NOT THE PAST tense of "give," in this case, but a river in southwest France, the Gave de Pau. Like Landscapes on a Train, worth reading in one go if you can manage it, and like that volume too in its pondering of what it means to move and what it means to stand still.
You walk alongside the river. No; you walk always with. Not down, or along, or beside. And you can't help but measure--is it moving faster? And does that mean each molecule of wtaer? Or does a body of water form internal bodies, pockets that move in counterpoint, in back-beat, in eddies? And does the surface ever move? Or is it something underneath that does?
The river is moving constantly, yet also in another way exactly where it has been for centuries. After all, it has a history traceable in the histories of the towns on its banks, which also come in for some attention in the poem. They too are basically where they have long been--but are they the same cities they were? They have moved along in time as the river's water has moved along in its current, the town arriving in its Now as the river arrives at the ocean...except "the river doesn't end / in the sea."
What? But then you think, she's right. It does not end in the sea because in some respects it is still right there beside the town: "rivers so / often seem to run, but / there's a part of them / that never moves again / in their stones."
The phrase "philosophical poem" suggests heavy lifting, effort and aridity, wrestling in a sand dune. Somehow, Swensen a provides a phenomenological meditation that is never anything but swift and nimble-footed.
Thursday, October 12, 2017
Wednesday, October 11, 2017
Cole Swensen, _Landscapes on a Train_
I WOULD RECOMMEND that you read this in a single sitting if you can. I did--found it hard not to, actually--and it does have that train-ride effect of a phenomenon that separates itself from all else for however long it lasts, a kind of capsule in time.
A lot of the effect is due to images that recur in never-quite-the-same sequences, as in Lisa Robertson's The Weather or Stein, often in the same staccato cadences as Stein but different somehow... a bit more lyrical lift, a brisker music? I don't know.
I wonder whether the poem involves a dialogue (so to speak) between the static and the moving. While on a train, one feels as though one is standing still, while actually hurtling forward at however many miles an hour; the landscape zipping by in the windows like a continuous filmstrip, its elements repeating with infinite variations and differences, is actually stationary. (Except that it is on a spinning ball in space...)
Maybe it's a cinematic quality--that feeling one has watching a movie, even a perfectly ordinary one, that you are in a self-contained experience suspending time, putting the rest of life on hold, and you are simply going to watch that movie until it's over. Landscapes on a Train is like that. Very unusual for a poem. How did she do it?
A lot of the effect is due to images that recur in never-quite-the-same sequences, as in Lisa Robertson's The Weather or Stein, often in the same staccato cadences as Stein but different somehow... a bit more lyrical lift, a brisker music? I don't know.
I wonder whether the poem involves a dialogue (so to speak) between the static and the moving. While on a train, one feels as though one is standing still, while actually hurtling forward at however many miles an hour; the landscape zipping by in the windows like a continuous filmstrip, its elements repeating with infinite variations and differences, is actually stationary. (Except that it is on a spinning ball in space...)
Maybe it's a cinematic quality--that feeling one has watching a movie, even a perfectly ordinary one, that you are in a self-contained experience suspending time, putting the rest of life on hold, and you are simply going to watch that movie until it's over. Landscapes on a Train is like that. Very unusual for a poem. How did she do it?
Saturday, September 2, 2017
Elizabeth Hardwick, _Sleepless Nights_
THIS IS TURNING into the Summer of Lowell for me. I read this--not exactly a memoir and not exactly a novel, musical rather than chronological in structure, elliptical and impressionistic--because I wondered what kind of glimpses it would afford of Lowell (Hardwick's husband for about twenty frequently stressful years). Not many, it turns out, and the relatively few times we glimpse what I assume is Lowell (proper names are scarce in Sleepless Nights), he seems unpleasant and a little difficult, but not dramatically so. Given the ammunition Hardwick had available (vide Hamilton, Mariani, Jamison, et al.), her tone is remarkably mild.
The most memorable passage, for me, was about Billie Holiday--an unusual portrait in that it avoided the mythologizing that other portaits of Lady Day are prone to indulge in.
What I was most struck by, though, is the prose, which had what I may as well call a pre-Didion elegance, a willingness to luxuriate in unusual adjectives and slightly récherché similes, a bit like James Agee, say. Sometimes this had a doilies-on-the-armrests effect--now that one is used to Maggie Nelson, Leslie Jamison, Roxane Gay--but it can be appealing too.
