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Unusual Woods

 

X

X marked the spot on the blackboard where

xenophobia poured in

xenial as a bullwhip spine or xanthate

printed xylographs in the X rated moonlight

xirself perched on a xenolith

xebec cuts the fleecy waves aft as we approach in xenon traces to

xerox someone else’s wrought iron dreams on Xmas

 

Formerly Excerpt from Pastoral Emergency.

Click here to download the book as a PDF.

In the introduction to Unusual Woods (BlazeVOX 2010) you refer to your poems as “ghost sonnets.” Why “ghost sonnets?” And what prompted you to (a) select a definitive form, the sonnet, in which to write the poems and (b) to shave a line off the form?

I call them “ghost sonnets” because they’re missing the 14th line of a proper sonnet. That is, it’s getting later than it’s ever been and the sonnet is nearly over: do you know where your closure is? Writing poetry for me is a memento mori – the Latin for “remember that you must die” – as well as memento vivere – the Latin for “remember that you must live.” Living and dying in our lapsarian condition, we cannot close read our way out of our crisis of form. With regard to our lapsarian condition and the prospect of doing contemporary close reading, we need to ask: fallen from what and closer to what? We cannot, yet again, invent a mythical authority figure and then pretend we did not fashion that figure in our own likeness (like the New Critics, the New Formalists, or the New Sincerity movement in American poetry did). Certainly, I am not suggesting that we need more cynical irony. I think we need more sincere skepticism.

Once the center no longer holds, all readings become contests of meaning. Authority, intentionality, heroism, freedom, nation, progress and the rest of the Grand Narratives become suspect and, at best, conditional once we see the horrors the documents of the past have cataloged under the flags of these abstractions. All Grand Narratives are eschatological.

Heroically or mock-heroically, the un-whole sonnets in Unusual Woods try to face the ghosts of such radical doubts. To echo Leonard Cohen, the missing line in these ghost sonnets is the crack where the suspicious and conditioned light comes in. An innovative poetry, as Walt Whitman suggested, needs an innovative readership. These poems will possess the reader who finds a way to stand witness to their demands. The word is mightier than.

Why are British lords always hearing chains in the cellar? O, that’s right, the sun never sets on the British Empire. As the ubiquitous chain-rattling ghost haunts Victorian literature, so too form haunts content in contemporary American poetry. Form dreams of containing the message, the saying, or the idiomatic haggling over the transaction of meaning. Form dreams of mattering as a kind of play between aesthetical and ethical imperatives. However, sometimes form has a nightmare called a didactic political poem. Berrr! The truth lies hyphenated somewhere between aesthetical form-ethical content. Have you ever been hyphenated? Most uncomfortable!

To put it as pompously as a I can: I intervened in the rich multicultural sonnet tradition by inventing the 13-line sonnet form because I needed a practical way to determine when a poem was done without relying on the Romantic standby of intuition or epiphany or other gestures of closure. The limited lines offered a grid that freed me to attend to other aspects of the poem construction process such as how sound relates to sense within an aleatory composition. Finding the 13-line grid was certainly an example of limitations proffering freedom.

Foregoing, then, all “mythical authority figures” in which to ground the operations of form, ought we to construct new forms and/or salvage forms from the vestiges of tradition? Or, are we for the foreseeable future trapped in “ghost” forms?

I’d like to pose it as a question: can we forego all “mythical authority figures” or not? Briefly, since this is obviously a huge topic, I would just like to add that I do believe poetry would become little more than unreadable formal exercises without a basis in faith or without a reaching out to name the essence of a person, place, or thing. Can we even imagine or can our language even connote without a metaphysical arc? Why does language fail to communicate without the metaphysical sponsorship of human agency?

As a reader of the old forms of the European avant-gardes and American modernisms, I’ve learned the importance of being weary of prognosticators. Growing up in Romania under the last communist dictatorship in Europe, I developed a strong distaste for utopian programs. Every 5 year plan is a sacrifice of someone’s present. Indeed, the word “we” might be the most vicious utopia of all. I think readers read in order to gain the ghostly traces of the past through the wickets of language and image. Without the practice of freedom, the new is mere fashion, right?


