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20 Oct 09

Poetics Talks

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poetry australian literature poetic Contemporary art intertextual lyrics mímesis

instead of say, the Beats, and, here in Australia, John Tranter’s fabricated ‘generation of 68', or New York school or Language poetry, post graduate and undergraduate poetry writing students and beginners are reading Romantic and Victorian poetry again? Certainly a lot of pre-1950s poetry seems to be emulated by the younger generation here. Abounding as it is, not all of it lifts off. Kris Hemensley called these poets "exponents of a fastidiously constructed and polished lyricism current now in new Australian poetry."
Kenneth Slessor prize for poetry in the 2009 New South Wales premier's literary awards:

XYZ’s book…. “is a wonderful example of the power of the lyric to

slow time down to intense, expanded moments of seeing and feeling.In measured poems of decorum and grace, XYZ weighs beauty against terror, art against the unspeakable, love against death. The exquisite music of these poems comes from a perfect mastery of form that is never content merely to deploy traditional templates like the sonnet or the sestina, but converts them into something that is contemporary, arresting and XYZ’s own.”
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- XYZ wears his/her learning lightly, gracefully: Galen (Wikipedia - a Greek physician & philosopher AD129 - but you knew that didn’t you?), Donne, Shakespeare, Kristeva, Primo Levi, Althusser – all cohabit harmoniously in a language and form that is intricate and sinuous.”
- In total effect, the book has a wonderfully coherent feel to it, as inexpressible truths are intuited or glimpsed rather than overtly stated.”
- Basically, the poetry is described in ordinary literary terminology and then approved (or, in one case disapproved and publicly edited by the reviewer) descriptively. Three of the titles here are, among other positive quality-superlatives, "impressive, fine, ambitious, finely crafted, highly accomplished with meticulously considered lines, tonal power, sustained rhythms
- How much does the concept of the new Aussie lyric have to do with formalism?
  
  How different is this new Aussie lyric from the earlier notion of lyric as an instrument of personal expression?
- Could the new lyrical engage with notions of authenticity (originality/faking), appropriation (copying) involving the persona of the poet ?
- they seem to completely ignore the unconventional and outright weird elements in a lot of the poetry and just come away with a kind of boring lowest common denominator poetic.
- one problem with crafting is that once the poem has reached a certain state of craftedness it convinces the poet that its good - when they might have been better off putting their energy into a new poem .. theres also the question of whats being achieved .. if its verisimilitude, i think thats a mistake
- Elizabeth Bishop was right when she said in an angry letter to Lowell that she would rather be the fourteenth best American poet than the best ‘female poet’.
- And why does it have to be Australian? For instance, a poet like Judith Bishop seems to me to have more in common with Jorie Graham (and at times even European poets like Celan) than with other female Australian lyric poets; likewise, I know that in my own work I am responding largely to the work of the American poets I grew up reading rather than the generation of ’68 which I read relatively late (and enjoyed) but who have had little tangible influence (reactionary or otherwise) on my own poetics
- the interest in the lyric lies in its often uncanny address and its origins in music. Indeed, as far as I am concerned, the defining characteristic of the lyric is its apostrophe, and therefore its potential to elide time and history with the intimacy of its address.
- I am also disappointed that recent reviews in the ALR (does two make a trend?) have been grouping female poets (or should I say poetesses?) for no other reason than, well, they are female.
- gnoring all the weirdness of the Rom and Vic eras: think of Dickinson and EB Browning) can produce poems that strain towards a kind of historically-sedative acceptability
- In such works, ‘representation’ applies equally to museum-piece versions of literary eras, and to a (fake) transparency between world and voice (or reality and vision, to riff on some of those judging comments). Michael hints at this with the word ‘verisimilitude’.
- they generate very careful objects, highly controlled objects, where ‘form’ goes little further than ‘surface aesthetic’. Form as a tidy-all. Of course, the most exciting poems are ALL about form
- eople still get cranky when asked to explore the relationship between words, ideas and things. Some writers will never see a poem AS a thing, or as an object of art, subject to the currents of social and economic value. Frankly I find such textured readings exhilarating, not scary or academic. Why? Because they give poetry more options. And many more players. If a poem can be lots of different things, then I’m interested.
- then it’s quite possible people will begin to reject a politics of difference and departure, in favour of an art of sameness and arrival.
- Enter: the good ol’ polished lyric, hammered out under the eyes of the mentor, who is interested (consciously or not) in legitimating their own lineage. The model of powerful mentor and multiple acolytes has been reproduced dozens and dozens of times in poetical history
- a distinction between sincerities, if you will. I was thinking of George Oppen and his kind of sincerity, one that was open to the social and political, as having a social consciousness, as opposed to a ‘trust me as I express my true feelings’ kind of approach to sincerity.
- Zukofsky wrote that sincerity is the expression, posture or intent behind a poetics attuned to the "accuracy of detail" or that that "writing occurs which is the detail, not mirage, of seeing, of thinking with things as they exist". So, I take it he is talking about the ‘now’.
- There'll always be people younger and smarter than you who will sometimes make you feel a bit of a retard. Then again there are always people who seem to want to reinvent the wheel (or pretend the wheel never happened - like they do over here in the UK).