For example: "The tall trees, altered by the snow and ice, loomed up in the arctic landscape like ancient cataclysmic formations of malicious splendor."
Not sure how helpful this is--do any of us really know what an ancient cataclysmic formation of malicious splendor looks like, and if we do not, how are we going to know what the trees looked like? But it does roll musically in the mind.
Hard also to think of a contemporary writer who would risk a Latinate inversion like "To him was given heart disease and to her, cancer." The KJV cadence does lend a certain something, though--it's what James Baldwin has that Ta-Nehisi Coates does not.
The most memorable passage, for me, was about Billie Holiday--an unusual portrait in that it avoided the mythologizing that other portaits of Lady Day are prone to indulge in.
What I was most struck by, though, is the prose, which had what I may as well call a pre-Didion elegance, a willingness to luxuriate in unusual adjectives and slightly récherché similes, a bit like James Agee, say. Sometimes this had a doilies-on-the-armrests effect--now that one is used to Maggie Nelson, Leslie Jamison, Roxane Gay--but it can be appealing too.
For example: "The tall trees, altered by the snow and ice, loomed up in the arctic landscape like ancient cataclysmic formations of malicious splendor."
Not sure how helpful this is--do any of us really know what an ancient cataclysmic formation of malicious splendor looks like, and if we do not, how are we going to know what the trees looked like? But it does roll musically in the mind.
Hard also to think of a contemporary writer who would risk a Latinate inversion like "To him was given heart disease and to her, cancer." The KJV cadence does lend a certain something, though--it's what James Baldwin has that Ta-Nehisi Coates does not.
Tuesday, August 29, 2017
Robert Lowell, _Notebook 1967-1968_; Laynie Browne, _Daily Sonnets_
READING JAMISON'S BOOK made me want to re-read some Lowell, and I went with this, the original publication of the sonnets later refashioned as Notebook (without the dates) and then as History and For Lizzie and Harriet. I had not much liked it when I first read it, which must have been in graduate school or shortly thereafter, but I wondered what I would make of it now, with a better understanding, thanks to Jamison, of the titanic struggles Lowell underwent to write anything at all.
Well, I liked a lot of it. There are any number of great lines, and some great poems. What I found myself most thinking of, though, was Laynie Browne's Daily Sonnets, from 2007. I don't think I thought of Lowell at all when reading Daily Sonnets back in 2008 or 2009 (and Browne does not ever allude to Lowell, so far as I can tell), but now all sorts of parallels occurred to me.
They both involve the poet establishing the discipline of writing every day or almost every day, for one thing, and then the discipline of the sonnet itself, which both poets are only loosely tethered to, but which both of them honor in their own ways.
Lowell writes often about his spouse and his child; Browne writes often, though a little less directly, of her spouse and children.
They both include a few translations.
They both includes tributes to fellow writers (Lowell's a bit more tart).
They both address contemporary events in the world.
For all the parallels, though, they seem utterly different. A lot of this (I think) is down to Lowell's ambition. He sees "the poems in this book as one poem," he writes in an afterword, almost as if the book were an epic, or the kind of epic Wordsworth's Prelude was, in which he views his subjective experience through the lens of history and history through the lens of his subjective experience. Given ambition of this scale, it's hardly surprising that the book is an arduous read. That it is readable at all is evidence of Lowell's strength as a poet.
Browne's book is not easy to read--its WTF score is probably as high as that of Notebook ("cutaneous young swan / Prolong an omen or prone quotidian")--but there's more air, more light...maybe it's more of a success. It feels less effortful, in a way that illustrates a significant shift in American poetry over the last fifty years, I think.
Browne is willing to try homophonic translation, for instance, or "dictionary poems," in which all the words of the poem come from the entries on a particular page of a dictionary, and other kinds of invention strategies that involve trust in the aleatory. There's a Taoist relinquishing of desire for control. Browne notes in an afterword, "I have drawn from devotional practices the sense of the poem as an offering--it is beyond ownership--what may be given now."
Lowell's book feels like heroic struggle, as in our received idea of Jackson Pollock, say, locked in existential struggle with his canvas...a great thing about Jamison's book is that we realize there is nothing at all ironic in the phrase "heroic struggle" applied to Lowell, given what he had to stare down in order to write anything at all.
