To begin ...

As the twentieth century fades out
the nineteenth begins
.......................................again
it is as if nothing happened
though those who lived it thought
that everything was happening
enough to name a world for & a time
to hold it in your hand
unlimited.......the last delusion
like the perfect mask of death

Thursday, December 18, 2014

For Milos Sovak in memoriam: Vitezslav Nezval’s “The Heart of the Musical Clock” (1924), a collaborative translation

 
On January 26, 2009, nearly six years ago, Milos Sovak died after a long illness.  Our friendship had lasted over thirty years & gave me the opportunity to work with him on a series of translations, the most important a book of selected poems from the great Czech modernist Vitezslav Nezval & scattered poems from the late Russian Romantic Mikhail Lermontov.  Our collaborations took place mainly in the sunlit garden of his home in Encinitas, California, & occasionally in his other home in Provence, close to Mazan & the chateau & theater of the Marquis de Sade.  Milos was himself a gifted translator into Czech & the designer, typographer, & publisher of limited edition artists’ books through his own Ettan Press in California.  He was a good friend to many poets & artists, & most remarkably an important medical researcher & the inventor of an impressive range of devices in many fields.  The felicities in what follows are largely of his doing.                        

1
Someday to have gone that far
to slip the white glove off
your eye fixed on that one spot on the ring
reality in motion colors sounds & smells
the clock in motion too but different
but different too from science
& from buying a new tie & looking all around you
but different too from thinking hard about it

THIS IS THE HEART OF THE MUSICAL CLOCK 

2
In the end the upholsterer will have to be invited
at dusk the gardener lights the lights in the asparagus
& in the rosy raspberries a caterpillar’s sleeping

DON’T HAVE NO TIME FOR WEEPING

Oh that fantastic doll in her green furs
 
3
There was that Japanese picture you once gave me
I lost it somewhere in a crush of people
there isn’t any need to go that far for it
have you observed the laces on the bosoms of your lady friends?
that’s what poetry is all about

4
A bird landed in the roses & broke its wing
once we could all learn something from these birds
but the bird landed in the bushes broke its wing & now says nothing
listening to the music of the wingless flugelhorn

5
Oh you pink watermills
a star fell in the clock & now it spins around!
let’s go & wind up all those stars
whenever somebody betrays you
then it’s time to fly in closer
Creole women back  in Buenos Aires shining on the promenade
up there in the airplane
& in the pocket mirror

6
A butterfly has settled in a box
it was the butterflies pinned down we most regretted
but you were pinning words down with a dagger

I pressed the letter to my heart
& died

7
In the calendar it says the month of May
oh all you sixteen year old boys & twenty-seven year old women
in the calendar it says the month of May
& you there with a head & hands & legs
So I would change into a kiss a word a smell
would dissipate & vanish
like a dandelion


8
                                                         The windmill of the seasons

A summer night of violets & fireworks out in the little garden

 Spring serenades you on a sugary guitar With autumn there are
                                                                                           [walks & walkers
a nickelodeon plunks on all morning            an English park complete
                                                                                           [with fountain

                      In winter best  of all (oh yes) to be a fan held by a lady
                                                                                             [muse

9
                                                   Windmill of love & the four corners
                                                   On the night stand Poudre Inconnu 

In the Chinese silk a charm                 The red handkerchief conceals a
as of the almond tree                                                      [dreadful dagger

                       Southlands of love the Oranges the mouths the lemons

10
[collage with words by Teige] 

caption
What is the most beautiful thing inside the coffee house?
The red white flowers on the terrace across the way

[.......]
 
12
magazines

Some magazines look like the map of Oceania
what will my magazine named Siren look like?

13
the glances

Love is running along a line of lemon fizzes
the sparkling acrobatics of these eyes
oh you my sweetest bonbons
where does this fun & games express train run to?
from eye to eye into your green arcadia
the snow is interlaced with pink adornments
& maybe best of all a super ice cream
oh stay asleep my little vermin

oh you my cardinal stay fast asleep

14
an event

First we thought it was a secret sign
it could have been a MENU
only it was a calendar
above it there a burnt-out bulb was hanging
until an absolutely white man sauntered by
a woman with her face completely white
oh yes it only was a calendar
I don’t remember the moon any more
ostensibly it didn’t shine
ostensibly it was the new moon

15
Those incredibly small wives are our real heroes
relentlessly they call you on the phone
oh in your heart the bell plays games with you forever
each one of them gets on & screams HELLO!
lays the receiver down
& keeps you on hold until you die

16

                                     GLOBE                           
                                GLOBE - light
                                GLOBE - bearer
                                GLOBE - worm
                                GLOBE - star
                                GLOBE - gloom
                                GLOBE - trotter
                                      GLOBE

