Saturday, 31 October 2015

LEGALLY BOND: REVIEW OF SPECTRE THE NEW JAMES BOND

SPOILER WARNING - THIS REVIEW CONTAINS INFORMATION YOUR EYES MAY NOT WANT TO SEE JUST YET....

North Americans have to wait for November 6th to see the 24th official James Bond film, SPECTRE, released - however, it has now been playing since Monday in British cinemas, so it is hardly reasonable, after hundreds of online media reviews, for Eyewear to hold back any further, especially given a) our longstanding history of engagement with the Bond franchise which we take seriously and b) since the film itself is about intelligence gathering (and leaking).

The series was rebooted in 2006 with Casino Royale, after the Pierce Brosnan age, which, in retrospect seems a sunnier, more upbeat time, more like the Roger Moore films, and turned over to the ruggedly (even lopsidedly) handsome Daniel Craig, who brought a Rugby player's physique to the role (and, as the series developed, a surprising humanity). Casino Royale introduced a shadowy cabal of villains out to get Bond, a cabal that was sort of shelved (it seemed) in the ill-starred Quantum of Solace, only to be, Russian Doll style, re-inserted into a larger embracing structure of evil incorporation under the umbrella of SPECTRE. Skyfall was a surprise global hit (the biggest in Bond history) and upped the stakes, and the auteur behind it, Sam Mendes was brought back for the Skyfall sequel, which this very much is.

However, the scriptwriters have decided that this was also a moment to take the Craig Quartet, and form a mythic substratum of plot and identity, thereby rebooting a reboot, and adding new depths to old tricks. Bond films have long traded in pastiche, homage, self-reference, and post-modern games, so this is nothing new, except the complexity is perhaps more sophisticated this time around. The Year Zero for all Bond is the trilogy of masterworks, really, Dr No-From Russia With Love-Goldfinger - a template never bettered, in terms of setting, pace, romance and ingenuity. If you add the eccentric critics' darling, On Her Majesty's Secret Service (which introduced Ernst Stavro Blofeld as the snowy Alps-based madman) you have the four cornerstones on which the Bond franchise was forever after built - and which SPECTRE references constantly, and rather blatantly.

From Dr No they take a pleasingly exotic villain's lair (this time a meteor crater in Tunisia); from Russia they pluck a hyper-violent train battle; from Goldfinger they take the Ur-torture scene (then a laser, this time, well, I won't say); and from Her Majesty's they acquire the Alps, and - yup, Blofeld, complete with white cat. So all the elements are there, plus a great car chase through the streets of Rome, complete with holy music as we approach the Pope's home, and a bravura opening scene that references Live and Let Die's morbid opening. Clearly the screenwriters owned the box sets, and had their favourite memories from the vintage films.

Yet, this is not simple fan fiction, but an attempt to create a fiction of some impact and quality. As such, and for no good reason, given the homages cited above, the writers and director also decided to incorporate clear visual echoes of Touch of Evil by Orson Welles (itself opening in Mexico with a long tracking shot that ends in an explosion, and thematically about a lawman who has lost his ethical way in the quest for justice; a man haunted by past loves and physically past his best-buy date); and, less logically, key references to classic Hitchcock films, including Vertigo (the Bondgirl here is named Madeleine Swann - a Proustian reference to time and memory), North by Northwest (the train journey romance and planes), and The Birds. It also clearly borrows from the Nolan Batman trilogy, especially in relation to The Joker's threats to Batman over choosing to save loved ones faced with death, and a celebration of chaos and ruin as a new start. So, SPECTRE is a feast at the cineaste's table.

So, what is good about this very long Bond (148 minutes)? The fight scenes are thrilling. The two Bondwoman/girl relationships are erotic and fraught, if not as well established as perhaps required for emotive resonance - and both are darkly twisted - first Bond, a pure Machiavel/ Richard III seduces a widow whose husband he has just murdered, then later beds a bereaved daughter whose father he has helped to commit suicide.

In general, Bond is given some witty and perverse lines - the direction here is to emphasise the ways in which Bond is a disruptor - a man able and willing to kill for his country, and also to sleep around and destroy property to do so. In the battle between mavericks and mandarins, Bond is the oxymoronic terrible beauty of anarchic order.  He clips the wings of his own plane turning it into a Kamikaze weapon of destruction in a key wintry scene, reminding us that Bond usually is the frontline of any violence he has to commit - a major theme in this film being Bond is not a robotic drone, but a man of conscience (really, didn't he used to be a sociopath?), who looks the bad guys in the eyes, before dispatching them. Justice is not legally blind, it is just ruthless.