But Browne's book gets airborne more often, I think...maybe just because she's willing to trust the air currents, and Lowell is always flapping his arms.
It's not so much that Browne's book is unambitious as that it has renounced a certain kind of ambition. And that's one difference between poetry in 1967 and poetry in 2007.
I sometimes fe
Well, I liked a lot of it. There are any number of great lines, and some great poems. What I found myself most thinking of, though, was Laynie Browne's Daily Sonnets, from 2007. I don't think I thought of Lowell at all when reading Daily Sonnets back in 2008 or 2009 (and Browne does not ever allude to Lowell, so far as I can tell), but now all sorts of parallels occurred to me.
They both involve the poet establishing the discipline of writing every day or almost every day, for one thing, and then the discipline of the sonnet itself, which both poets are only loosely tethered to, but which both of them honor in their own ways.
Lowell writes often about his spouse and his child; Browne writes often, though a little less directly, of her spouse and children.
They both include a few translations.
They both includes tributes to fellow writers (Lowell's a bit more tart).
They both address contemporary events in the world.
For all the parallels, though, they seem utterly different. A lot of this (I think) is down to Lowell's ambition. He sees "the poems in this book as one poem," he writes in an afterword, almost as if the book were an epic, or the kind of epic Wordsworth's Prelude was, in which he views his subjective experience through the lens of history and history through the lens of his subjective experience. Given ambition of this scale, it's hardly surprising that the book is an arduous read. That it is readable at all is evidence of Lowell's strength as a poet.
Browne's book is not easy to read--its WTF score is probably as high as that of Notebook ("cutaneous young swan / Prolong an omen or prone quotidian")--but there's more air, more light...maybe it's more of a success. It feels less effortful, in a way that illustrates a significant shift in American poetry over the last fifty years, I think.
Browne is willing to try homophonic translation, for instance, or "dictionary poems," in which all the words of the poem come from the entries on a particular page of a dictionary, and other kinds of invention strategies that involve trust in the aleatory. There's a Taoist relinquishing of desire for control. Browne notes in an afterword, "I have drawn from devotional practices the sense of the poem as an offering--it is beyond ownership--what may be given now."
Lowell's book feels like heroic struggle, as in our received idea of Jackson Pollock, say, locked in existential struggle with his canvas...a great thing about Jamison's book is that we realize there is nothing at all ironic in the phrase "heroic struggle" applied to Lowell, given what he had to stare down in order to write anything at all.
But Browne's book gets airborne more often, I think...maybe just because she's willing to trust the air currents, and Lowell is always flapping his arms.
It's not so much that Browne's book is unambitious as that it has renounced a certain kind of ambition. And that's one difference between poetry in 1967 and poetry in 2007.
I sometimes fe
Saturday, August 19, 2017
Álvaro Enrigue, _Sudden Death_, trans. Natasha Wimmer
WOW. THIS IS good. Are there more translations in the pipeline? This is only his second book in English, so far as I can tell from Amazon, but I hope more are coming.
An historical novel in which the main episode--the narration of which is interspersed over the whole length of the book--is a tennis match that probably did not happen (but could have happened) between the poet Quevedo and the painter Caravaggio in Rome in 1599. The progress of the match is described game by game; between these accounts, we get documents bearing on the history of tennis, stories from the last days of Anne Boleyn, a quick look at the court of François Ier, portraits of some key figures of the Counter-reformation, highlights of Cortes's invasion of Mexico, and quite a bit more besides.
Many years ago I read Terra Nostra by Carlos Fuentes, an immense mega-novel set in the same era and with the same interest in what the arrival of Europeans in the western hemisphere meant. Enrigue's novel gave me almost the same sense of immersion in the mental world and atmosphere of an historical turning point, but by flashes and glimpses offered between a description of a tennis match--and in about 500 fewer pages than Fuentes used.
It's a startling departure from the ordinary, clay-footed tread of the historical novel. I had wondered whether a new day for the historical novel was dawning with Bruce Olds's Raising Holy Hell (1995), and Enrigue raises my hopes in the same way.
An historical novel in which the main episode--the narration of which is interspersed over the whole length of the book--is a tennis match that probably did not happen (but could have happened) between the poet Quevedo and the painter Caravaggio in Rome in 1599. The progress of the match is described game by game; between these accounts, we get documents bearing on the history of tennis, stories from the last days of Anne Boleyn, a quick look at the court of François Ier, portraits of some key figures of the Counter-reformation, highlights of Cortes's invasion of Mexico, and quite a bit more besides.
