Skip to main content

Seth's Death To SoQ?

Seth Abramson has brilliantly, wittily, and I think pretty comprehensively, tackled the whole Ron Silliman-generated "School of Quietude" issue over at his blog of late.  For British readers not in the know, what is often called over here the mainstream-postmodern (by Paterson) or the mainstream-experimental (or avant-garde, or linguistically innovative or late modern) split - so, in shorthand, Auden vs. Pound, Seamus Heaney vs. JH Prynne, or Wendy Cope vs. Denise Riley - is often now termed by some in certain circles in the States as the School of Quietude vs. the post-avant - i.e. Frost vs. Hejinian.  Abramson's most important claim is that this term is about poems, not poets - and then claims almost all of O'Hara, for instance.  Secondly, he traces the rhetorical roots of this tussle to the Ancients (as does Derrida, of course).  His main point is that this is an argument between transcendence contra immanence of the Word.

Language is obviously of central concern to the "Language poets" and every other poet, hence the ongoing confusion.  He also observes the lazy conflation between sociological cohabitation, and actual aesthetic similarity, between poets of the same schools, clans and cabals, which muddy the waters - and further suggests a disinterested probity of poetic discourse, where poets stop writing about themselves, and let others do the work for them.  Here problems ensue: for some post-avant writers, writing about poetry, one's own or other, is also writing poetry, sometimes - critical and creative writing can and often are equally valid and constructed texts; also, there can be no disinterested critics, if ideology permeates the reception and indeed construction of discourse leading to analysis and evaluation of poems, poets and poetic canons.  All this is well-known.

I would prefer to say that the core debate is about the "fate of the lyric" subject, or voice.  The debate is actually about what "humans are" - not language at all.  For the post-avant-garde, lyrical disruption of the text corresponds with an interrogation of the very idea of a coherent identity or self, that can be depicted, even brought across, in language - and in fact constructs the establishing counter-argument that language is the primary building block upon which the structures of purported selves, experiences, beliefs, including of mind, and soul - are premised.  In short, for the post-avant, the Self is of limited importance, the Soul does not exist (in relation to a Real God), and Actual Experience cannot be recalled or Communicated for any Value - because the complacent, bourgeois idea of a Stable Community of Shared Values is ultimately False, or in Bad Faith - in short, who cares about the "lyric I" and what Billy Collins or Billy Wordsworth actually felt or thought?!

Instead, what is important is exploration of the process of linguistic invention, artifice, and materiality, always conditioned by economic, political, sexual, and other forces (though not the Freudian) - texts resisting closure, or completion - so that poems are never finished, reified objects to be appreciated, savoured, or loved, or indeed studied, as they are - but must, by definition, resist all critical and creative attempts to complete, define, or contain them - poetry is always ultimately postponed.  What neither side any more seems to relish - which is my Third Way (sometimes called Fusion or Hybrid) is also Trilling's: the sheer pleasure of performance, which can also be a good in itself (as in acrobatics, or dance, or music) - a virtuosity of style which neither privileges the materiality of language as an ultimate good, nor its ability to convey moral, faith-based or secular truths and appercus, either - in short, a modernist aesthetics, a la Early Eliot, at once alert to the verbal ironies at play in poetry, yet unfettered from Victorian and Edwardian and Georgian impulses to behave properly within the text.  In my canon, therefore, the first major poem in English is "Prufrock".
2 comments

Popular posts from this blog

AMERICA PSYCHO

According to the latest CBS, ABC, etc, polls, Clinton is still likely to beat Trump - by percentile odds of 66% to 33% and change. But the current popular vote is much closer, probably tied with the error of margin, around 44% each. Trump has to win more key battleground states to win, and may not - but he is ahead in Florida...

We will all know, in a week, whether we live in a world gone madder, or just relatively mad.

While it seems likely calmer heads will prevail, the recent Brexit win shows that polls can mislead, especially when one of the options is considered a bit embarrassing, rude or even racist - and Trump qualifies for these, at least.

If 42-45% of Americans admit they would vote for Trump, what does that say about the ones not so vocal? For surely, they must be there, as well. Some of the undecided will slide, and more likely they will slide to the wilder and more exciting fringe candidate. As may the libertarians.

Eyewear predicts that Trump will just about manage to win th…

DANGER, MAN

Like a crazed killer clown, whether we are thrilled, horrified, shocked, or angered (or all of these) by Donald Trump, we cannot claim to be rid of him just yet. He bestrides the world stage like a silverback gorilla (according to one British thug), or a bad analogy, but he is there, a figure, no longer of fun, but grave concern.

There has long been a history of misogynistic behaviour in American gangster culture - one thinks of the grapefruit in the face in The Public Enemy, or Sinatra throwing a woman out of his hotel room and later commenting he didn't realise there was a pool below to break her fall, or the polluted womb in Pacino'sScarface... and of course, some gangsta rap is also sexist.  American culture has a difficult way with handling the combined aspects of male power, and male privilege, that, especially in heteronormative capitalist enclaves, where money/pussy both become grabbable, reified objects and objectives (The Wolf of Wall Street for instance), an ugly fus…

OSCAR SMOSHCAR

The Oscars - Academy Awards officially - were once huge cultural events - in 1975, Frank Sinatra, Sammy Davis Jr, Shirley MacLaineandBob Hope co-hosted, for example - and Best Picture noms included The Conversation and Chinatown. Godfather Part 2 won. Last two years, movies titled Birdman and Spotlight won, and the hosts and those films are retrospectively minor, trifling. This year, some important, resonant films are up for consideration - including Hidden Figures and Moonlight, two favourites of this blog. Viola Davis and Denzel Washington will hopefully win for their sterling performances in Fences. However, La La Land - the most superficial and empty Best Picture contender since Gigi in 1959 (which beat Vertigo) - could smite all comers, and render this year's awards historically trivial, even idiotic.

The Oscars often opt for safe, optimistic films, or safe, pessimistic films, that are usually about white men (less often, white women) finding their path to doing the right thin…