“Howl” by Gene Tanta


In your introductory essay, you say that “[a]s a critic, [you are] faced with the paradox that a poem operates both as an object with aesthetic form and as a process with social content.” In my review, I took “object with aesthetic form” to mean that the “objectivity” and structure of your poems lend them a universal quality, in spite of their specificity and dependence on “cultural biography.” Your statement also suggests that you want your poems to be approached as aesthetic objects. Is this right, and, if so, how ought we to understand the relationship of these two aspects–universal and aesthetic?

For whatever my current understanding of my own intention is worth to the reader encountering my poems, I do want my poems to be read as aesthetic and formally considered objects. At the same time, I also want my poems to be read as political provocations that ask the reader to reflect on her ethical position in the narrative we make of the past. Some of the most interesting language I know lives in the hyphens connecting, while also separating, words like poet-artist, aesthete-propagandist, Romanian-American. Between is the new both!

I think your question about the prospect of a universal beauty goes to the heart of one of the most challenging aspects of writing as an experimental poet in the twenty first century: how does one use language? Since language operates as a denotative instrument in the service of function as well as a connotative artifact in the plot of illusion, how one uses language is not a simple matter of practicing sincere criticism or of practicing coy pun-work. Language lives between function and figuration trying to break up the street fight while also egging on the street fight.

Regarding the possibility of objectivity, allow me to quote Heinz von Foerster: “Objectivity is the delusion that observations could be made without an observer.” My love of language (language is the medium of wisdom after all) is born of my interest in the simple but not the simplistic, the fundamental but not the fundamentalist, the elemental but not the elementary. I think an ethics exists when one acknowledges the other. Once the subject relates to the object, I think we can begin the process of defining what is good and what is bad for individuals and for society. The problem, of course, persists into everyday living: how do we go about the practice of acknowledging the other and how do we meet the task of defining our categories?

On the prospect of a universal beauty, I’d just like to offer a few questions. How can beauty (however innovative its form, however good its self-perceived intention, however tripartite its ideology) be universal across races, classes, genders, times, temperaments, languages, grammars, habits, religions, and so on? The universe itself is a huge and mainly dark room (or stanza, the Italian word for room). What does it mean to make an adjective of such a little-known and mainly empty and cold room? Maybe the universe is missing its 14th line. What would a Mayan make of Candide?

To answer your question, certainly there is no universal beauty if this requires that all readers across time and space must agree on what is beautiful. On the other hand, to ask your readers, whom I believe you assume to be culturally diverse, to approach your poems aesthetically, assumes that reading aesthetically is possible. Certainly responses of readers will vary widely based on a variety of factors, but one could argue that the differences are finite and provisional. In other words, to say beauty is always personal and relative is not to say it is totally subjective. Wouldn’t the Mayan be able (mostly) to understand Candide if she took a class from a Voltaire scholar who catered to international students?

Right, cultural relativism is at the heart of this important debate. Certainly, our multicultural differences are “finite and provisional” but whom should we ask to tell us where these differences end and on what they depend? If beauty is “always personal and relative,” how do we approach the prospect of coming to a universal consensus on the meaning of beauty? Catering is such an interesting word. It reminds me of the multicultural phrase “underserved community” which, for me anyway, brings up concerns of the master-slave relationship with respect to how capital nurtures and even propagates the classist ideal of necessary difference, the boom and bust cycle of universal beauty.

I think your essay successfully sets up the dichotomy of reading aesthetically versus politically–a dichotomy that your poems show to be false. But in your essay you argue that culture influences aesthetics. Undoubtedly, we also consult aesthetic objects when we establish or alter cultural traditions. Why, then, don’t we simply collapse these categories? If the dialectic between aesthetics and culture is extremely fluid, is it necessary to uphold a distinction? Shouldn’t we just concede that all artistic objects are sites for “contests of meaning” (to borrow your phrase from earlier)? To put it another way, is there anything about the aesthetic that is outside of or impervious to power struggle?

