Ekleksographia is a very cool new online poetry publication. And I’m not just saying that because my friend Anny Ballardini has selected some work of mine to appear in the forthcoming issue. The inimitable Jesse Glass of Ahadada Books is the spirit behind the effort and as with all his projects, Ek (as I am affectionately calling it), has a smart/sweet (as in sweet spot) vibe to it. Ek has the potential to be the new century’s Kayak. And not just because of the letter K, either. Anny has selected the opening section of my version of the 18th century Vietnamese poem, The Lament of the Soldier’s Wife (Chinh Phu Ngam), which I had worked on years ago when I was in Vietnam and recently pulled out again to see if I could get back into it — the original is more than 800 lines long!
1. I just heard that I’m going to have two poems in The Georgia Review.
2. It looks very likely that I will be taking a group of Clarkson students to Vietnam next May.
A portrait of the young poet as an old man, or perhaps the old man as a young poet. In any case, here is an admiring profile of Leonard Cohen in the New Yorker.
I had not known the work of the architect Charles Gwathmey until I read his obituary in the NY Times.The photograph of the small house he designed for his parents in 1966 is breathtaking and reminds one of the aesthetic power of the Modernist vision, in architecture, which I know only casually, and in poetry, which I know professionally. Things have changed, of course; Modernism has been replaced by the hodge-podge amalgam of post-modernism. The Times quotes a friend of the architect: “‘A lot of people jumped ship, but Charlie was loyal to Modernism’, said Peter Eisenman, the architect and theorist.” Given my preference for pluralism over any form of authoritarian Tradition, I should be happy about the passing of Modernism, but it produced so much great art that I not so secretly long for a return to the vision quest of the Modernist project, to put something together out of the fragments of the past as it has come down to us, though I have perhaps a more catholic appreciation for and acceptance of the sort of fragments that might be useful than the old Modernists.
I wonder what the poetic equivalent of this art installation would be. Flarf? In the visual arts I find this kind of massive accumulation of detail deeply engaging. Why do I distrust it in poetry? Do I distrust it? I find Allen Ginsberg‘s long catalogs moving and often very finely tuned, intellectually. “Black Acid Co-op” feels like Ginsberg to me — it doesn’t appear to be interested in undercutting its own position with irony, except the irony of putting all this in an art gallery, of course.
Human beings seem to be inveterate makers of pattern, whether musical, visual, or verbal. The people who hollowed out the bird bones and cut holes at regular intervals were also making stunning pictures on the walls of caves and, I have no doubt, singing songs to their children and telling each other stories. All of these activities have pattern making at the heart. Other animals can recognize patterns in the world around them; human animals seem to be the only ones compelled to consciously create patterns — in the air, on the walls, with their voices.
I’ve just been reading Ellen Bryant Voigt’s delightful little book, The Art of Syntax — another in Graywolf’s really excellent The Art of series* — in which she makes explicit the patterns and variations in several poems serving as exempla.After all these years of writing poetry, Voigt’s little book excites me about what originally excited me — making shapes with words. With James Longenbach’s The Art of the Poetic Line, Voigt’s book would serve the intermediate student of poetry as a fine introduction to the art.
*Charles Baxter’s The Art of Subtext, another entry in this series, is a rich source of insight about the textures of literary fiction.