17
Someday to have gone that far
to cast aside your weary civilization
so all realities will glow in ultraviolet
but 17 poems will still be something different
& different too from what you first intended
from thinking hard & long to write a poem

THIS IS THE HEART OF THE MUSICAL CLOCK

NOTE. Nezval (1900-1958) was, with Velimir Holan, one of the two great early poets of Czech experimental modernism. Like other innovators then & now, he worked through a prolific sweep of modes & genres: open & closed forms of verse; novels drawn from his childhood & more surreal, chance-oriented prose works; avant-garde theater collaborations; numerous translations of his modern counterparts & predecessors (Rimbaud, Apollinaire, Neruda, Lorca, Eluard, et al.); & forays as composer, painter, journalist, photographer, & (from 1945 to 1951) director of the film section of the Information & Culture Ministry in Prague. His commitment to Communism came early (1924), & his politics before & after made him a prominent member of that network of tolerated avant-gardists/poet-heroes that included Neruda, Brecht, Picasso, Hikmet, Eluard, & Tzara, among others (with some of whom he shared pro-forma hymns to Stalin in the early postwar years). As with many of them also, a Surrealist connection was clearly in evidence but should in no sense diminish the originality of his own practice & its contribution to ours.

The poem presented here is from a longer selection,
Antilyrik & Other Poems, translated by myself & Milos Sovak & published by Green Integer Books in 2001. (J.R.)

Sunday, December 14, 2014

Chronicle: Interview with a Seneca Songman, Richard Johnny John (Part Three)

Richard Johnny John, with Jerome Rothenberg & Ian Tyson, Three Songs from Shaking the Pumpkin












[Continued from previous blogger & Jacket2 postings.  The Kinzua Dam construction referred to by Johnny John was a federal & state project that drove many of the Allegany Senecas from their traditional homes, to be “compensated” by new buildings but with losses still keenly felt when we lived there.  Widespread protests in the 1950s had failed to halt the dam’s construction. (J.R.)]

******

3/ 

Mostly these new songs that we make up are for entertainment – like those gatherings we have,  just to pass the time away, most of it. But there are a few, especially those that have got words in them, that are more serious.  Like ever since they've started this Kinzua Dam, I guess everybody has tried to make up songs about it and how it was going to affect the Indian and everything, wondering where we were going to go after the Kinzua Dam really got up to where it's supposed to be, up to where our old houses used to be, where the water's all covered over now. Well, my brother Art's got one song that's got quite a bit to say about that, and I've got one that's a little more, I wouldn't say more criticizing the white people as Art's is, but maybe I've got a little more meaning to it, I guess I would say.
            I don't know if I can remember just how that song did come to be. I guess one night, it was down at the longhouse at the Singing Society, we had the singing there at the longhouse one evening, and while we were singing at the middle of the council house there - we had the singers' benches out and quite a few of us sitting there and singing - pretty soon Harry Watt come up to me. I was sitting at the end of the bench, and he says could you make up a song  that would say something like what was going to happen after the Kinzua Dam was in, and have a word or two saying just let the Indians go back to heaven or something like that. It took me quite a while before I finally did come up with one, and it has something about the Kinzua Dam and about the Indians going back to heaven on account of the white people taking our land away from us and putting water there where we used to live. What I'm going to do is give you the idea of these two songs that's been made up between my brother and me, and show you the older, original song I used in making up mine. My brother made up the first song, and after Harry heard this one, I think that's where he got the idea that he wanted to have something with more meaning to it. Anyway, this is the way Art's song goes : 

they're going to do us dirt
they're going to do us dirt
when they come & build a dam
at allegany
we won't know where to go
we won't know where to go
when they come & build a dam
at allegany 

Now, the way I made up mine, I got it from an old melody. This Canadian got married to one of the girls on our reservation, and he used to sing this at our singing gatherings and practice sessions, and this is the way it goes: 

now ain't that something!
say the singers
of all them pretty girls
not one was dancing
yahweyho yahweyho yahweyho
heyhono noheyo
of all them pretty girls
not one was dancing 

Well, afterwards Harry asked me to make up the Kinzua song, and here's the way I finally made it out: 

now ain't that something!
say the singers
the dirt we're being done
by our white brothers
the way we see it is
let's all get up & go
back to the sky let's
get on back! 

