Posts Tagged ‘time

17
Oct
15

Quick Notes on John Ashbery

These are mostly notes and observations I am writing for myself as I prepare for the Contemporary Poetry section of my comps. I will try to do this with each poet I read. Maybe the notes will be useful to others, too. Again, they are notes and observations. They are not thesis-driven arguments.

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John AsberyJohn Ashbery (July 28, 1927) was born in Rochester, NY. His collection of poems Self-Portrait in a Convex Mirror (1975), won the hat-trick of literary prizes: the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award. This book is considered a masterpiece, or at least his masterpiece, and it is what I will try to work though.

In “The Tomb of Stuart Merrill,” Ashbery has a character ask a poet, “I really would like to know what it is you do to ‘magnetize’ your poetry, where the curious reader, always a bit puzzled, comes back for a clearer insight.” While it is jesting commentary about what someone might say to a poet at a reading or post-reading party, there is some truth in it, at least for me. It occurs is in the last part, “the curious reader, always a bit puzzled, comes back for a clearer insight.” I think I will mostly focus on this, because the circling back is caused by the manner in which Ashbery writes.

Like Wallace Stevens, John Ashbery is concerned with the reality or the presentation of the real. In that regard, both are metaphysical poets, but Ashbery may be the more metaphysical. Both think that reality is a fiction created by a person or an era, and that it does not sustain itself, which is what Stevens calls the “supreme fiction.” Stevens however tackles the metaphysics of what is real in a traditionally more poetic way – he uses meter, rhyme, and forms. Stevens has developed thoughts about reality. Ashbery, however, is in the moment of thinking and in traditionally non-poetic forms. It’s almost as if Ashbery is thinking on the page or retracing recent thoughts. When I read Ashbery, I find that I am following his thoughts, and then all of the sudden I feel lost. My expectations are subverted by his wandering mind. But this is the reality he is creating – the mind thinking in associations. It’s like a stream of consciousness, but not exactly. With stream of consciousness, the unconscious or suppressed emotions will often reveal themselves, but with Ashbery, we stay on the surface of language and a conscious mind as if “A speech in play consisting entirely of stage directions” (“De Imagine Mundi” 451). Whose mind that is or what stage it is I am not sure, nor is the speaker of “De Imagine Mundi,” who opens the poem: “The many as noticed by one: / The noticed one, confusing itself with the many / Yet perceives itself as an individual” (451). Is the “I” one person? or is fragments of people? or both? Are all fictions and possibilities something to be considered?

Nonetheless, the mind, whoever’s mind it is, is concerned with the present, the moment that is “perpendicular to the ground” (“Voyage in Blue” 445). I like that image of the present. It’s how I envision the present, at least the lyric present, or what Li-Young Lee calls “the vertical moment.” And while the present is perpendicular to the ground, it moves, or as he says in “Grand Galop,” “Here, as elsewhere / April advances new suggestions.” Which is to say the present advances with new suggestions, which feels like a metaphor of the mind thinking, or waiting, which is a theme of “Grand Galop.” The waiting is what “fills up the time between” the now and the future, but this waiting is a creative time – “The wait is built into the things just coming into their own. / Nothing is partially incomplete, but the wait / Invests everything in its climate” (436). In this poem, the speaker inhabits, or waits in, the in-between space/time between the present and the next present, which is all anyone can really do. One way to try and describe an Ashbery poem in Self-Portrait in a Convex Mirror is to refer to the end of “As You Came from the Holy Land”:

     knowing as the brain does it can never come about
     not here not yesterday in the past
     only in the gap of today filling itself
     as emptiness distributed
     in the idea of what time it is
     when that time is already past
                                                   (431)

This, in part, also describes my reading process of Ashbery, I often find myself reading a poem, then midway through stopping and going back a dozen or so lines to an earlier present in the poem, and starting over again, as I mentioned above. That can happen often in just one poem. This method, I assume, is his way of challenging the reader.

