Following a link from A Practical Policy, I read this story, “Segundo’s Revenge,” by Joe Emersberger, a writer unknown to me. I had read some other things at Liberation Lit, but nothing that carried out the LL mission to combine the political and the artistic quite so deftly. It’s a terrific story, though I wish it were not quite reticent — I could do with a bit more characterization and description, but I kind of see why Emersberger keeps it simple, with a powerful through-line. I’ll be keeping this piece in mind as I work out how to make poems and stories of my own out of “political” material. When I was beginning as a writer many hears ago there was a strong bias in the classroom against the didactic and the political in literature and I absorbed that vibe even while having strong political convictions. I mean, I’ve already written plenty of political poems, but I don’t really know how to do it — I have no systematic understanding, though the frank admission in the Liberation Lit writers’ guidelines that there is some strongly perceived division between the political and the aesthetic is a healthy admission, I think. Perhaps at this moment in the West we are without a synthesis of the political and the aesthetic with the result that we have to make up a new method for each piece of work.
I’m trying to gather material impressions while I’m here in Vietnam that I’ll be able to turn into poems and stories — the story ideas I’ve had so far each take on the political situation of the sympathetic foreigner encountering the people and places and institutions of Vietnam. Nothing has gelled, but then I haven’t taken time to sit down and fill out my brief notes, which is how things usually begin for me.
Henry Gould has started a new discussion blog about contemporary poetic practice. If you’re a working poet, check it out & if you think it’s interesting drop Henry a line to see about becoming a contributor. Here is the text of my first post:
I’ll begin by thanking Henry for inviting me to participate in this discussion. I hope we can attract others to the conversations as well. Especially those who, for whatever reasons, have found the currently available maps and charts of poetic practice inadequate to their needs. (There are also those pure souls who find no need of maps.)
Henry has chosen the metaphor of the plumb line around which to organize this discussion. I have also been reading poet / blogger Seth Abramson’s discussions of poetic taxonomies recently. In passing, Abramson uses the metaphor of the baseline in one of his discussions (thus the picture of the spirit level above), which seem to me the most lucid map-making I have encountered. (Abramson also offers an admirable model of reasonable discourse around a cluster of contentious issues.) What I have found salutary about Abramson’s proposed taxonomy is that it avoids the binary division of Ron Silliman’s School of Quietude versus Post-Avant boxing match, which is my its nature polemical rather than descriptive. (In any binary pair, one term will have a positive valence, the other a negative, though these can reverse depending upon context / perspective.)
Silliman’s division of the poetic landscape has long troubled me at the level of personal practice. It is embarrassing to admit, but I have longed to be able to fit into a known aesthetic type & in addition my strong personal preference generally has been to identify with the most progressive trends in politics & arts. But I haven’t been able, in my practice as a poet, to find much use for the Language poets & their progeny. I own a shelf full of books & it is not for lack of trying; rather, of trying & being rebuffed. There have been times over the last decade when I have simply not been able to find my way as a poet, long periods of silence. It would be absurd, obviously, to blame the SoQ / Post-Avant division. I am of course responsible for my own practice, but this particular binary division has made it difficult for me to find an aesthetic location, to chart my position on the map. I’ve accepted Henry’s invitation to post here at least in part because I hope to be able to find common ground across the territorial boundaries of contemporary American poetry.
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