Showing posts with label women. Show all posts
Showing posts with label women. Show all posts

Wednesday, March 2, 2022

Barbara Guest

 

001guest

Santa Fe Trail

I go separately
The sweet knees of oxen have pressed a path for me
ghosts with ingots have burned their bare hands
it is the dungaree darkness with China stitched
where the westerly winds
and the traveler’s checks
the evensong of salesmen
the glistening paraphernalia of twin suitcases
where no one speaks English.
I go separately
It is the wind, the rubber wind
when we brush our teeth in the way station
a climate to beard. What forks these roads?
Who clammers o’er the twain?
What murmurs and rustles in the distance
in the white branches where the light is whipped
piercing at the crossing as into the dunes we simmer
and toss ourselves awhile the motor pants like a forest
where owls from their bandaged eyes send messages
to the Indian couple. Peaks have you heard?
I go separately
We have reached the arithmetics, are partially quenched
while it growls and hints in the lost trapper’s voice
She is coming toward us like a session of pines
in the wild wooden air where rabbits are frozen,
O mother of lakes and glaciers, save us gamblers
whose wagon is perilously rapt.

Barbara Guest

 

Fay Lansner: “Portrait of Barbara Guest” (1970s. Oil on canvas, 60 x 36 in.).

                                                Fay Lasner. portrait of Barbara Guest, 1970

Non Est . . .


Nothing more to say, Catullus,
            you have walked away

                                   from the green room
                                      "       "     dark room
You have turned your head
                                   from the clam beds

                                            Catullus!

You must be hiding!

                                   I do not know the address
                                   of your villa
I do not know the fiddlers, the caterers
                                   or those space girls
who sang of those women
(now they’re wringing their hands)

I am a visitor who reads magazines
                                   in one language

Tuesday, March 1, 2022

Adrienne Rich

 







In Those Years

In those years, people will say, we lost track
of the meaning of we, of you
we found ourselves
reduced to I
and the whole thing became
silly, ironic, terrible:
we were trying to live a personal life
and yes, that was the only life
we could bear witness to

But the great dark birds of history screamed and plunged
into our personal weather
They were headed somewhere else but their beaks and pinions drove
along the shore, through the rags of fog
where we stood, saying I


Jean Valentine

 






For S., At The Boat Pond

The newspapers blowing over the street
made her cry, all the birds in New York were crying
because they couldn’t speak Greek,

she took nothing with her and went out onto the street.
The day was obscure, one more
lick of the quiet licking at the door,

her soft black magic, swallowing him, the children,
the world: leaving, everyone leaving,

all turning angels or nothing,
nothing or swimming like paradise children.


Sunday, February 27, 2022

Kathleen Fraser

 







"This Language We Come Up Against"

Hartley "Textual Politics" - On Stein: "She does not write in order to
enclose (define, delimit, decipher) the world but to move within it;
in other words, she does not function according to the static
determinism of the noun but through the process of relationship." 
Juxtaposition important; meaning in relation.  Political lang poets: 
     
McGann, "Contemp Poetry, Alt Routes" - Lang poets repudiate linear
and/or chornological narrative, and use instead anti-narrative and
non-narrative.  Lang writing is actually constructive in its
demolition of the conventional relation between the active
(dictatorial) writer and the passive (victimized reader)--against the
"I know, you don't," "I have, you want," "I give, you take" writer-
reader relationship.  Thinks of political life and learning
(government-citizen and teacher-student relations) in the same way. 
Lang writing attempts to draw reader into production process by
leaving connections between various elements open, thus allowing
reader to help produce those connections.

Bernstein, "Whose Language" (P) - ..by leaving connections between
various elements open, thus allowing reader to help produce those
connections.  John Cage: "Studying being interrupted."

Bernstein's "Dysraphism" (B) - "I felt the abridgement of
imperatives....Morose or comotose."  (Jackson Mac Low: healthy for
meaning to think of words as sounds: "But can I specify anything
beyond sounds? Words gives "'the sensation of meaning,'" but can I
connect the meanings of the words as readily as I find their sounds
connected?"

Howe from My Emily (B) - Who polices questions of grammar? Commends
"breaking the law just short of breaking off communication."  Tom
Mandel's "Realism": "The text guards the door to the reading room."

Armantrout, "Lang of Love" (P) - If lang (e.g. sexual political lang)
is forever exfoliated and encoded, then "understanding" is itself one
of those words. Coming on to you, "The boss could say / 'parameters' /
and mean something / like 'I'll pinch.'"

Silliman, "Albany" (B) - linear chronological autobiographical
narrative is bullshit.
John Cage: "Constellations of ideas (five as a minimum)."  Narrative
essence = having a goal; but, per John Cage, "Goal is not to have a
goal." "This" is the one thing that will save America.  Make it new =
renew contract with America: "Sign here and the ink will fade in
conditions of its own choosing, an icon overcome by the conditions of
its control" (Tom Mandel, "Realism"). See the back of this page.

