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February 25, 2013
An Aggregated Equality
by Greg Schutz
Thomas Jefferson, remix artist? Well, yes. Fragmentation and recombination are natural features—and unavoidable consequences—of language use, and the Declaration of Independence is a remarkable remix of ideas, a crosshatch of interconnected and often competing influences. What might an investigation of the Declaration tell us about the internet, Reality Hunger, and collage as a literary form?
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May 2, 2012
The Ego Is So OVERRATED
by Marshall Walker Lee
As opposed to wit, which is often just pedantic cruelty, more ingenious than funny, rarely instructive or heartening, Aphorism is, historically, a manly form, laconic, from the Spartan polis of Laconia. Spartan men were said to hold the rhetoricians and the poets in disdain; the Laconians valued bravery, austerity, and, as anyone who’s seen 300 knows, a direct and very un-pedantic sort of cruelty. The first “Laconisms” come from accounts of the Battle of Thermopylae, the bloody contest that pitted a small band Greeks and Spartans against a superior Persian force. Grotesque, frightening, often hilarious, these early Laconisms make the battle out to be a bloody lark. My favorite: when a Persian envoy sent to Sparta asks for a tribute of “some soil and water,” the Spartans throw him down a well; “Dig it out yourself,” they say.
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February 13, 2012
Nothing Personal: Some Notes on Cage
by Marshall Walker Lee
When Cage began experimenting with chance operations in the 40s, he was looking for a means of stripping intention and taste from the process of creating art. In the Western world, our notion of “genius,” at least as it relates to artists and performers, is generally shaped by a psycho-historical method of decoding biography to discover the seed of ability. In the pre-modern world, it was taken for granted than an artist in full possession of his facilities, having taken care to hone his craft, could be compelled by divine will or religious mania to make a work of lasting value. After Freud and Nietzsche, we began to see our manias and urges as beginning and ending in the self. If the artist used to be Jacob wrestling with angel, now he is at best a lesser Hercules, laboring to exorcise the demons of his parentage, or at worst a nebbish with one foot in the analyst’s door.
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April 14, 2011
Come A Little Bit Closer Now Baby: Elizabeth Bishop’s “Brazil: January 1, 1502″
by Gray Jacobik
Although our lives cannot occur except in an historical context, many contemporary lyrics are written as though only personal history matters. It’s a great joy to encounter a poem grounded in history as thoroughly as Elizabeth Bishop’s “Brazil: January 1, 1502”, particularly one that begins with a cymbal crash, the seeming non sequitur or unusual plural: “Januaries” –– followed by a pace that slows for the next 23 lines until we encounter that deeply-burdened word at the end of line 24 –– “Sin”.
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March 28, 2011
Come A Little Bit Closer Now Baby: Wallace Stevens’ “Bouquet of Roses in Sunlight”
by Gray Jacobik
Stevens seems to have enjoyed facing the difficult dilemma of writing a poem knowing that, when it comes to the actual, “sense exceeds all metaphor” and it “exceeds the heavy changes of the light.” He loves struggling to come to terms with the limitations of language. He succeeds, though, at least in “Bouquet of Roses in Sunlight” and quite often: his speaker becomes the Zen Master whose finger points to the Moon, directing our gaze, gesturing toward, as Wittgenstein put it so succinctly, “Whereof one cannot speak, thereof one must be silent”.
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