. . . and again

“The generation is unceasing. Beauty, as both Plato’s Symposium and everyday life confirm, prompts the begetting of children: when the eye sees someone beautiful, the whole body want to reproduce the person. But it also – as Diotima tells Socrates – prompts the begetting of poems and laws, the works of Homer, Hesiod, and Lycurgus. The poem and the law may then prompt descriptions of themselves – literary and legal commentaries – that seek to make the beauty of the prior thing more evident, to make, in other words, the poem’s or law’s ‘clear discernibility’ even more ‘clearly discernible.’ Thus the beauty of Beatrice in La vita nuova requires of Dante the writing of a sonnet and the writing of that one sonnet prompts the writing of another: ‘After completing this last sonnet I was moved by a desire to write more poetry.’ The sonnets, in turn, place on Dante a new pressure, for as soon as his ear hears what he has made in meter, his hand wants to draw a sketch of it in prose: ‘This sonnet is divided into two parts . . .’; ‘This sonnet is divided into four parts . . . .’

(Elaine Scarry, On Beauty and Being Just, Princeton University Press, 1999, pp. 4–5.)

is marianne moore marianne moore?

Is Mississippi Mississippi? Is there a Petula in Indiana? I was told by an art editor from Harper’s Bazaar I spoke with clarity.

I clipped a page from Life magazine showing Marilyn Monroe’s tomb stone which read Em Em 1926-1962. I was impressed by her dates. Like Joe. (Joe D.). Joe De Em. Joe Death. A playing card figure this way also that way. The card part of the Cardinals, a baseball team.

As William Wilson signing off on the telephone wittily said Tah Tah I did not get it and he said it was hat hat backwards. There is no necessity for two hats one does not have two heads but in scarpbook I kept as a a child (yes, scarpbook, not scrapbook. I did not glue down crap but carp. Now those fish did struggle with Elemrs glue in that book!) I treASUREd a photo of a two-headed turtle. ASURE is a mistake in useing the typewriter.

Marianne Moore is certainly not Marilyn Monroe. In collage, Marilyn’s head could be but on Marianne’s body. One could pretend to be someone one is not. Children’s play. I’ll be you and you be me. Be my valentine. Ray Johnson wearing Marianne Moore’s hat. Lend me your ears. May I have a pint of your blood? Can you lend me a dime? Can you spare a brother?

(Ray Johnson, typescript sent to William S. Wilson, November 2, 1966)

the importance of ambiguity

“Everything is contaminated. It seems, though, that the favorite domain of tragedy is the narrative complication, the romanesque. From all mistresses-turned-nuns to all detective-gangsters, by way of all tormented criminals, all pure-souled prostitutes, all the just men constrained by conscience to injustice, all the sadists driven by love, all the madmen pursued by logic, a good ‘character’ in a novel must aboce all be double. The plot will be ‘human’ in proportion to its ambiguity. Finally, the whole book will be true in proportion to its contradictions.” 

(Alain Robbe-Grillet, For a New Novel (trans. Richard Howard), p.62)

(consider.)

middlemarch

“Language gives a fuller image, which is all the better for being vague. After all, the true seeing is within; and painting stares at you with an insistent imperfection. I feel that especially about representations of women. As if a woman were a mere coloured superficies! You must wait for movement and tone. There is a difference in their very breathing: they change from moment to moment. – This woman whom you have just seen, for example: how would you paint her voice, pray? But her voice is much diviner than anything you have seen of her.”

(George Eliot, Middlemarch, chapter 19)

all about the kish kash

“We’ll have some wine,” he said. “And promise me you’ll forget the ugliness for a little while. You know, as long as you remember the ugliness, you might as well live in oblivion, because there’s nothing for you in life. The ugliness is everywhere, and you just have to overlook it.”

“Someone else said that to me once,” she said.

“It’s quite right,” he said. “And you have to face that truth before you can live with yourself even for a short time. Otherwise you will be in constant search of escape.”

“I know,” she said quietly.

(Pamela Moore, Chocolates for Breakfast, p.116)

préface a la nouvelle édition

Quelle est la raison d’être d’une préface? Apologie? Explication? Commentaire? Indice de faiblesse ou de mauvaise foi – si elle est écrite par l’auteur –, éloge de complaisance parfois, si elle est due à quelqu’un d’autre. Je n’ai jamais compris l’utilité des préfaces, j’ai peu de goût pour en écrire une. Une pote pourtant s’impose ici.