Kathleen Fraser, "re:searches" (P) - same attitude against
chronological autobiography as Silliman. "Not random, these /
crystalline structures, these / non-reversible orders...this language
we come up against."

Carla Harryman, "Realism" & Tom Mandel, "Realism" (P) - Pomo lang is
not only meaningful but is in fact a form of realism superior to what
we customarily call realism, a mimesis (imitation) not of the external
object but of the perceptual process itself.  John Cage:
"Art=imitation of nature in her manner of operation."



Susan Howe

 








My Emily Dickinson (excerpt)

In the college library I use there are two writers whose work refuses to conform to the Anglo-American literary traditions these institutions perpetuate. Emily Dickinson and Gertrude Stein are clearly among the most innovative precursors of modernist poetry and prose, yet to this day canonical criticism from Harold Bloom to Hugh Kenner persists in dropping their names and ignoring their work. Why these two pathfinders were women, why American--are questions too often lost in the penchant for biographical detail that "lovingly" muffles their voices. One, a recluse, worked without encouragement or any real interest from her family and her peers. Her poems were unpublished in her lifetime. The other, an influential patron of the arts, eagerly courted publicity, thrived on company, and lived to enjoy her own literary celebrity. Dickinson and Stein meet each other along paths of the Self that begin and end in contradiction. This surface scission is deceptive. Writing was the world of each woman. In a world of exaltation of his imagination, feminine inscription seems single and sudden.

As poetry changes itself it changes the poet's life. Subversion at- tracted the two of them. By 1860 it was as impossible for Emily Dickinson simply to translate English poetic tradition as it was for Walt Whitman. In prose and in poetry she explored the implications of breaking the law just short of breaking off communication with a reader. Starting from scratch, she exploded habits of standard human intercourse in her letters, as she cut across the customary chronological linearity of poetry. Gertrude Stein (1874-1946), influenced by Cezanne, Picasso and Cubism, verbally elaborated on visual invention. She reached in words for new vision formed from the process of naming, as if a first woman were sounding, not describing, "space of time filled with moving." Repetition, surprise, alliteration, odd rhyme and rhythm, dislocation, deconstruction. To restore the original clarity of each word-skeleton both women lifted the load of European literary custom. Adopting old strategies, they reviewed and re-invented them.

Emily Dickinson and Gertrude Stein also conducted a skillful and ironic investigation of patriarchal authority over literary history. Who polices questions of grammar, parts of speech, connection, and connotation? Whose order is shut inside the structure of a sentence? What inner articulation releases the coils and complications of Saying's assertion? In very different ways the countermovement of these two women's work penetrates to the indefinite limits of written communication.


Emily Dickinson took the scraps from the separate "higher" female education many bright women of her time were increasingly resenting, combined them with voracious and "unladylike" outside reading, and used the combination. She built a new poetic form from her fractured sense of being eternally on inteIlectual borders, where confident masculine voices buzzed an alluring and inaccessible discourse, backward through history into aboriginal anagogy. Pulling pieces of geometry, geology, alchemy, philosophy, politics, biography, biology, mythology, and philology from alien territory, a "sheltered" woman audaciously invented a new grammar grounded in humility and hesitation. HESITATE from the Latin, meaning to stick. Stammer. To hold back in doubt, have difficulty speaking. "He may pause but he must not hesitate"-Ruskin. Hesitation circled back and surrounded everyone in that confident age of aggressive industrial expansion and brutal Empire building. Hesitation and Separation. The Civil War had split American in two. He might pause, She hesitated. Sexual, racial, and geographical separation are at the heart of Definition.



Gertrude Stein

 




Stanzas In Meditation: Stanza II

I think very well of Susan but I do not know her name 
I think very well of Ellen but which is not the same 
I think very well of Paul I tell him not to do so 
I think very well of Francis Charles but do I do so 
I think very well of Thomas but I do not not do so 
I think very well of not very well of William 
I think very well of any very well of him 
I think very well of him. 
It is remarkable how quickly they learn 
But if they learn and it is very remarkable how quickly they learn 
It makes not only but by and by 
And they may not only be not here 
But not there 
Which after all makes no difference 
After all this does not make any does not make any difference 
I add added it to it. 
I could rather be rather be here.

Tuesday, February 22, 2022

Cole Swensen

Cole Swensen


3 - Where does a poem usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?


I tend to work on a book from the very beginning. In the last few things I’ve written, the book is the basic unit, so while my books are composed of discrete poems, they are conceived as larger units. 