So, in this one I'd just say the original idea was from that Canadian song and that it took me quite a long while, maybe three, four weeks before I could really get it to where I wanted it. I started off with the first introductory part, the first few words there, then I couldn't put the rest of it together. I'd get just so far and then I'd get stuck. If I just started off and tried to sing it, it didn't sound right to me, so I had an awful time before I could get it straight: the melody change in the second part and the way I wanted to word it.
            In non-word songs you can get that quicker than you would the word songs. Like the word songs do have quite a lot of meaning into them : like that one there, it's just more or less to remind us what has happened to us.  My idea of it was to save the song as long as we can, and maybe in a few years some of the younger generation will learn it, and like everybody else they ask questions about the song. But the songs without words are just more or less for amusement, I guess. To make up non-word songs like that, just change one sound to another and combine and rearrange them some other different ways, and try to make a new song out of them.  There's no limit to the number of sounds that you use: you can use as many as you can. The whole idea of it is to try to combine and rearrange different sounds and see how many you can make up that way. There may be some odd sound that maybe you heard it by somebody saying something at one time or another, and you can try to get that certain sound into a song.  Like you're just talking with somebody, and maybe he'd say some odd little thing like "hey yar" or something like that, and maybe say " I don't know," and then You say "No hey yoh see." That's how you change it. Maybe he's talking along, and maybe he'll say quite a few such words as that: then after you've talked with him, you sit around and think of what he has said and pretty soon you can almost get a song out of it. It's not every song that's made up that way, but mostly when you combine sounds and melody, you have to think what sounds should go into the melody you're trying to follow. You have to follow a pattern. You can almost make up the words as you go along just as it comes to your mind, I guess, and then try to pull them together and make a good song out of it.  Maybe sometimes it does come out all right and sounds pretty good, and sometimes it's just the opposite. You get the melody in and then you can't get the sounds together to make it sound right. You can say it gets kind of muddled up there for a while and then takes quite a while to get it straightened out.
            Some of the sounds that we use are more or less fixed. Like most of the woman's dance songs start out before the introductory part with "heya" and "yo-oh-ho" or something like that. (Some of the other dance songs, they just start out without having them sounds with it.) Then I think most of the songs, even the different dances, use a lot of the "0" in them: "ho," "yo" and "0" I guess are the most popular in all these different dance songs. I believe in all these different dances they hav'e got a lot of that in there. Like  going into the middle of the song, you use a lot of that.
            Like I say, you have to follow a pattern. There are even some sounds we have that you may say rhyme or repeat themselves. Like the sounds in the introductory part. You use the whole introductory, and then in the middle and end parts you rhyme it back or repeat it. A lot of woman's dance songs are made up that way. The oldtimers used to try to make it that way, but now there's so many different songs and sounds that you hear, we've kind of worked away from it a little bit, like us combining three, four different songs at once, so in that way you can't very well rhyme with the first part. Anyway, it's all according to how the song is started out. If you can get the beginning part, the introductory, from there you can go on to try to combine other sounds with it. Then you have to get the pitch of the song to it. I guess all composers have the same trouble as we do, even some of these great composers, the modern-day composers of English songs. Sometimes they have the words there, they have the lyrics there, and still they don't, they won't, they can't be satisfied with how it's going to sound like in the melody part. Maybe the sound is there and you want to use it, and still in your melody that you're trying to think of at the same time, it won't fit in. Or maybe the sound that you're thinking of is too long to go into the melody, and then sometimes maybe it's too short: then you have to add on a few other sounds to go
with it and then fit that into the melody. Sometimes I come to see it that the sound and melody kind of contradict each other, and that sometimes gets real complicated that way; It's not, as you would say, that it makes a song better. It just takes a little more thinking to that: sometimes it turns out to be a big joke after a while.
            With these social dances at the longhouse, we're there just to have a lot of fun anyway, while with the sacred dances we're thinking more serious of what is going on. You think that these sacred songs will help the person, whoever is sponsoring them, whatever the doings are; and I guess, to my opinion, it has helped a lot of people - the sacred dances, that is. But even there, the attitude all depends on how the person sponsoring the doings is feeling. Like if the speaker tells us that the person who is sponsoring the doings is feeling all right, well, he notifies us right away that we can have a little fun.  That's why we get into all these comical acts that we put on when we're dancing these pumpkin songs, for instance, just to have the sponsor have a little fun with us. Sometimes that does happen: sometimes he clowns more than the rest of the group does, so that's a good indication that the song does help him quite a bit.
            All of this has been brought down from the time the Gaiwiio came on the earth. They had been dancing all these songs before, and now the Prophet of the Senecas had tried to stop it at that time; but later on this little girl got sick, and they tried to get the Prophet to tell her fortune. It took him a long time before he consented to tell the fortune of this little girl, and that's what he found: it was a song that was bothering this little girl! It was one of those society songs - you know, like the Dark Dance and the Quivering and Changing-a-Rib and the Death Chant - and, well, at that time the Four Beings had told him that people should cut out all the dance songs that were on this earth. But later on the Beings came back again, and they told him that if it couldn't be stopped, then it was to continue. Before the Gaiwiio came on earth, you know, they used to have hard drinks at all these doings; but after they had come back, they told him that if the dancing or the songs couldn't be stopped that one time, that they could have the berry juice, like what we use now in the Dark Dance ceremony. And they told him at that time that there was just going to be just that once, but after they did have this once for this little girl, everybody else started to get sick about something, so from then on, they started to do all these different songs and dances that they had before the Gaiwiyo came to earth. Nowadays, with most of the dances that we do, we think this is the way it should have been done years ago. but I know- we have lost quite a bit from what the oldtimers used to do and what they believed in. Today it's just, / guess, to keep it up as far as we can go with it.
            The sacred songs, like I've said before, are already in a set group : their letting has never changed. A long time ago people were traveling in the woods -there was a lot of traveling in the woods then - and they kind of heard these songs in a way. Like the Dark Dance there: this one night, this young lad was sleeping out: pretty soon he heard all these voices, and he didn't know where they were coming from . So he kind of crept around in the dark, and pretty soon he found a little group. There was a little group there, all in a cave, and it was awful dark, and they were singing these songs. That's why they call it the Dark Dance.
            Then later on, as the story goes, this other little boy was picked up and was taken way up on the high ledges of these mountains, and when these birds brought him up there (he didn't know what they were at the time), but when the birds took him up on this high cliff (they had a nest there), well, as they landed he seen these little birds kind of fluttering around, going through all different motions, and one of the young birds was kind of squawking away and making it into a song like. Well, the little boy stayed there maybe ten or twelve days with these birds, and he kept feeding them; and one night, one evening where you can still see late in the afternoon, the older birds got together and they were doing this Eagle Dance, and they were Singing these songs, and that's how he happened to learn the Eagle Dance songs. Up till today, the way they dance is the imitation of the Eagle going after a piece of meat on the ground: that's why you can see them go down something like a bird pecking at a piece of meat. And that's how the Eagle Dance come to be.
            But that way of getting songs and dances, I guess that's way past our stage. I guess we're too civilized nowadays, cause at that time, see, they practically lived right with the animals and out in the woods all the time.  They didn't have no automobiles or airplanes flying around or anything of that sort, and they were so close to nature, I guess that's how they probably got to get some of these songs together. A lot of stories, different stories, has been told of how these songs originated, and all of it starts with them coming from the different animals that were roaming the big forest at that time. And in the mountains and places like that, along the rivers, you can hear all these different kind of songs that was made up. Then as it came along, these persons that had heard these songs had started handing them down to the younger generation, up till today. Like me learning these songs: I learnt that from me going to all these different dances when I was a young lad, just a young kid at that time, just a little boy. Well, I started dancing the Eagle Dance when I was just about eight or nine years old. So now you can see how we carry our religion and traditions and all that. Most of us that had lived right along where the longhouse is, still believe in this religion, and we try to keep up the traditions as our older folks had done years before, and I think that's just the way it's been handed down all down through the years, from generation to generation, as far as I know of.