La première édition française de mon livre a été traduite de la version américaine que je n’ai jamais considérée comme complète. Je me trouvais à cette époque-là aux Etats-Unis et il ne me semblait pas possible d’y faire paraêtre mon livre dans sa version intégrale. L’occasion de publier cette dernière me fut offerte lorsque j’ai rencontré à Paris mon éditeur français.

Voici donc l’édition non expurgée. Est-ce à dire que la version américaine avait subi des altérations arbitraires? Certes non. Il s’agissait plutôt d’une contrainte que je m’étais à moi-même imposée et que je voudrais pouvoir nommer : une censure par anticipation. Cette même contrainte existe dans l’esprit de beaucoup d’écrivains américains qui sont conscients de préférences du public à propos duquel ils écrivent et qui connaissent bien aussi l’idée que se font de notre public ceux qui le servent.

Il est difficile chez nous de servir à chacun ses quatre vérités, surtout lorsqu’il s’agit de ce conflit essentiel qui existe entre les principes de notre mode de vie et les exigences de la condition humaine. Ce conflit est latent dans tous les cœurs de notre pays, et il tourmente beaucoup d’entre nous. Nous nous détournons de cette vérité terrifiante avec ce que j’appellerai une sorte de mauvaise foi commune. C’est ce qui m’a poussé à m’exprimer avec certaines réticences au cours de mon travail initial. Mais après y avoir réfléchi, j’ai senti qu’il me fallait tenter de parvenir jusqu’aux causes de cette crise morale dont souffre tant la jeunesse que je décris ici.

P. M.

now reading

I read maps, worldwide earthquake bulletins, I read what I want to find out about. Government lies. Structural materials. All this can be used against me. I read newspapers. I read reviews which are sometimes about the reviewer pretty much. I write a few reviews a year and almost endlessly reread drafts of them to make sure they describe the book. I’m told it’s a waste of time, but it all helps me learn to write.

Somewhere in me there’s the employer whom I ask what is my job who answers, A little bit of everything.

(Joseph McElroy, interview with Trey Strecker)

corson’s inlet

I went for a walk over the dunes again this morning
to the sea,
then turned right along
   the surf
              rounded a naked headland
              and returned

   along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
     some breakthroughs of sun
  but after a bit

continuous overcast:

the walk liberating, I was released from forms,
from the perpendiculars,
     straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
          of sight:

                 I allow myself eddies of meaning:
yield to a direction of significance
running
like a stream through the geography of my work:
   you can find
in my sayings
               swerves of action
               like the inlet’s cutting edge:
        there are dunes of motion,
organizations of grass, white sandy paths of remembrance
in the overall wandering of mirroring mind:

but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:

in nature there are few sharp lines: there are areas of
primrose
    more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes
irregular swamps of reeds
though not reeds alone, but grass bayberry, yarrow, all . . .
predominantly reeds: 

I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
       from outside: I have
       drawn no lines:
       as

manifold events of sand
change the dune’s shape that will not be the same shape
tomorrow,

so I am willing to go along, to accept
the becoming
thought, to stake off no beginnings or ends establish
      no walls:

by transitions the land falls from grassy dunes to creek
to undercreek: but there are no lines though
     change in that transition is clear
     as any sharpness: but “sharpness” spread out,
allowed to occur over a wider range
than mental lines can keep:

the moon was full last night: today, low tide was low:
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,
caught always in the event of change:
    a young mottled gull stood free on the shoals
    and ate
to vomiting: another gull, squawking possession, cracked a crab,
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:

risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
         the shallows, darts to shore
                  to stab – what? I couldn’t
    see against the black mudflats – a frightened
    fiddler crab?

         the news to my left over the dunes and
reeds and bayberry clumps was
         fall: thousands of tree swallows
         gathering for flight:
         an order held
         in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
       as one event,
               not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps
beaks
at the bayberries
   a perception full of wind, flight, curve,
   sound:
   the possibility of rule as the sum of rulelessness:
the “field” of action
with moving, incalculable center: 

in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
        pulsations of order
        in the bellies of minnows: orders swallowed,
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together
        and against, of millions of events: this,
                 so that I make
                 no form of
                 formlessness:

orders as summaries, as outcomes of actions override
or in some way result, not predictably (seeing me gain
the top of a dune,
the swallows
could take flight – some other fields of bayberry
       could enter fall
       berryless) and there is serenity:

       no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:

terror pervades but is not arranged, all possibilities
of escape open: no route shut, except in
   the sudden loss of all routes:

       I see narrow orders, limited tightness, but will
not run to that easy victory:
       still around the looser, wider forces work:
       I will try
     to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
       that tomorrow a new walk is a new walk.

(A. R. Ammons)