The Tropes of Tenth Street
Comments and news from Nicholas Birns and others
Wednesday, September 6, 2017
Mary McCarthy's review of the Handmaid's Tale
http://www.nytimes.com/books/00/03/26/specials/mccarthy-atwood.html amazing how unperceptive Mary McCarthy's review of The Handmaid's Tale was. I think there are three reasons for this: 1) she was too old to see the Right as a real threat; to her they were bumpkins and yahoos who might temporarily attain power but could not alter the course of history; also, she could not see how the new Right was more like the totalitarian Left in the way it looked at things. 2) she was just too insulated from the life of her time; she could disdain credit cards because she never had to pay for something she couldn't immediately afford, which was not true of most Americans in 1986 3) she was determined to be 'tough' and to not particularly read or write 'as a woman' which I think hurt her in reading Atwood's novel.
Tuesday, August 22, 2017
The Dear Illusive Dream: Jennifer Firestone’s Gates & Fields
The
Dear Illusive Dream: Jennifer Firestone’s Gates
& Fields
By Nicholas Birns
In its oracular tone, sparsity yet pertinacity of diction, and gnomic
emotionalism about experience, Jennifer Firestone’s Gates & Fields (published by Belladonna and featuring a ravishingly arxhaic book design) recalls Emily Dickinson. It is one of many
instances where contemporary American women poets are using Dickinson as a
source for a poetic at once experimental and felt. Yet this relation is made
less homey and ancestry than might seem because of Dickinson’s pessimism and her own poetry’s resistance to being
thematized:
Heaven is so far of the mind
That was the mind dissolved
The site of it—by architect—
Could not again be proved
What cannot be articulated is so unable to be formulated that we cannot
even discern its frame; and thus not just Dickinson’s incantatory austerity but
an underlying elusiveness is there in Firestone’s work as well as generational
peers of hers such as Katy Lederer and Lisa Jarnot.
But, on this particular day that I sat down to write this post, the
anterior American female poet in my mind was not Dickinson, but an even earlier
figure, Annis Boudinot Stockton, who may well be to the late eighteenth century
what Dickinson was to the mid-nineteenth or Anne Bradstreet was to the
seventeenth:
And is it thus the dear illusive dream
Of social bliss and happiness serene
Must vanish quite—dissolved in empty air
And leave my heart a prey to pangs severe….
Importantly, Stockton is not just writing an
elegy for another woman, Ann Meredith Hill, itself rare at a time when the
elegy form was dominated by young men mourning their young male peers—Edward
King; Keats; Hallam—but an elegy for Mrs. Hill spoken in the voice of her
sister, Mrs. Clymer. Stockton, like Dickinson, is always personal, yet not
always autobiographical. This totally fortuitous juxtaposition enhanced my
sense of the dramatic tectonics of Firestone’s book, in which so often a female
persona is evoked, who is observed or watched or commented upon a first-person
plural chorus:
As in yesteryears days seemed long
A ball upon her very neck
We were there saying come what you are
We were there saying
The ‘we’ could be the mourners, and the ‘her’ the mourned object; but
the “her” could just as well be the speaker of the poems, and the “we” the audience.
This indeterminacy about who is speaking and who is echoing, who is acting and
who is contemplating:
She authenticates herself unknowingly
She has laid her vision bare
We collaborate our chorusing
She has laid her vision bare
There is also a constant alteration between
past and present tense, which further ramifies the state of the action: at one
minute we are face to face with the “she,”, or, alternately, the speaker is
face to face with the observed or mourned object; at another, we are commenting,
or the speaker is noting, a recorded past, perhaps more a near past than a deep
past, but a time sufficiently lapsed so as to have its consequences recognized.
Yes you just say it She is just one body Hardly there.
We can say field and feel it because we did
not designate
The sky turned pages and the language
rained. We do not hesitate.
We
did not designate, but do not hesitate. Why is one verb in the
past, and one the present? Does it have something to do with the "she” being
incarnate and yet also evanescent? Yet the non-designation is presented as
enabling: because we did not designate the field we can say the word ‘field’
and feel it, entering into a surreal release of signification where we do not
hesitate. Breakdown, dissolution, can liberate:
The latch of this is broken the latch of
this is open
In other words something done in the past
has enabled something done in the present. Elsewhere, though, the event in the
past seems to have been tragic, catastrophic, or at least precipitating a diminution,
as seen near the end of the volume:
We are in this time All has been done
And then, on the next page of poetry:
There is she who is here in our space so
near
There is she who is here in our space so near
Her work may or may not have gone to waste
Her waste is re-defining as this night star
sun.
The easiest way to read this is as about a
person who has died, with the ‘we’ are the mourners. But this is not exclusive,
or denotatively confining, because the “she” is so elusive, and her presence,
even if altered or re-formed, still so felt. Again, we see the alternation between
the present and past tense. There is a possibility of seeing the past tense as the 'gate’ and the present as the ‘field’. Certainly gates are closed and fields
are open, gates material and fields ideal—as a field is really a human perception
of space on a natural tableau—gates fixed and fields fluid. The late
Japanese-American artist Minoru Kawabata had a similar dichotomy in his images
of gates and robes, which for him were tantamount to objective and subjective. But
Firestone’s dichotomy of gates and fields is a bit more elusive. Both pertain
to death: the gates to hell, but also the Elysian Fields. If fields are the
afterlife, gates, as the transition-point to the afterlife, at least have the
tangible link to life of marking life’s ending, the proximity of a portal.
