of what can be done of the sound / noise boundaries. It’s not so much that the reading of Canticle makes the lines discernible, it is the impression formed by listening that seems to be important here. I’m reminded here of the many discussions I’ve had with friends as to the merits of free jazz which treads the same kind of lines but is completely alien noise to most people.
To conclude, Dionysus Crucified is a brilliant poem and Claudius App have provided a valuable service for us all by hiding this recording in the recesses of their site. Listen to it with headphones, buy it from Critical Documents and read it- you won’t be disappointed.