The pace or emotional intensity of Ashbery’s poems are even keeled. There are no rises in sudden enlightenment or understanding, no epiphanies, no grand gesturing. Though there is humor and parodying, such as “Love” (part one of “Poem in Three Parts”), where he parodies Wordsworth idea of “emotions recollected in tranquility” when he says about oral sex he once received, “Now years later, I think of it / Without emotion” (443). Later in the section he will also parody “I Wandered Lonely as a Cloud.” A better example of even-keeled manner and parody mixed together is in “River.”

     It thinks itself too good for
     These generalizations and is
     Moved on by them. The opposite side
     Is plunged in shade, this one
     In self-esteem. But the center
     Keeps collapsing and re-forming.
     The couple at a picnic table (but
     It’s too early in the season for picnics)
     Are traipsed across by the river’s
     Unknowing knowledge of its workings
     To avoid possible boredom and the stain
     Of too much intuition the whole scene
     Is walled behind glass. “Too early,”
     She says, “in the season.” A hawk drifts by.
     “Send everybody back to the city.”
                                                               (455)

This recalls Yeats’ poem “The Second Coming,” where “Things fall apart, the center cannot hold.” But in Yeats’ poem there is great drama as “mere anarchy is loosed upon the world” and “Spiritus Mundi” arrives. Ashbery’s poem, however, is less dramatic. There is a surreal river thinking and picnickers arrive, and the only dramatic thing to occur is that they are out of place, as they are there too early in the season. They are unexpected as the “hawk [that] drifts by,” as opposed to Yeats’ dramatic “rough beast” and other mythic creatures. This poem, like many Ashbery poems, meanders like a “river of consciousness.” The mind moves from noun to noun with only the stream of consciousness connecting the movement, and here in this moment, with no beginning, or an in media res beginning, drifts around from river to people arriving to a hawk to people leaving, which isn’t an end it’s just part of the ever flowing and shifting present. It’s almost as if Ashbery’s poems don’t try to create meaning; they just try to create a mind creating a fictive understanding in a real and mutating moment.

Much of what Ashbery is doing might be best realized in the second stanza of “Ode to Bill”:

     Or, to take another example: last month
     I vowed to write more. What is writing?
     Well, in my case, it’s getting down on paper
     Not thoughts, exactly, but ideas, maybe;
     Ideas about thoughts. Thoughts is too grand a word.
     Ideas is better, though not precisely what I mean.
     Someday I’ll explain. Not today though.
                                                                    (461)

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Works Cited

Ashbery, John. Self-Portrait in a Convex Mirror. John Ashbery: Collected Poems: 1956-1987. New York: The Library of America, 1997. 425-487. Print.

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25
Sep
15

Quick Notes on Mark Strand

These are mostly notes and observations I am writing for myself as I prepare for the Contemporary Poetry section of my comps. I will try to do this with each poet I read. Maybe the notes will be useful to others, too. Again, they are notes and observations. They are not thesis-driven arguments.

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Mark StrandMark Strand (1934 – 2014) was born in Canada, but he is considered an American poet. In 1990, he his collection of poems Blizzard of One won the Pulitzer Prize.

I picked up on four themes while reading through Mark Strand Selected Poems (Alfred A. Knopf, 1991). The selections begin with poems from his first book Sleeping with One Eye Open (1964) and ends with The Late Hour (1978), plus some New Poems from 1980. What I picked up on is that Strand is concerned with living a life that can be reflected on without regret, the idea of time (especially the present), the intersection of the surreal and the real, and the “I” of existence.

The concerns with living an unfulfilled life are most present in Sleeping with One Eye Open and then in The Story of Our Lives (1973). In “When the Vacation is Over for Good” (Sleeping with One Eye Open), Strand uses vacation as a metaphor for life, and when one is on vacation, one sometimes acts as if “There was nothing to do,” which is a waste of a vacation and a life, especially when the unforeseen “weather turned” and then one really couldn’t do anything. And eventually the vacation is over and the vacationer is left wondering “why it is / We are dying,” the closing lines to the poem. “Violent Storm” (which is the next poem in the Selected Poems) comes to a similar conclusion after a dialectical movement between dream/fantasy imagery with the imagery of the real. And it ends, “Already now the lights / That shared our wakefulness are dimming / And the dark brushes against our eyes.” Strand will throughout his poems give examples of how to be active, especially in the present.