Wednesday, December 10, 2014

Ariel Resnikoff, with Jerome Rothenberg: From an Interview

Eleanor Antin: collage, Poland/1931, after Jerome Rothenberg

[The full interview, conducted by Ariel Resnikoff over a period of several months, is scheduled to appear shortly in The Wolf magazine, number 31, edited by James Byrne & Sandeep Parmar, along with my own "variations" on the poetry of Mikhl Likht. (J.R.)]
Ariel Resnikoff: In the summer of 2013 you and I connected, via Merle Bachman, over a shared interest in the “incomprehensible” poetics of the Yiddish American modernist poet, Mikhl Likht. I had just finished my MA thesis at the University of Oxford, where I had been told I was crazy to write on the relationship between Zukofsky's English verse and Likht’s Yiddish. You, however, believed in my research and even began advising Stephen Ross’s and my translation to English of Likht’s Yiddish long poem, Protsesiyes (Processions). Moreover, you suggested that there was something highly potent in Likht’s poetic legacy that figured into your own work as a poet-critic-translator-anthologist. How did you originally discover Mikhl Likht? Why is his poetics important to you?

Jerome Rothenberg: I invented Mikhl Likht long before I ever heard of him.  That is to say, when I was composing Poland/1931 &, later, A Big Jewish Book, I imagined a poet writing in Yiddish who brought that language & poetry into the world of truly experimental & avant-garde writing. (I hadn't as yet found anyone like that in real life.) At times too I imagined myself as that poet, having a tenuous grip on Yiddish as a first language but still enough to hear & understand in dreams. The discovery of Likht came, not surprisingly, from Merle Bachman’s Yiddishland, & my first reaction was to think that she had somehow invented him & the excerpt she presented there from his Processions.  Once I got over that & got in touch with her, I continued to be intrigued not only by the work itself but what felt to me like a close & probably not an accidental resemblance to Zukofsky’s A & Pound’s Cantos. The scope of his work became even clearer when I heard from you and Stephen about your big translation project and the material you found tying him directly to Zukofsky.  That Processions preceded A & even the more projective & experimental sections of the Cantos made it still more exciting, & its presence alongside those expanded the idea – for me at least – not only of what constituted Yiddish poetry but what constituted American poetry as well.  With each new installment of Processions, the excitement gets still stronger. 

