Brooks Lampe reviews Andrew Joron’s Trance Archive
What a desperate trance!—The skyboat resembles a flying vulva; the city, the arc of an abandoned soliloquy.
Andrew Joron represents a small, almost indistinguishable enclave of contemporary poets who know (and appreciate that) they have been influenced by surrealism. Versus the rest of the contemporary poets who do not know they have.
Surrealism has been a controversial topic in recent decades, and there have been few poets or scholars willing (or courageous enough?) to acknowledge their indebtedness to the movement. (But not these poets! Thank God.) The biggest problem, supposedly, is one of identification and definition. Suffice it to say, in broad strokes, surrealist poetry demonstrates:
- Radically disjunctive imagery (usually through mismatching terms from unrelated semantic fields)
- An analogical vision of reality, wherein irreconcilable things are conceived in relations and thus are (potentially) made reconcilable
- Undertones of Hegelian dialectic, Marxism, revolution and utopianism
At its heart, surrealism wages a political and ideological battle through language. By creating impossible images through placing disparate objects side-by-side, poetry dismantles and re-formulates our perceptions and conceptions of reality.