For Strand, the present “is a place / you’ve never been” (“Black Maps,” Darker, 1970), it is “emptiness,” and it is something to inhabit, if it can be inhabited. For instance, Strand has what I call “temporal loop” poems. These are poems you read and feel like you are moving through time, but by the end, you are where you started, and you not sure if any time has passed. This occurs in “The Tunnel” (Sleeping with One Eye Open), where the speaker sees a man “standing in front” of his “house / for days.” The speaker tries to get him to leave, but the stranger will not. The speaker then tries to protect himself and escape to his neighbor’s house by digging a tunnel. Eventually, he comes “out in front of a house,” and he gets the sensation that:

     I feel I’m being watched
     and sometimes I hear
     a man’s voice
     but nothing is done and I have been waiting for days.

The speaker and the man at the door are the same, despite the shift in time and place. Or there is the psychological thriller in “The Mailman”:

     It is midnight.
     He comes up the walk
     and knocks at the door.
     I rush to greet him.
     He stands there weeping,
     shaking a letter at me.
     He tells me it contains
     terrible personal news.
     He falls to his knees.
     “Forgive me! Forgive me!” he pleads.

     I ask him inside.
     He wipes his eyes.
     His dark blue suit
     is like an inkstain
     on my crimson couch.
     Helpless, nervous, small,
     he curls up like a ball
     and sleeps while I compose
     more letters to myself
     in the same vein:

     “You shall live
     by inflicting pain.
     You shall forgive.”

This poem is from Reasons for Moving (1968). This looping idea and uncertainty of presence in the present will really come into full being in “The Untelling,” the nine-page poem from The Story of Our Lives, but more on that later. The poems that play with time and try to define the present are also poems that blend the perceived with the misperceived and how the misperceived becomes real, much like he does with the surreal and real imagery he uses.

The intersection of the surreal and real is introduced in the title of his first collection: Sleeping with One Eye Open, so as to suggest the real (one eye open) and dream world (sleeping and surreal) coexist. Often the poems move in a dialectical movement between the real and surreal, such as in “Violent Storm” (Sleeping with One Eye Open) or in “The Man in the Tree” (Reasons for Moving, 1968). Often after alternating between surreal and real imagery, there is a moment of analysis, but eventually, the reader (or the speaker, maybe) are left wondering what is real or surreal, or how is the surreal successfully posing as the real, or how the surreal became real? For example, in “What to Think Of” (Reasons for Moving), the poem opens:

     Think of the jungle,
     The green steam rising.

     It is yours.
     You are the Prince of Paraguay.

The poem begins by asserting the imagination and the reality it can create, and it’s so real, one can own it like a prince. And as a prince, as the poem shows, the people worship you (the imaginer) and the “air” you inhabited as prince. In fact, you as prince are “almost a god.” The imagined realm, however, can come alive without your consent. It’s something you can’t fully colonize. Soon the “bats / Rushing out of their caves,” and the “coral snakes,” “crimson birds,” and “tons and tons of morpho butterflies” arrive “Like the cold confetti of paradise.” In this case, the reality is harsh, because the imaginer tried to rule over it like a prince. This poem is also a poem about how to inhabit a place.

Inhabiting a place, especially the place of “I,” is a significant theme in Strand’s poems, where things are often being filled or emptied and where there is liminal imagery like doors, windows, and horizons. Much of Strand’s poetry is concerned with what I is or can be. There is the concern with the physical I, such as in “Keeping Things Whole”:

     In a field
     I am the absence
     of field.
     This is
     always the case.
     Wherever I am
     I am what is missing.

     When I walk
     I part the air
     and always
     the air moves in
     to fill the spaces
     where my body’s been.

     We all have reasons
     for moving.
     I move
     to keep things whole.