As I suggest above, the biographical circumstances of my childhood in Romania have left me suspicious of centralized government. Romania transitioned pretty swiftly from a socialist dream in 1965 to a despotic regime in 1972. Since I only caught the despotic end of utopia, I tend to see public plans of commitment such as the various 5 year plans in the former USSR, Romania, China, India and so on as instruments poised to organize the public around that famously shared, and even more famously necessary, delusion: hope. We need hope as long as we conceive of time as a linear procession of good and bad luck.

That said, according to my 5 year plan, the fluid dialectic between the aesthetical and the political does not end. The motion between making special (art) and making clear (propaganda) flows in time because the human experiment flows in time. Whether that motion moves in a straight line from left to right or in a circle depends on whether you prefer Pepsi or Coke. My point is that we cannot choose without ideology rearing up its pretty head. Ideology is in the details.

I’ll be better able to answer your question after the apocalypse has brought history to its end. Only after human strife and pleasure is over, on the floodlit stage of the afterlife, can we determine whether we should collapse the categories of aesthetics and politics. However, since this is turning out to be the warmest decade in history, the end of days may be a self-fulfilling prophesy. If the global warming trend continues, the human rights and social justice issue of the twenty first century may be our final 5 year plan.


“Figure on Yellow” by Gene Tanta

What were you thinking when you wrote “Back in Romania, I knew a gypsy boy named God who carved words in his inner thigh”? This poem stands out both in its line length and its (seemingly) overt autobiographical undertones. So I was struck by its uniqueness. On the other hand, I anticipate that method by which your “cultural biography” shaped this poem might be representative of a similar method in the other poems.

Like Emily Dickinson, John Berryman, Vasko Popa, Frank O’Hara, Kent Johnson, Patricia Smith, I certainly use the autobiographical register but I profess no one-to-one ratio between the speakers in my poems and my life experiences. “Back in Romania, I knew a gypsy boy named God who carved words in his inner thigh,” like most poems in Unusual Woods, (“My father did not invent fire” is a notable exception) have been pared down and built upon again and again. Whether expository or creative, writing is very much a process for me.

As a writer interested in the marginalia and redux of consciousness, I know I cannot know my own intentions. That said, some of the material in the “Back in Romania…” poem does borrow, stress, and tweak my own life experiences as a boy growing up in Romania. The formal rule of 13-line stanzas explains the longer line length: the story had to fit within the 13-line capsule.

Yes, you’re right! The process of tapping my cultural biography (or the unconscious authority of the force of memory) flows as a theme throughout these otherwise highly divergent morsel-sized poetic stanzas, rooms, universes. Where’s the fire? The urgency is in the old paradox: we die while we live. There’s the fire. Now run, sentence, run.

André Breton claimed surrealism puts life in the service of art. Surrealism asks artists and poets to make it realer than real, hyper real, or extra real. Such an understanding of the unconscious haunts these odd 13-line universes. These poems listen to how you read them; they listen with the cut and paste of idiom and image. It is the hurry up of scissors’ work. It is the hush and clang of bodiless souls associating with their kinfolk of understanding.

Or as Charles Simic puts it: “I’m a hard-nosed realist. Surrealism means nothing in a country like ours where supposedly millions of Americans took joyrides in UFOs. Our cities are full of homeless and mad people going around talking to themselves. Not many people seem to notice them. I watch them and eavesdrop on them.”

Recently, there have been several articles on THEthe Poetry Blog on surrealism in poetry, and I am dissertating on this topic. Is it simply the cut-and-glue process that makes your poetry surreal, or are there other elements at work? Simic’s comment would suggest not process, but mimesis is the primary function.