AR: I recall you telling me once that Louis Zukofsky’s personality as a poet was completely removed from the world of New York Yiddish culture. Yet it is clear in reading his work that he was deeply concerned with the Yiddish language and literature of his childhood. How do you read Zukofsky’s relationship to Yiddish? How important do you think it is to his poetic project as a whole? Did it surprise you to learn that he was in contact with Likht? 

JR: What seems curious to me here is that in the years that I knew Louie – as a considerably younger friend – there was no signaling from him about any special interest in either Jewish or Yiddish matters.  And yet I’m aware, increasingly, that his work has many more such references and sources than were clear to me when I was spending time with him.  For Pound of course Louie served as a kind of courier to the Jewish world, something that comes out painfully – embarrassingly I mean to say – in their ongoing correspondence.  Still, given that we both came out of a Yiddish-speaking childhood, it seems strange to me that it didn’t show up in talking to him, or maybe it did and maybe I’ve chosen to forget it.  I’ve written about this before but thinking about it now, I realize that the time when I was seeing a lot of Louie and Celia was in the early sixties, before I had made my own move into Poland/1931 and “the world of Jewish, mystics, thieves and madmen.”  And I think that at that time both of us were playing down, rather than playing up, our jewishness – an escape from the cruddy side of all of that, if I can say so, and for him, far more than for me, the sense of being in an outsidered generation, which he would express to me in different ways, the Jewish least among them. 
            With all of this he was an extraordinary poet – the most American of Jewish poets, someone called him, and the most Jewish of American poets. In many ways he was the equal of his master (Pound, I mean) and in some ways (dare I say it?) his superior.  (This isn’t, though, a question of assessing one poet as against another.)  I believe anyway that some part of Louie’s despair – or, better put, his desperation – was not so much the neglect so often mentioned in discussions of his work and life, but the feeling of victimization – of being a Jew at a time of widespread and still institutionalized anti-semitism.  Far more than me he must have run the gamut of pre-World War Two institutionalized anti-semitism – a quota Jew at Columbia and a poet hoping to be heard (and failing) in a world where he could think of Pound, say, as perhaps the least anti-semitic of his poet elders.  With Pound, then, he was in close touch with one whom he knew to be a great poet and through whom he could address the “enemy” in familial and open terms – “sonny” to Pound’s “pappa.”  He could also play the enemy himself (under the name of “shagetz” rather than “goy”), could label himself an anti-semite (as he sometimes did, at Pound’s behest), and by so doing, keep the conversation going.
            When I first read Merle’s translations of Likht, I was struck by their similarity to Louie’s most complex work, but it didn’t occur to me that he and Louie might have known each other.  Now that this is becoming clear it seems to me that Likht can be placed alongside Louie and the others as an American “Objectivist,” while writing, in his own kind of isolation, in that other language. 

AR: That “playing down” of jewishness you mention, is something that runs through the early work of many Jewish American poets. Why do you think this is? What led you to transition into “the world of Jewish mystics, thieves and madman” we find in Poland/1931? 

JR:  I can’t speak for the others of course, but I think that that was true for most of the Jewish poets I knew when I was first getting into poetry.  For myself, from what I can remember, there was a desire not to fall into an ethnic trap that seemed burdened with sentimentalities and a narrowing of the possibilities that were then opening up to us.  I suppose too that there was a lack of models among the poets who came before us or that whatever specifically ethnic poetry I knew (Jewish or otherwise) seemed embarrassingly soft to me.  And this was even more the case when a flood of Jewish-themed family poems began to appear in the 1960s, a debased form of poetry, I thought, for which I would later write Poland/1931 as a kind of antidote or critique, or what David Meltzer would call my “surrealist Jewish vaudeville.”  I felt also, before I got further into it, that anything I wrote was Jewish in itself because I wrote it, much like the In Zikh poets, who also didn’t want to be hemmed in by Jewish themes, though they of course were writing, unlike me, in a specifically Jewish language.  In the same way I shied away from holocaust as a theme, though that & the other horrors of the mid-century were underpinnings to much of what I was then writing.
            My breakthrough came in part – strangely, I think – from a poem by Gertrude Stein, who certainly played down her jewishness (as much as any poet I knew), but on rare occasions let it seep out.  (David Antin had suggested reading The Making of Americans as a shtetl or Jewish immigrant novel, but with the ethnic identity suppressed.)  I was also immersed at the time in the dark fiction of Isaac Bashevis Singer, whom I had met on a couple of occasions, and the even darker poetry of Paul Celan, whom I met once and had been the first to translate into English.  And it was also a time when I was finishing Technicians of the Sacred & immersing myself in a range of deep cultures / deep poetries from throughout the world, to which I would add the Jewish as another such culture for which I felt privileged to speak.
            So I found myself thinking, among other things, of what a Jewish entry into the world of experimental modernism might look like and finding it – strangely, as I said before – in Stein.  It was just a few short lines in a longer serial poem, “Dates” in Bee Time Vine, but when I read it, I thought of it immediately as Getrude’s “jewish poem”: 