Lately books have started for me through a nagging interest that I want to explore, and often that exploration amounts to lots of reading and light research, and often it has something to do with the visual arts—the visual arts linked with history. It’s a way, perhaps, of insisting upon poetry as language-as-art rather than language-as-information. I feel like I learned a lot the Language poets when I was in my early 20s, and particularly about the material potential of language on the one hand and the dangers (political and social) of the illusion of transparent and/or objective language on the other. That attention to surface has mixed in me with a love of the visual arts and has generated some of my works, though at times I regret poetry’s inability to achieve the same immediacy. 


 That regret is in part behind my interest in ekphrastic poetry, in reworking that genre so that it’s not so much a matter of standing across from a painting and attempting to replicate or translate its emotional impact, but of finding new ways to live with and in art, to make it increasingly present by having it infuse such a daily staple as language. 


I often begin with a specific work of art and a related idea. My most recent bookThe Glass Age, comes out of Pierre Bonnard’s paintings of windows and their paradoxical opacity (he used such vivid, dense, opaque colors), mixed with the idea that our age, beginning with the technological and scientific revolutions of the 19th century, is an increasingly fragile one, from the psychological brittleness caused by the loss of God to our potential to literally destroy the world.
The book I’d written before that, The Book of a Hundred Hands, began with a drawing manual by that name, and tries to see how much of a sheer concept the hand can become. And the last manuscript I finished, Ours, which is coming out in 2008, began in the 17th century formal French gardens of André Le Nôtre and addresses the idea of public versus private property.

Cole Swensen

 

Monday, February 21, 2022

Cole Swensen


 


André-Marie Ampère 1775–1836

electrically rowed Rousseau from a wide green meadow
                                                                                        into his brain
along with Buffon and Diderot
                                                 and the entire Enlightenment embroidered
in fractions, thus confusing
                                              poetry and mathematics. He stood back
and declared:
                        An umbrella could envelope
                                                                      a good part
of the village of Poleymieux en route to reviving the library
                                                                                             and why
did my wife die so young?
                                          Wrote out the psalms on his palm in the
electrodynamic molecules of his time
                                                           which he carried next to his heart
in a heart-shaped box
                                     obsessed
                                                   by Ørsted’s magnetized needle, leaping
full-grown and fully armed
                                           into the periodic table. Noble metals
isolated and at war
                               put each order in order
                                                                      and was the first to define
electric current as a circulation
                                                gazing out over the Mediterranean until it dies.


Edith Sitwell


Edith Sitwell, by Howard Coster - NPG x1639

Aubade

JANE, Jane, 
Tall as a crane, 
The morning light creaks down again;

Comb your cockscomb-ragged hair, 
Jane, Jane, come down the stair.

Each dull blunt wooden stalactite 
Of rain creaks, hardened by the light,

Sounding like an overtone 
From some lonely world unknown.

But the creaking empty light 
Will never harden into sight,

Will never penetrate your brain 
With overtones like the blunt rain.

The light would show (if it could harden) 
Eternities of kitchen garden,

Cockscomb flowers that none will pluck, 
And wooden flowers that 'gin to cluck.

In the kitchen you must light 
Flames as staring, red and white,

As carrots or as turnips shining 
Where the cold dawn light lies whining.

Cockscomb hair on the cold wind 
Hangs limp, turns the milk's weak mind . . .

Jane, Jane, 
Tall as a crane, 
The morning light creaks down again!

Edith Sitwell

 

Edith Sitwell, by Cecil Beaton - NPG x40366        photograph by Cecil Beaton, 1960


Came The Great Popinjay

CAME the great Popinjay 
Smelling his nosegay: 
In cages like grots 
The birds sang gavottes. 
'Herodiade's flea 
Was named sweet Amanda, 
She danced like a lady 
From here to Uganda. 
Oh, what a dance was there! 
Long-haired, the candle 
Salome-like tossed her hair 
To a dance tune by Handel.' . . . 
Dance they still? Then came 
Courtier Death, 
Blew out the candle flame 
With civet breath.

Sunday, February 20, 2022

Cole Swenson


Cole Swensen


Burnish

This is now uncommon. And therefore brittle sheers: 
To burnish is to 
raise the carapace, the doorknob, the letterbox, the concierge who 
gleaming in the sun, turns to sear. This gilded bone. A “we repeat it.” 
Did not reflect our faces. Or those of any we knew. This is a nameplate. Affixed 
to a doorway. No, to a door. Answer: there’s no one there. This is decor; a thin layer of gold that shines in tune. A leaf on which is added one to
one and one. 
It’s a name “scratched” “thereon” 
if I raise a finger 
and say I’m not at home, please; I may for once


Brigit Pegeen Kelly

Image result for brigit pegeen kelly's death 

The Peaceable Kingdom

The leopard is mine, the snow leopard with the face
like a dinner plate, and I am the boy in blue knickers


staring as fiercely as any warrior in any sheepskin
ever stared, but I have no arrows and my leopard will scare


no one. Now, there are only the tulips and the swans unfolding
their soft wings, and the green stream along whose banks


harps are strung in the acacias, over whose waters
the sun passes like a silver hand carrying a cup of wine.