Certainly, I seek to create uncanny effects with my poems: effects that both ring the doorbell of childhood but also ring the jilted note of the unfamiliar. I seek to create new and memorable effects of the new and memorable real. Like any writer, I do this partly through craft elements such as imagery, setting, character, and partly through my capability to live with not knowing. Mimesis is a process of mishearing in a productive way. Was it Tristan Tzara or Eminem who said “thought is made in the mouth”? Anyway, I like to listen with my imagination.

When writing and revising, do you strive for the surreal, or is it only an afterthought?

Surreal effects are the afterthoughts of language, more like it. Walter Benjamin has a theory that all words in all languages are onomatopoetic, readers only have to do the work of figuring out how sound relates (or used to relate) to signification in light of the value system of each language. To borrow the syntax of a bumper sticker: “chance operations happen.” The task, if you like, of poets and readers is to notice the odd rubbing going on between sound and sense. I like to watch words. Not many people notice them. I watch them and eavesdrop on them.

The Surrealists often spoke of the marvelous (which might be considered a version of the sublime) as the end of their methods. Do you concur that something marvelous or sublime happens when certain conditions are met in the text? Does this relate in any way to how you understand the aesthetic aspect of your poetry?

Dada interests me more than Surrealism. However, within Surrealism, its anarchic tendencies seem more interesting to me than its fetishistic tendencies (which American marketing has employed with such gusto). For instance, Breton had another concept called “convulsive beauty” which transgresses the boundaries of formal logic as well as the canonical categories of Beauty. Convulsive beauty, by retooling the pathology of hysteria, queers aesthetic and political norms. Like Dada, hysteria (applied by the Surrealists not as a pathological diagnosis but as an instrument to destabilize categories) is that “which escapes definition.” With my creative work, I seek to make the possible more possible. This is the only kind of new I know.

“Flowers” by Gene Tanta

Last time, we saw that in his critical introduction to Unusual Woods, Gene Tanta wants us to approach his poetry both as immigrant poetry (which means a couple of things) and for its aesthetic value. I postulated that he accomplishes a dialectic between “local” and “universal” through strategies that extend and enrich Deep Image and surrealist poetics. Let’s see how this happens.

First, look at how these thirteen-line “ghost-sonnets,” as he calls them, are built:

The cavalry is always peering down into the ravine
whenever you’re not looking.
Someone is burping.
Someone is shirt-shinning the author’s coffin.
Someone’s nose or finger or toe
is playing in the underwater roots downstream.
Under the lean and starry sky
the fortune-teller
took your money, saying:
You seem far away,
like a cuckoo clock on a sunken ship.
If it consoles you,
you’ll die on an odd breath or an even breath.

Architecturally, this poem comprises fragmented, disjoined images struggling towards coherence. The second person pronouns and the indefinite pronoun “someone” establishes some cohesion of persons. But temporally, there are problems. The three lines beginning with “someone” borrow the surreal technique of the continuous (indefinite) present tense, in which multiple, seemingly disconnected actions are happening simultaneously. “Always” in the first line also suggests a continuous, indistinct present tense—in a sense, it is an eternal present, which is to say, no time at all. If one needs events passing over time to have narrative structure, this poem is putting up a fuss.

Even so, paradoxically, the simultaneity of the events forces a coherent reading. Parataxis aside, normal reading expectations demand that proximity (in the text) implies relationship. But here, at least within the narrative framework of the poem, persons and events are disjoined. Thus, like a collage, these images are simply asserted (placed by the artist) and readers are forced to make what they will of it. Implicitly, these seemingly disconnected things are envisioned as unified, which is the surreal experience of the “marvelous” or the Deep Image experience of the “deep image.”

So Tanta’s poems are built like surrealist collage; in addition, the images themselves are surreal in their catachresis and play. What is the meaning of that cavalry peering into the ravine? And what is to be made of the cuckoo clock on the sunken ship? Throughout Unusual Woods, Tanta freezes the reader with similarly obscure imagery:

Clearly, you are a severed viper head
and not as you claim

and

his eyes flickered (beaten)
in a gold-leaf epic splashed inside his skull

and

Yet another hooligan utopia
awaits its facial hair to grow.

and

My pulsebeat still listens for yours,
a ghost just leafing thru,
the library books of your body.