He is not a field, but he inhabits the space that is the absence of the field. He fills the void of wherever wherever is not. He is presence where once there was absence. He’s always walking into what is missing and his presence is erased by the moving air filling his spaces when he leaves. And so he moves to keep things whole. However, as I read more of Strand, I find the physical I that fills spaces to be only a container of the life of I. The body is not the I but is a storage unit for the life of I. This sounds confusing, so let me give an example.

     The Remains

     I empty myself of the names of others. I empty my pockets.
     I empty my shoes and leave them beside the road.
     At night I turn back the clocks;
     I open the family album and look at myself as a boy.

     What good does it do? The hours have done their job.
     I say my own name. I say goodbye.
     The words follow each other downwind.
     I love my wife but send her away.

     My parents rise out of their thrones
     into the milky rooms of clouds. How can I sing?
     Time tells me what I am. I change and I am the same.
     I empty myself of my life and my life remains.

This poem is from Darker (1970). By the end of the first two lines, it’s as if he is without ego (how he interacts with “others”), without an id (as he has emptied himself of possessions and thus desire), and when he leaves his shoes, it’s like he’s walked out of himself. He tries to find himself through memories and through language, but those are all fleeting ways to make a self. He realizes he, but not his body, is his “change,” his growth, his experiences through time. And if he empties the shell of the body, his life still remains, in a way similar to a photograph. It’s the living that matters, not the body or appearance or presence of body. It’s what one does while inhabiting the body. It’s the body moving through the moments of time, for in each moment “There is the sleep of one moment / inside the next” (“The Sleep,” Darker, 1970) and each moment keeps birthing another moment until the final moment, which is death, which is “like another skin which I shall never be found, / out of which I shall never appear” (“The Sleep”). Death is another space into which one grows, as he says in “My Life,” “I grow into my death” (Darker, 1970). But if one doesn’t live that life in the body, then there will be regret.

Perhaps the one poem that brings all four of these themes together is “Elegy for My Father” (The Story of Our Lives, 1973), which has six sections. The first section is titled “The Empty Body.” This section along with section three, “Your Dying,” speak harshly to and about his dead father, who did not inhabit the one body he was given, as the opening lines indicate: “The hands were yours, the arms were yours, / But you were not there,” or later where he more clearly states it, “The body was yours, but you were not there.” According to the speaker, the father found pleasure in not filling his body with life experiences because, among many things, he “went to work let the cold enter your clothes. / [. . .] But nothing could stop you” from dying, and “You went on with your dying.” Slowly, I start to realize, or conjecture, that his father is the cause for Strand’s themes of living, the presence of I, and inhabiting the present. In section four, “Your Shadow,” real and surreal imagery enter the poem in the form of the father’s shadow, which in Jungian psychology is the unconscious part of the personality and everything that one cannot directly know about him- or herself. It is repressed substance, whether good or bad. In this case, it is the father’s will to live, for the shadow, after the father dies, is excited and “rejoiced among the ruins” of the dead host. The shadow is free and feels it can finally live. The shadow makes it presence known to the speaker as the speaker recounts what happened, “It sat on my shoulders. / Your shadow is yours. I told it so. I said it was yours. / I have carried it with me too long. I give it back.” (Where “yours” is his father.) Which to me seems like the speaker is saying something like, “I’ve been living enough and trying to fill both our lives (his and his father’s). Stop projecting on me. You had your opportunity to live, and now it’s past.” In the last section, “The New Year,” he tells his dead father in the winter of the new year, “Nobody knows you. You are the neighbor of nothing.” His father failed to fill the empty body with something.

Later in Strand’s writing, the surreal imagery occurs less often, and he also starts considering how language can fill the I or the present. In “The Untelling,” for example, the poem narrates how a character is trying to write and narrate and existence through writing, which continually fails in whole, but it does minutely affect his surroundings, or so we think until we arrive at the end of the poem, which is really the beginning of the poem again. We have entered another temporal loop, but his one is more of a narrative loop driven by language, which leaves the reader wondering, again, about perceptions and misperceptions and how they affect each other. This time, however, unlike the surreal-real interactions of his earlier poetry, it is the interaction of language with the real.