            Pass over
            Pass over
            Pass
            Pass
            Pass
            Pass 

to which I added a final line – “pass water” – and then went back into the full Stein poem and substituted a darker Jewish vocabulary from Singer’s Satan in Goray by a kind of rhyming, word for word substitution, to make in the process a “jewish poem” of my own – the kind of multiphasic, irreverent and knotty “jewish poem” that I wanted and that really got me on the road to Poland/1931 and, still more expansively, A Big Jewish Book, or more narrowly, Khurbn and Gematria.  It also led me to ally with others, both Jews and non-Jews, who were also sharing in that exploration. 

AR: I’m curious how this question of a Jewish entry into experimental modernism relates to your interest in the work and character of Tristan Tzara (born Samy Rosenstock, 1896-1963), and in Dada, more generally. “[Y]ou are dead” you write in the third section of Abulafia’s Circles, titled, “The Holy Words of Tristan Tzara”, 

& dada life is growing
from your monocle
ignored      exalted
you lead me to my future
making poems together
flames & tongues we write… 

Do you see Tzara’s work as functioning within a tradition of secular Jewish experimental art? Do you feel that your own work is in dialogue with his?  

JR:  In a conversation the other day a question like this came up – about the presence of Jews in experimental modernism and in Dada more precisely – and it struck me in a flash that except for Tzara and for Janco as his Romanian-Jewish compatriot, none of the core Dadas I could think of were Jews.  I remembered too Hugo Ball’s curious remark about the two little “oriental” men (Tzara and Janco) who showed up at the Cabaret Voltaire before it opened and, twenty years later, the Nazi intertwining of Jews and entartete kunst, with Dada foremost.  Yet Tzara, as far as I know, never comes forward as a Jew, the ethnic mark as hidden as the ethnic name.  And I remember another incident as well, when I was showing Edouard Roditi A Big Jewish Book, Edouard, who had known Tzara in Paris, laughed at how a Jewish shagetz like Tzara would have responded to seeing himself included in a book like that.
            Nor do I believe that there’s something specifically Jewish in Dada and other extreme avantgardisms, although I can find analogs in (largely) mystical judaism as in other deep cultures.  As for “a tradition of secular Jewish experimental art,” I can’t imagine that that would have meant anything to Tzara – to separate that in some way from experimental art over all.  The milieu in which he wrote was French and European with a strong interest in the remote and “primitive” (African and Oceanian), as it was then being called, or in ethnopoetics as we would later speak of it.  It’s curious too that the racist and anti-semitic connection the Nazis made between “degenerate art” (like Dada) and presumably Jewish conspiracies, would sometimes overstate the Jewish presence in the experimental and international avant-garde, with figures like Tzara cited as arch-conspirators – elders or juniors of Zion corrupting the Aryan West.  In other words precisely what we take and value as the rehabilitative and cleansing power of the historical avant-garde and the “great negative work of destruction” that Tzara proclaimed was what made it the target of Nazis and others who hated it to start with and found it to their advantage to assert a phony Jewish presence as its defining characteristic.
            In another sense Tzara’s late adolescent Dada fury, which I love and still draw from, was no more Jewish at its core than Rimbaud’s a generation or  two earlier.  The only difference of course was in the blood line – a matter of race (of racism, I almost said) pure and simple.

Saturday, December 6, 2014

A CELEBRATION OF BERNARD HEIDSIECK, 1928-2014


[In the aftermath of Bernard Heidsieck’s recent death, I can only look back on the years when I knew him well, at first in a series of international sound poetry events in the 1960s & 70s, in which I always felt myself as an outside but very happy participant.  In Paris Diane Rothenberg and I often visited with him & Françoise Janicot in their apartment on the Ile Saint Louis, but I also remember rendez-vous in New York & San Francisco, Glasgow & Verona, wherever those adventuresome & peripatetic times allowed us all to be together.  He was early into the new technologies as they related to poetry & performance, but it was his physical presence & the force of mind & body that made the most lasting impression: an awesome trembling & shaking as he read his words aloud & transmitted splintered waves of energy from him to us.  And with all of that he projected also a sense of calm & modesty that were integral to the poet’s charms & spels that held us all in thrall.  In his absence now I feel compelled to print or reprint a few short tributes by some of us who knew & learned from him.  His written works are hard to come by these days, but the performances, “torn from the page,” as he told us, continue to circulate by those electronic means he was so early to get into. (J.R.)] 