These images succeed not just because they are surprising and beautiful, but also because they are teasingly suggestive, even while their possible meanings are limited and redirected within the complex structure of the whole. As Tanta says in his essay, structure gives us the means by which we can approach the text aesthetically and thus as something universal (because beauty and structure are universal).

But what of the local? Tanta explores his identity as an immigrant and ESL poet in the courageous (but tasteful) exploitation of puns, idioms and other kinds of word play. In general, ESL poets tend to take things literally, resulting in images that are deeply ironic for readers even though they underscore the speaker’s innocence and naïveté : “Back in Romania, I knew a gypsy boy named God who carved words on his inner thigh….” At times the poet admits to (not insignificant) gaps in comprehension: “It’s so hard to tell few from fewer” (47). Other times deliberate ESL-like misuse of language can create a new, interesting phrase: “A dash sparrows in to sip a little water / from the water-fountain” (85). The poet cannot resist playful manipulation of idioms: “He had an ax to pick / and a bone to grind.” Finally, and most rewardingly, the ESL vantage point exposes metaphoric relationships hidden within the language itself:

At night, lightning flashes its teeth
over the Seine.

Surely, whether consciously or not, the poet discovers the idiom “flashing a smile” to be congruently matched to lightning, which literally “flashes.” Thus, the teeth/lightning relationship was idiomatically implanted in our language without our (or at least my) noticing it; it took the eye of an immigrant to find it.

My final observation is that in spite of the obscure images, anti-narrative structures, and non-transparent language, Tanta’s poems project a clear voice that navigates the reader. While Unusual Woods could be analyzed thematically (there are numerous gypsies, firing squads, and dictators), I found the personality of the speaker to be a more important (perhaps the most important) unifying force in this collection. Whether it concerns love, family or writing, the voice’s sincerity gives the sonnets weight and timbre. Here is one example:

My father did not invent fire and I refuse to vote
the birds in thick alarm.
I am thru with my voice, here it is
like a fire:
About what you cannot sing you weep and sob and cry.
Along these atlases
we alter things all the time with our sexual conduct.
You don’t know me as a broken arrow’s broken diction
but by my desperate Dionysian catapult,
by my Grecian star map,
by my Assyrian aqueduct, by my Brooklyn bridge,
by my Yugoslavian copper, by my Sumerian plow.
Once a termite lived.

Sandwiched between the cryptic first and third sentences is a dazzlingly direct, emotional statement about the writer’s own struggle to speak (as immigrant and as poet). Then there is a catalogue of exotic items by which we will “know” him. Whatever it is these items collectively mean—taking note, meanwhile, that Eastern European and America are represented—their symbolic resonance clearly outweighs the brokenness of self and speech that is the mark of an immigrant (“a broken arrow’s broken diction”). And yet, it is this “broken diction” that is partly to thank for the success of his poems (not that Tanta reads like anything less than a master of the language). And even though the disjunction of the last line deflates the intensity of these personal, direct statements, the sonnet undoubtedly proclaims something vital about the speaker. The core self is at stake.

And this is the coolest thing about Tanta’s work—even though these poems are centered on a persona, the indeterminable and seemingly fragmentary aspects of the world co-exist with the self. That is to say, aspects of the self and aspects of the world are placed in relationship. “Once a termite lived”—in the context of the poem, this statement and what it signifies are appended to the self and become an aspect or extension of it. The self is neither merely “a broken arrow [with] broken diction,” nor even a compilation of architectural structures and tools; rather, and ultimately, these poems are about an introspective, enculturated, embodied soul who must interpret the world in order to make sense of its own existence. It is because the world—whether native or foreign—is such a strange place that one finds oneself looking for meaning within “unusual woods.”