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22
Jun
14

On Stuart Kestenbaum’s Only Now

A version of this review (and a better edited version) may appear in a future issue of Redactions: Poetry, Poetics, & Prose. //

Stuart Kestenbaum – Only Now Many of the poems in Stuart Kestenbaum’s Only Now (Deerbrook Editions, 2014) feel like poems Gregory Orr would write if he wrote narrative poems (some of the meditative and lyrical poems also feel like Gregory Orr poems), a number of the poems have the mythical feel of a Merwin myth-like poem, and some have the intimacy of a Jack Gilbert poem. These styles, among others, are what one would need to successfully write a carpe diem book of poems, and neo-romantic book of poems, at that.

I don’t normally like drawing comparisons to other writers when a reviewing a book of poems, but this time it seems like a good idea to present a feel for the book. In addition, while the opening poem, “Prayer While Downshifting,” is a fine poem, it is acting more as a deliberate lense for the book. By placing this poem at the opening, Kestenbaum is attempting to focus the reader’s mood or reading in a deliberate direction. However, this poem would be better off if it appeared further on in the book, as it needs to built in to or up to. As an opening poem, it’s too heavy handed in its allegory and symbol building, and I want everyone who gets to this book to know that what follows the opening poem is very moving – emotionally and intellectually. In addition, I think (and wonder) if it is better for an author to let the reader discover meanings on their own instead of directing them down a certain path. Or better still, for the author and reader to discover together. More inclusiveness. More of a we-book, where meanings have “to happen because we’ve / made a framework for it. It’s the framework that gives the meaning” (“Big World”). Further, “because meaning is a wild animal that surprises you” (“Prayer for Real”), the reader will want to experience the surprise of discovering meaning, which is what this book does. It surprises. It’s inclusive. It’s a book for author and reader, for you and me, for we.

Maybe it would be better if the book opened with the second poem, “Rocky Coast,” which begins 350 million years in the past, and then in two words, flashes forward 350 million years to today. (Has there ever been a lengthier flash forward?) And this flash forward takes us into an everyday we are familiar with – it takes us into Dunkin’ Donuts. It delivers us into fantasies of hope, revenge, and escape while the “fallen world” is everywhere outside the Dunkin’ Donuts. The next poem, “Getting There,” turns inward even more. It balances the safety of Dunkin’ Donuts with the neo-romantic notion that “deep inside us” are the answers to:

     Where is the place we are always asking about.
     It’s the country we remember in our dreams.
     Where is where we’ll find what we need to know

     whatever that is, whatever we thought it was
     going to be.

Notice how these are shared questions (we all have them), but it’s the turning inward where we find our own answers and meanings. The slow accumulation of poems in Only Now is like a manual of examples and experiences we are all aware of, and the poems about them are in Only Now for us to meditate on, to turn inward on, to equip us with living in the only now we have, and to help us prepare for our eventual demise.

For instance, the conclusion of “Crows”:

         before we began to speak we could feel the world
     inside our bodies and it moved us as we moved with it.
     Perhaps this is our mother tongue, the language of our cells,
     the diction of our hearts and lungs. There, don’t say
     anything for a while, don’t even think in words,
     think in whatever is beyond the thought of words,
     the nameless world that you try so hard to forget
     by naming everything. Take away the caws from the sky,
     take away the rumble from the ice and while you’re at it
     take away the hiss of today’s headlines, like air leaking
     out of the world. See what’s left after that and listen to it.