A Commentary On Bernard Heidsieck
from Jerome Rothenberg & Pierre Joris, Poems for the Millennium, volume 2 

... Action Poetry is born from the moment the poem is torn from the page.  B.H. 

In the name of which his own work — writing & performance — offered a series of tensions & an ongoing consideration of the MEANS or “tools” by which “the conception, the very ‘fabrication’ of the poem, can and must be thoroughly shaken up, and transformed.”  His context was the resurgence, post-World War II, of what came to be called textsound or (by Heidsieck, Henri Chopin, & others) poésie sonore — not so much an extension of the older “sound poetry” (though concurrent with it) as the exploration of a new language art pursued through a rapidly developing electronic technology: from tape recorder to synthesizer & computer to CD-rom, etc.  (Heidsieck’s alternative term, poésie action [action poetry], endowed the new poetry with the dynamics of his own brand of live-plus-recorded performance & with sound materials collaged from the real, surrounding world.)  Writes Steve McCaffery (also speaking as performance poet): “In addition to their value as social comment, Heidsieck sees his sound texts existing within the domain of ‘a ritual, ceremonial, or event’ that assumes an interrogative stance vis a vis our daily wordscapes.  The day to day is appropriated [as actual sound collage] and animated to make meaningful ‘our mechanical and technocratic age by recapturing mystery and breath.’" 

About Bernard Heidsieck
by Steve McCaffery from
Sound Poetry: A Survey

Bernard Heidsieck commenced sound poetry in 1955 with his 'poem partitions' and, since 1966 on, a species he terms 'biopsies'. Both types are rooted in a direct relation to everyday life. Heidsieck sometimes refers to both the biopsies and poem-partitions as 'action' poems (not to be confused with the action poetry of either Steve McCaffery or Robert Filliou). 'Action' since the pieces incorporate the actuality of quotidian soundscapes: subways, streetcars, taxis. Texts utilized are often found and superimposed and involve complex variations in tape speed, volume and editorial juxtaposition. In addition to their value as social comment, Heidsieck sees his sound texts existing within the domain of 'a ritual, ceremonial or event' that assumes an interrogative stance vis a vis our daily wordscapes. The day to day is appropriated and animated to make meaningful 'our mechanical and technocratic age by recapturing mystery and breath'. Heidsieck incorporates the taped-text within the context of live performance and plays off his own live voice against his own voice recorded. It is a positive solipsism that frequently results in a rich textural fabric. Since 1969 Heidsieck has called his tape compositions 'passe-partout' viz. universal pass keys. The passe-partout marks a further development in Heidsieck's central interest: the use of everyday, incidental soundscapes to be isolated and presented in their intrinsic integrity and their electroacoustic modification.
       In France today Bernard Heidsieck is the sound poet most directly influenced by the simultaneism (Orphism) of Henri-Martin Barzun. His "Poèmes-Partitions" is a poetry-action(= communication) which places it in direct contact with the reality of the world. The event is treated as in Godard's cinema-vérité. Though a friend of Dufrêne and Chopin, he does not reject the common language, quite the opposite. His problem is one of assembly, that is, of rhythm: assembly of the magnetic tape, superimposition or alternation to voices and sounds. The construction of his texts is based on the counterpoint between a continuous diction and an interrupted diction, the noises, used as punctuation, are established by a score which does not admit of improvisation. Progression (appearance fragment by fragment of phrases which are gradually completed), a circular process (evident in the works presented "Vaduz, passepartout No. 22"), abrupt breaks, rigid structure, contrast with the linear automatism of his friends. The fragmentation of speech, the increasing rhythm of interjections, disorientations and at the same time dramatize the discourse. Heidsieck's works can be described as radiophonic dramas.
        It is interesting in this regard to read again the manifesto "La Radia" written by Marinetti and Pino Masnada, published in the "Gazzetta del Popolo" in 1933, in which a new art was proposed: "... Immensification of space.... scene universal and cosmic ... pure organism of radiophonic sensations ... synthesis of infinite simultaneous actions... battles of sounds and of different distances... to paint delimt and colour the infinite darkness of the radia... geometrical construction of silence".
        In Heidsieck's texts what one wants to say becomes involved with a collection of commonplaces, of lyrical quotations, which contrast with the technical objectivity of the rhythm. The drama is formed between a will to communicate and the complex automatisim of the responses, between proposition and comment which generates the self-comment that comments on itself: a play of mirrors without exit, the essence of the drama is tautological.
 