Many years ago I read Terra Nostra by Carlos Fuentes, an immense mega-novel set in the same era and with the same interest in what the arrival of Europeans in the western hemisphere meant. Enrigue's novel gave me almost the same sense of immersion in the mental world and atmosphere of an historical turning point, but by flashes and glimpses offered between a description of a tennis match--and in about 500 fewer pages than Fuentes used.
It's a startling departure from the ordinary, clay-footed tread of the historical novel. I had wondered whether a new day for the historical novel was dawning with Bruce Olds's Raising Holy Hell (1995), and Enrigue raises my hopes in the same way.
Friday, August 18, 2017
Emma Donoghue, _The Wonder_
I DID NOT read Room, but I read a chapter from this in Granta and thought, well, worth a spin.
It's a historical novel, set in post-Famine 19th century Ireland. Anna O'Donnell, an 11-year-old Irish Catholic girl in the countryside, has been living without food for weeks, an accomplishment some of her neighbors are willing to take as a miracle and a sign of sanctity. Having a saint, after all, would be a nice thing for the town--pilgrims and such.
Our point-of-view character is an English nurse, trained by Florence Nightingale herself, who has been called in to make sure the girl stays healthy and, additionally, to make sure she is not sneaking food.
Lib Wright, the nurse, arrives keen to expose what she takes to be hidebound superstition, but a kind of Stockholm syndrome in reverse takes place, and she begins to sympathize with and care for Anna. As Lib learns more of what is going on with Anna, the desire to expose her turns into a desire to rescue her. (Deliverance of the innocent from oppression in confined quarters may be a motif for Donoghue, from what I know of Room.) And, as we gradually learn more of what Lib's past life was like, we see she needs to be rescued herself, or at least find her way to a fresh start.
Donoghue does a nice job of presenting the evolution of Lib's feelings, especially the growth of the bond with Anna, and. the happy ending is cheering if not 100% plausible. Well, you can't have everything.
It's a historical novel, set in post-Famine 19th century Ireland. Anna O'Donnell, an 11-year-old Irish Catholic girl in the countryside, has been living without food for weeks, an accomplishment some of her neighbors are willing to take as a miracle and a sign of sanctity. Having a saint, after all, would be a nice thing for the town--pilgrims and such.
Our point-of-view character is an English nurse, trained by Florence Nightingale herself, who has been called in to make sure the girl stays healthy and, additionally, to make sure she is not sneaking food.
Lib Wright, the nurse, arrives keen to expose what she takes to be hidebound superstition, but a kind of Stockholm syndrome in reverse takes place, and she begins to sympathize with and care for Anna. As Lib learns more of what is going on with Anna, the desire to expose her turns into a desire to rescue her. (Deliverance of the innocent from oppression in confined quarters may be a motif for Donoghue, from what I know of Room.) And, as we gradually learn more of what Lib's past life was like, we see she needs to be rescued herself, or at least find her way to a fresh start.
Donoghue does a nice job of presenting the evolution of Lib's feelings, especially the growth of the bond with Anna, and. the happy ending is cheering if not 100% plausible. Well, you can't have everything.
Thursday, August 17, 2017
Nathan Hill, _The Nix_
I WAS SLOW to pick this one up, because novels that get the kind of build-up this one did last year are often disappointing, but I took a chance, and whaddaya know, it's excellent. I will definitely get Hill's next.
We start with a quick chapter in which a woman in her early sixties, fed up with the mendacity and bad faith of a (Trump-ish) presidential aspirant in her vicinity, heaves a rock at him. She instantly becomes an object of national fascination and (among the Trump-figure's followers) odium.
Here we meet Samuel Andresen-Anderson, early 30s, blocked writer, failing academic, thwarted lover, online RPG addict...Sam is a mess, we have to say, and moreover something of a cliché. The not-so-young-anymore male writer who has come a cropper is a familiar figure. Chip Lambert in The Corrections, "Dave Wallace" in The Pale King, "Joshua Cohen" in The Book of Numbers, to say nothing of the older versions in Michael Chabon's Wonder Boys, Richard Russo's Straight Man, Julie Schumacher's Dear Committee Members.... It all goes back to Stephen at the beginning of Ulysses, I suppose, unless it goes back to Lucien de Rubempré in Lost Illusions.