Again, there is the turning inward for answers, meanings, and, perhaps more importantly, the turning to pure experience – the experience of events before the interference of language. In this wordless realm, we might even get closer to how a god lives and experiences time and the world, as we eventually will. In “Wild God,” we experience god in the Garden of Eden “when the earth was new and animals hadn’t been named yet.” We see god creating and rearranging the earth and then relaxing and admiring his work. Similar to “Rocky Coast,” there is a lengthy flash forward, but this time the experience is not imagistic – like being in a Dunkin’ Donuts – it’s in the experience of time as a god experiences time. When I read this poem the first time, I felt a shift in time, but I wasn’t sure how it happened. It was seamless and flowed naturally. After I paid closer attention to the tenses in the poem, I saw how in half a line the tense shifted from past to present, and the poem moved from millions of years ago to today almost instantaneously, in the blink of a god’s eye. Kestenbaum used syntax and not words to approximate the experience of time for a god. He didn’t explain or even show. He made an experience and made it feel real. In addition, this instantaneous passage of time also seems to suggest that the past resides in the present, or that the distance between past and present is not so far apart, such as for the 93-year old Dora on her deathbed in “The Passage,” who is dying in the present but living in the memories of her past.

Overall, Only Now creates the feeling that living and dying is a juggling act:

     Whether we spend our time
     fearing death or not, listening
     for its footsteps or plugging

     our ears, we all end up
     where we began, just dust
     combined with the weight
 
     of what we carried in the world. (“Scattered”)

It’s a juggling act of living in the now and with the past that made us into who we are now, while at the same time preparing for death, or even avoiding thinking about death like “young minds [who] can’t imagine not existing anymore” (“Back Then”). Stuart Kestenbaum through tight, interlocking poems gives experiences for how to live “As if the Tree of Life / is inside us” (“Breath”) within the precious time we have in our Only Now that is our only life. This is a book of poems I can’t recommend enough for the collective that is we.//

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Kestenbaum, Stuart. Only Now. Cumberland: Deerbrook Editions, 2014.//

31
Jan
13

W. S. Merwin’s The Shadow of Sirius (2008)

Over the next few weeks or months, I will post all my reviews (“Tom’s Celebrations”) that appeared in Redactions: Poetry, Poetics, & Prose (formerly Redactions: Poetry & Poetics) up to and including issue 12. After that, my reviews appeared here (The Line Break) before appearing in the journal. This review first appeared in issue 11, which was published circa January 2009.

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W. S. Merwin's – The Shadow of SiriusDoes W. S. Merwin’s newest book, The Shadow of Sirius (Copper Canyon Press), need a review from me  . . . a mortal? Probably not, but not for the reasons you might think. Quite often in this book I think Merwin transcends time, and he succeeds in actually yoking together his whole life:

   that I would descend some years later
   and recognize it
   there we were all together
   one time                    			
                                             (“Europe,” 28)

The now, the past, and the present become one, not just because he says so, but because you can feel it through his use of verbs. He uses simple verbs like “is,” “was,” and “will be” in a complicated reflective-visionary-staring-into-the-now manner and in an easy to read manner, and those two modes, in part, create this timeless effect.

To a larger extent, Merwin continues to write to the large past and the large future and the large present of poets – he talks to them all simultaneously, which may be even easier than yoking together his life.

Oh, there’s obviously more to this book than time, his time, and humanity’s time. There is his new experimentation with line breaks, which has subtle and interesting effects on the Merwinian tone. This undertaking is much like an older John Coltrane experimenting with bending notes in a Seattle concert, but it is easier on the ears. Yes, there’s much more than time and line breaks, like words:

   apparently we believe
   in the words
   and through them
   but we long beyond them
   for what is unseen
   what remains out of reach
   what is kept covered      		
                                        (“Raiment,” 26-7)

Yes, Merwin is still relevant, strong, and uncovering more great poetry for us.//

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Merwin, W. S. The Shadow of Sirius. Port Townsend, WA: Copper Canyon Press, 2008.//




The Cave (Winner of The Bitter Oleander Press Library of Poetry Book Award for 2013.)

The Cave

Poems for an Empty Church

Poems for an Empty Church

The Oldest Stone in the World

The Oldest Stone in the Wolrd

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Henri, Sophie, & The Hieratic Head of Ezra Pound: Poems Blasted from the Vortex

Pre-Dew Poems

Pre-Dew Poems

Negative Time

Negative Time

After Malagueña

After Malagueña

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