A Walk in Paris With Bernard Heidsieck                                                                      by Charles Amirkhanian

I met Bernard Heidsieck in Paris in 1972, traveling with my wife Carol Law and interviewing for KPFA as many of the European sound poets as I could. Bernard Heidsieck was one of the greatest of these.  His work had an emotional and sociological depth that distinguished it from that of his peers, but he still reveled in the use of experimental vocalizing and writing that meant his words were more to be heard than just viewed on the page.
        Heidsieck was drawn to Americans more than other French artists. A scion of the family that owned the prestigious and successful Charles Heidsieck Champagne winery in Reims, he was 16 when the U.S. army liberated France. He often shared fond recollections of American soldiers marching past his family's headquarters while he handed out glasses of champagne to the passing parade. And in the Fifties he rented a car on the East Coast and drove through the U.S. on a Kerouac-inspired road trip that left an indelible impression on the young writer. This occurred about 100 years after the 1852 trip by Charles-Camille Heidsieck, the founder of the family business, became the first champagne merchant in the world to take his wares to the U.S.
        Bernard and his visual artist wife, [photographer] Françoise Janicot, were guests at the Djerassi Resident Artists Program when Carol and I served as co-directors in the Nineties, and Heidsieck produced a brilliant book of visual poems comprising various colored segments of reel-to-reel tape leader, arranged on rag paper in the shape of geometric forms, some reminiscent of Mondrian.
His enthusiasm for experimental literature, and especially la poésie sonore, was infectious, and his dynamic performances of his own work were unforgettable.

Tuesday, December 2, 2014

Rae Armantrout: Four New & Unpublished Poems

   
 
CHRONOS
                                                 for Ish Klein 

    1 

We grade stories
and we reconcile accounts. 

By night we binge
on The Walking Dead.
 

    2 

"An actual electron
emits and swallows
its own photons
now and then." 
 

    3 

Confusing exchange
with use value
makes the word "own"
a hot mess.
 

    4 

When I'm alone
I pose 

my question: 

Why is one
constant 

always squared? 
 

                     SOME BODY               

                      1 

When I first lie down, trying to sleep, there's a lump of dread and hurt in my midsection. When did this thing form? Was it always there? I remember being young - that is, I remember places I lived and some of the things I did. I lived in an expensive, unheated apartment in San Francisco and sat around with my poet friends at readings and in bars. I had written maybe 20 poems. I thought I was near the center of something and could aim to embody it. That's enough to get a person going. 

                      2 

            Vines pegged to stakes: 

            veins over bones, 

            the beginning
            or end of 

            somebody. 

                                              * 

                                    Weed tops turned
                                    white frizz up,
                                    blow off, get
                                    carried away. 

                                                                          * 

                                                            But the uncertainty
                                                            in her eyes, 

                                                            the hesitant steps 

                                                            as if she were making
                                                                                                                     some mistake

  
     AUDIENCE 

    1 

Phlegmatic and unbending, 

Russell Crowe as Noah 

teaches us 

to hold the door 

against “the desperate” 

and “the many” 

threatened by catastrophic 

climate change –

worse than we’d guessed 

and more immediate.
 

    2 

Are we stowaways?
 

    3 

Zipper fracture 

involves simultaneous 

stimulation of parallel 

horizontal wells. 

Viscoelastic 

surfactant gel 

has/has not been 

adequately described 
 

             RNA WORLD 

    1 

The numbers speak for themselves. 

"To repeat is to recognize." 

"Do you copy?"
 

    2

Here's one way to tell it. 

Having arisen 

unobserved, 

you monitor 

your thoughts 

and varying 

levels of discomfort, 

then file a report - 

now just a memory, 

one eclipsing the last 

and you 

aren't even tired. 

Or are you? 

You grow another you - 

a down-home, 

come-from-nothing 

sort 

whom you project 

to cover your

[NOTE. Rae Armantrout’s newest book, Itself, will be published in 2015 by Wesleyan University Press.  She has emerged in recent years as an essential contributor to a new & evolving American poetry, the force of the work in fulfillment of Lydia Davis’s earlier assessment: “In every line, every stanza of these brief and dense poems, Rae Armantrout’s powerful mix of scientific inquiry and social commentary, wit and strangeness, is profoundly stimulating. She changes the way one sees the world and hears language—every poem an explosion on the page in which her individuality shines through. Is the work funny? Absolutely. Moving? Yes. But beware—after reading Armantrout you will question everything, including what it means to be ‘funny’ and ‘moving.’” Previous postings on Poems & Poetics can be found here & here, as well as Marjorie Perloff’s essay“An Afterword for Rae Armantrout.” (J.R.)