Sam is the son of the rock-heaver, it turns out, who abandoned the family when Sam was quite young, much to his anguish. Sam's publisher, who is about to drop him (and require him to pay back his long-gone advance), offers him a chance to get back in the game by writing a savage tell-all memoir about his radical harpy of a mother. Sam decides to go along with it.
This project, much to the novel's benefit, gets us out of sad-male-writer world. Pursuant to the tell-all memoir, Sam recalls his childhood, richly and memorably evoked by Hill, and then digs into some research work about his mother--at which point the novel really opens out as Hill reconstructs the life of the mother, Faye. Faye was a small-town Iowa girl who as a freshman at Chicago Circle wound up at the Democratic Convention in Chicago in 1968, a historical vortex Hill does a nice job of recreating.
Hill has a Dickensian deftness in caricatural minor characters--Sam's publisher, Guy Periwinkle, for instance, or Sam's full-blown-nightmare of an entitled/aggrieved undergraduate, Laura ("I pay your salary and you can't treat me like this!"). He even brushes genius in creating some of the not-so-minor characters--Sam's RPG buddy Pwnage, for instance (Hill's narration of addiction to online gaming rivals comparable passages in Infinite Jest), Faye's college friend Alice, and especially Sam's boyhood companion Bishop Fall, unique and unforgettable.
One thinks of Dickens in again when a series of not very likely coincidences resolve the plot in the closing pages, but by that point I was ready to forgive a great deal.
A "nix," by the way, is a kind of bad sprite or curse hanging around in the wake of a past mistake or dropped responsibility, and atonement for such lapses eventually surfaces as a theme--very convincingly, I think.
We start with a quick chapter in which a woman in her early sixties, fed up with the mendacity and bad faith of a (Trump-ish) presidential aspirant in her vicinity, heaves a rock at him. She instantly becomes an object of national fascination and (among the Trump-figure's followers) odium.
Here we meet Samuel Andresen-Anderson, early 30s, blocked writer, failing academic, thwarted lover, online RPG addict...Sam is a mess, we have to say, and moreover something of a cliché. The not-so-young-anymore male writer who has come a cropper is a familiar figure. Chip Lambert in The Corrections, "Dave Wallace" in The Pale King, "Joshua Cohen" in The Book of Numbers, to say nothing of the older versions in Michael Chabon's Wonder Boys, Richard Russo's Straight Man, Julie Schumacher's Dear Committee Members.... It all goes back to Stephen at the beginning of Ulysses, I suppose, unless it goes back to Lucien de Rubempré in Lost Illusions.
Sam is the son of the rock-heaver, it turns out, who abandoned the family when Sam was quite young, much to his anguish. Sam's publisher, who is about to drop him (and require him to pay back his long-gone advance), offers him a chance to get back in the game by writing a savage tell-all memoir about his radical harpy of a mother. Sam decides to go along with it.
This project, much to the novel's benefit, gets us out of sad-male-writer world. Pursuant to the tell-all memoir, Sam recalls his childhood, richly and memorably evoked by Hill, and then digs into some research work about his mother--at which point the novel really opens out as Hill reconstructs the life of the mother, Faye. Faye was a small-town Iowa girl who as a freshman at Chicago Circle wound up at the Democratic Convention in Chicago in 1968, a historical vortex Hill does a nice job of recreating.
Hill has a Dickensian deftness in caricatural minor characters--Sam's publisher, Guy Periwinkle, for instance, or Sam's full-blown-nightmare of an entitled/aggrieved undergraduate, Laura ("I pay your salary and you can't treat me like this!"). He even brushes genius in creating some of the not-so-minor characters--Sam's RPG buddy Pwnage, for instance (Hill's narration of addiction to online gaming rivals comparable passages in Infinite Jest), Faye's college friend Alice, and especially Sam's boyhood companion Bishop Fall, unique and unforgettable.
One thinks of Dickens in again when a series of not very likely coincidences resolve the plot in the closing pages, but by that point I was ready to forgive a great deal.
A "nix," by the way, is a kind of bad sprite or curse hanging around in the wake of a past mistake or dropped responsibility, and atonement for such lapses eventually surfaces as a theme--very convincingly, I think.
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