The various shapes are we collecting down
the trees
We will come from the leaves down the trees
We are more confident in this space than
she
We impress ourselves this way
Our perception is the light, the light
In
almost any other context, the last line would be a visionary affirmation, and
the words shine with a spiritual intensity. But here it is a sign of a
diminution or perhaps more a substitution. Our perception must needs be the
light that the ‘she’ has once been; or more convincingly our perception was
once the ‘she', but is now reduced to the light, as a stand-in, a vicarious
absence. Also notable is the inverted syntax of “various shapes are we collecting
down the trees,” where conventionally it should be ‘We are collecting the
various shapes”, though it would typically be not ‘down the trees’ but ‘from
the trees.’ The inversion diminishes our agency, makes us random vagabonds among the trees rather than exercising dominion or decision in them. There is determination
in ‘our’ stance here, but also some presumptuousness. ‘Our’ confidence and love
of impressing ourselves makes us almost blunderers; we are more confident in
this space than she, but not more dignified or more present. And, if the ‘she’
is indeed dead, that we are ‘more confident in this space than she’ is not so
much an inability to admit her passing but a tender acknowledgment that at once
she is still there, perceptually, and that her absence means so much that we
cannot say it other than decorously, timorously.
For all the abstract musings the reader must make about tone, stance and
address it is very important to note that Gates
& Fields is a narrative, a story. It is a story without names or characters or places, a story without context, but nonetheless a story, a
chronicle of what has happened, with a gap between past and present that
complicates the translucency and intuitiveness of the pure lyric utterance. The
English language (as contrasted especially to French) has had trouble
establishing genres that are in-between fiction and poetry. Yet, for all this
book’s homage to Dickinson, and genuine lineage in her vein, Firestone’s work
inhabits this expansive and elusive middle realm between lyric and narrative:
Presently attend to this whole space not a designated marker
-->
Friday, February 24, 2017
Ernest Chanes 1923-2017
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Monday, January 16, 2017
Manchester by the Sea and Jaroslav Halák
Saw Manchester by the Sea. A moving, engrossing film, full of trauma and sorrow. Casey Affleck did a great job of acting affectless and Matthew Broderick had a hilarious bit part as an evangelical Christian. Well-acted, well-directed, well-scored. I do hear the critics who thought it universalized while male experience a bit too much. The funny thing is, though, the movie, set in 2015, featured an old clip of hockey goaltender Jaroslav Halák, a star when the clip was filmed, now a failed and humiliated figure. I noticed this, and then after the movie two guys behind me could only talk about Halák, and I turned around and said I had noticed it to: two hours of moving story and all three men in a well-heeled, culturally sophisticated part of Manhattan could talk about was this odd hockey detail! In a way the hockey issue brings up the problem of normed white masculinity that Alicia Christoff brings up in her essay from the other end, that perhaps the film so assumes a model of white maleness that it does not bother to get right just the details that actual working class white men, who would be likelier than average to know who Jaroslav Halák is and appreciate the declivity of his career, would notice and respond to…it's an echo of Trump, that their stereotypes are being addressed,but not their real needs...
Saturday, December 31, 2016
My 2017 MLA paper
Jeanine Leane unfortunately will have to miss our teaching Australian Literature panel at the Philadelphia MLA but I am doing a short paper instead, the first two paragraphs of which are below.
Reading Melissa Lucashenko’s Mullumbimby in the Age of Trump
On November 5, 2008, I taught Aimé Césaire’s Miraculous Weapons as part of the New School's then-current literary foundations course. The poem was on the standard syllabus, but I deliberately assigned that day’s class to this African diaspora text as likely to mark the election of the first African American President the day before. And so, bleary eyed but quietly celebratory, we convened and, after I acknowledged the previous day’s events, had an attentive and involved discussion of the Martinican poet.
Eight years later, I was teaching in New York University’s School of Professional Studies and was finally getting to give a course in one of my specialties, Australian literature. For November 9, 2016, I assigned Melissa Lucashenko’s Mullumbimby. This was not directly to honor the prospective first woman President, though I certainly wanted a female writer on that day. But I wanted to gesture towards a society where multiple racial, religious, sexual, and gender identities were celebrated, and dispossessed and under-recognized groups such as Indigenous Australians were achieving acknowledgment and redress for the land that had been stolen from them by white settlers.
My aspirations for this day were, alas, trumped.
Reading Melissa Lucashenko’s Mullumbimby in the Age of Trump
On November 5, 2008, I taught Aimé Césaire’s Miraculous Weapons as part of the New School's then-current literary foundations course. The poem was on the standard syllabus, but I deliberately assigned that day’s class to this African diaspora text as likely to mark the election of the first African American President the day before. And so, bleary eyed but quietly celebratory, we convened and, after I acknowledged the previous day’s events, had an attentive and involved discussion of the Martinican poet.
Eight years later, I was teaching in New York University’s School of Professional Studies and was finally getting to give a course in one of my specialties, Australian literature. For November 9, 2016, I assigned Melissa Lucashenko’s Mullumbimby. This was not directly to honor the prospective first woman President, though I certainly wanted a female writer on that day. But I wanted to gesture towards a society where multiple racial, religious, sexual, and gender identities were celebrated, and dispossessed and under-recognized groups such as Indigenous Australians were achieving acknowledgment and redress for the land that had been stolen from them by white settlers.
My aspirations for this day were, alas, trumped.
Thursday, December 8, 2016
From 2015--my take on the "class struggle vs identity politics" meme
"Here, I would differ from Walter Benn Michaels’ analysis of recent American literature in The Shape of the Signifier, in that from my perspective cultural diversity is not, as Michaels argues, simply an illusion proffered by a protean and transmogrifying capitalism, but an ideal genuinely to be honored. Racial justice, if it had occurred, would justify any extreme of capitalism or inequality. But is there racial justice....today?" Nicholas Birns, Contemporary Australian Literature, published December 2015. And still relevant to "what should the Democratic party do?" debates today, Nicholas Kristof's op-ed in todays TIMES made me think of this passage.
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