I had not thought enough of death, of entering the black canal,
of rising from the water with my black feathers wet.


and my ears open "like the mouths of babes for milk" to drums
and cymbals, gongs and horns, and that song the stars


sing just before dawn, where there is a night for them
to leave behind and the loss of it growing. Now our hearts


are lions' hearts, golden in our breasts, and if we spit
it is Solomon and the silver of all his temples. Not Solomon


Grundy. Nothing is Grundy here. And though my sandals
do not quite fit, and though the little gray lambs will never


leave me alone, there is only Good morning in all this,
and How do you do? And how do you do again? My mind
is like the harp strings, with a breeze blowing always
and no rest in sight. It is a mind that belongs


to the four winds, and a body that is only the thought of a thought,
a reminder of something the mind tries to gather into a pile


like wheat, but the pile blows away, and I watch gold fragments
turning on the wind. Here the lilies lie down at your feet.


Here everyone wins the prize so you don't know where to look,
whose elbow to softly touch. And there is always


in this liquid air the song my mother sang to me, but now
it is for everyone and my heart, which is a lion's heart,


no longer rolls over and weeps at the sound. What I
wished for is not as I understood it to be, I have still


not seen an angel, unless that red cloud passing beyond the trees
when my leopard went for a walk was one. And though


there are no gates here, no locks or keys, there is also no way
to leave--no way in this lion's heart to desire to do so.


Brigit Pegeen Kelly

 


Windfall

 

There is a wretched pond in the woods. It lies on the north end of a

piece of land owned by a man who was taken to an institution years

ago. He was a strange man. I only spoke to him once. You can still

find statues of women and stone gods he set up in dark corners of the

woods, and sometimes you can find flowers that have survived the

collapse of the hidden gardens he planted. Once I found a flower

that looked like a human brain growing near a fence, and it took my

breath away. And once I found, among some weeds, a lily white as

snow....No one tends the land now. The fences have fallen and the

deer grown thick, and the pond lies black, the water slowly

thickening, the banks tangled with weeds and grasses. But the pond

was very old even when I first came upon it. Through the trees I

saw the dark water steaming, and smelled something sweet rotting,

and then as I got closer, I saw in the dark water shapes, and the

shapes were golden, and I thought, without really thinking, that I

was looking at the reflections of leaves or of fallen fruit, though

there were no fruit trees near the pond and it was not the season for

fruit. And then I saw that the shapes were moving, and I thought

they moved because I was moving, but when I stood still, still they

moved. And still I had trouble seeing. Though the shapes took on

weight and muscle and definite form, it took my mind a long time

to accept what I saw. The pond was full of ornamental carp, and they

were large, larger than the carp I have seen in museum pools, large

as trumpets, and so gold they were almost yellow. In circles, wide

and small, the plated fish moved, and there were so many of them

they could not be counted, though for a long time I tried to count

them. And I thought of the man who owned the land standing where

I stood. I thought of how years ago in a fit of madness or high faith

he must have planted the fish in the pond, and then forgotten them,

or been taken from them, but still the fish had grown and still they

thrived, until they were many, and their bodies were fast and bright

as brass knuckles or cockscombs. I tore pieces of my bread and

threw them at the carp, and the carp leaped, as I have not seen carp

do before, and they fought each other for the bread, and they were

not like fish but like gulls or wolves, biting and leaping. Again and

again, I threw the bread. Again and again, the fish leaped and

wrestled. And below them, below the leaping fish, near the bottom

of the pond, something slowly circled, a giant form that never rose

to the bait and never came fully into view, but moved patiently in

and out of the murky shadows, out and in. I watched that form, and

after the bread was gone and after the golden fish had again grown

quiet, my mind at last constructed a shape for it, and I saw for the

space of one moment or two with perfect clarity, as if I held the

heavy creature in my hands, the tarnished body of an ancient carp.

A thing both fragrant and foul. A lily and a man’s brain bound

together in one body. And then the fish was gone. He turned and

the shadows closed around him. The water grew blacker, and the

steam rose from it, and the golden carp held still, still uncountable.

And softly they burned, themselves like flowers, or like fruit blown

down in an abandoned garden.

 

-from The Orchard

Barbara Guest

  Santa Fe Trail I go separately The sweet knees of oxen have pressed a path for me ghosts with ingots have burned their bare hands it is th...