14 Jun 09

Federico García Lorca: Pequeño Vals Vienés

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08 Jun 09

Nick Cave's Love Song Lecture@Everything2.com

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At forty years old it would appear that there is virtually no action I can take that does not draw me closer to him, that does not make me more like him.
I found through the use of language, that I wrote god into existence. Language became the blanket that I threw over the invisible man, that gave him shape and form.
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- If the world was to suddenly fall silent God would deconstruct and die. Jesus Christ himself said, in one of His most beautiful quotes, "Where ever two or more are gathered together, I am in your midst." He said this because where ever two or more are gathered together there is language.
- The love song is the sound of our endeavours to become God-like, to rise up and above the earthbound and the mediocre
- The love song is a sad song, it is the sound of sorrow itself. We all experience within us what the Portugese call Suadade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul and it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love song is the light of God, deep down, blasting through our wounds.
- Perhaps there is just no money in sadness, no dollars in duende. Sadness or duende needs space to breathe. Melancholy hates haste and floats in silence. It must be handled with care.
- The love song must resonate with the susurration of sorrow, the tintinnabulation of grief.
- In Lou Reed´s remarkable song "Perfect Day" he writes in near diary form the events that combine to make a "Perfect Day". It is a day that resonates with the hold beauty of love, where he and his lover sit in the park and drink Sangria, feed animals in the zoo, go to a movie show etc., but it is the lines that darkly in the third verse, "I thought I was someone else, someone good" that transforms this otherwise sentimental song into the masterpiece of melancholia that it is. Not only do these lines ache with failure and shame, but they remind us in more general terms of the transient nature of love itself – that he will have his day "in the park" but, like Cinderella, who must return at midnight to the soot and ash of her disenchanted world, so must he return to his old self, his bad self. It is out of the void that this songs springs, clothed in loss and longing.
- Psalm 137,
- the love song is the noise of love itself and love is, of course, a form of madness.
- Love songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the love songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine.
- When Kylie Minogue sings these words there is an innocence to her voice that makes the horror of this chilling lyric all the more compelling. The idea presented within this song, dark and sinister and sad – that all love relationships are by nature abusive and that his abuse, be it physical or psychological, is welcomed and encouraged, shows how even the most innocuous of love songs has the potential to hide terrible human truths
- the yawning void
- I am proud of these songs. They are my gloomy, violent, dark-eyed children. They sit grimly on their own and do not play with the other songs. Mostly they were offspring of complicated pregnancies and difficult and painful births. Most of them are rooted in direct personal experience and were conceived for a variety of reasons but this rag-tag group of love songs are, at the death, all the same thing – life lines thrown into the galaxies of the divine by a drowning man.
- very similar to the love song. Both served as extended meditations on ones beloved. Both served to shorten the distance between the writer and the recipient. Both held within them a permanence and power that the spoken word did not. Both were erotic exercises, in themselves. Both had the potential to reinvent, through words, like Pygmalion with his self-created lover of stone, one's beloved. Alas, the most endearing form of correspondence, the love letter, like the love song has suffered at the hands of the cold speed of technology, at the carelessness and soullessness of our age
- Some songs are tricky like that and it is wise to keep your wits about you when dealing with them. I find quite often that the songs I write seem to know more about what is going on in my life than I do.
- The songs that I have written that deal with past relationships have become the relationships themselves. Through these songs I have been able to mythologize the ordinary events of my life, lifting them from the temporal plane and hurling them way into the stars. The relationship described in Far From Me has been and gone but the song itself lives on, keeping a pulse running through my past. Such is the singular beauty of song-writing.
- The imagination desires an alternate and through the writing of the love song, one sits and dines with loss and longing, madness and melancholy ecstasy, magic, joy and love with equal measures of respect and gratitude. The spiritual quest has many faces – religion, art, drugs, work, money, sex – but rarely does the search serve god so directly and rarely are the rewards so great in doing.

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