This theme of drones bad, two boots (Bond boots) on the ground good, is eagerly pounced on by the writers to make this the most digital age Bond yet - and tediously so. In the age of IS(IS) and Snowden, do we need to be reminded of surveillance and snooping? The Bond films were always geopolitically topical (the Cuban Missile Crisis arguably informs a dozen of the 24) but also, at times, imaginatively futuristic in their perils (a madman has still not, believe it or not, since 1945 stolen a nuke and blackmailed the West with it).

On top of these themes, there are the themes of family drama (half-brothers, dead husbands, fathers, and mother-figures like M); Time and Memory (as mentioned above); the nature of duty and love; vision, eyes, sight, blindness, optics, optical nerves, Central Nervous Systems, Lear-like torture of eyes; and theories of societal evolution (meteors, extinction, technology). It is a weird rich brew that only four screenwriters could concoct.

This, then, is a very good four star film, with a superb soundtrack by Thomas Newman and beautiful cinematography by Hoyte Van Hoytema, of Interstellar and the original Let The Right One In, and fun standard Bond erotic-weird credits, with a good flamboyant theme song by Sam Smith. However it is not the masterwork it so clearly aimed to be.  It shot, it missed. Why? Forgive me for refusing to claim its homages and overly literary subtexts ruin it, for I welcome this sort of texture. Instead, the film fails precisely where its creators should, and could, have been expected to succeed: old-fashioned suspense.

This witty, stylish, elegant, romantic, action-packed film has it all, except the one thing that Hitchcock (and Welles even in his layers and trickery) knew was essential - suspense. By this I mean, you need to know something big is at stake for the characters you care about - and something bad is going to happen to them, UNLESS/UNTIL - what? That what is the thrust of your film, and why we watch. SPECTRE is SPECTACLE but not SUSPENSEFUL.
 
And here is the major disappointment of the film for this viewer: Christoph Waltz as Oberhauser/Blofeld, the shadow side of Bond, his half-brother. I love Waltz.  His work with Tarantino is sublime, and if anyone else could play a Germanic megalomaniac better it would be hard to believe. Perhaps expectations within my pulsing fan brain are too high, but I wanted a Donald Pleasance* level of genius here. Somehow Waltz is faintly comic, even hapless at times, due to what his character is given to say and do and be and plot. His Neru-jacket, borrowed from Dr No, is ill-buttoned. His meteorite display seems pitiful (even Bond makes a joke about it) and his weird torture device inexplicably dissociated from the film's richly stocked larder of images, unless we are here introduced to Kubrick as yet another inspiration (his 2001 white room moved to A Clockwork Orange). Well, I guess it could be Orwell's Room 101 updated via Brazil?

I won't spoil all the fun and terror of the key sequence in Tunisia - it has some wonderful formally stiff moments that I love about Bond (the villain's unctuous minions never kill Bond but at first offer him luxury accommodation and champagne) - but must remind you - where is THE SUSPSENSE? What is Oberhauser's plan? What is he going to do that must be stopped? Set up a spy agency? That's it? Even the scriptwriters must have thought they needed oomph, because it turns out Oberhauser has a sideline in family revenge tragedy out of Hamlet (and just as tardy) and also wants to degrade Bond and rob him of all the women he has loved by killing them - especially the new Bondgirl - and somehow we get this peril by blowing up a building already set for demolition, and a woman Bond (never one for attachments really, bar Vesper and his wife) has only laid eyes on a few days before.

Why does SPECTRE not have a plan for world-shaking evil? No mass killings? No blackmail? No nukes? No plagues to be unleashed? No nano-bots? Just surveillance? It is all very real.  Down to the dangers of human trafficking that we never see (though SPECTRE the gang does profit by it). But Blofeld might as well have tied his Penelope to the Tunisian train tracks.  It is all a bit melodramatic. I needn't detain you too much longer - but the film is book-ended by helicopter shots/ helicopter's shot - a bad cinema pun meant to be clever I guess - and one yearns for the day when Blofeld had a more sophisticated sort of escape vehicle, one that could withstand a single bullet - Bond's aim being great, it is still impossible to hit a moving target with a pistol at that distance (boring I know).
 
So, I won't spoil the ending, except to say, just as in Skyfall, which upended key tropes to surprise, this movie does the same, ending with two major reversals of Bond-as-usual that are pleasing, the second one being perhaps the most positive ending to any Bond film, and a very sweet, gentle erasure of the rather savage tragedy at the end of On Her Majesty's Secret Service. In this way, all's well that ends well. SPECTRE ends as a comedy. Did I love it? Not quite - but about 70% of the time I was enthralled and very happy. But next time, please let the villain be EVIL again, and place the world or a key city in some sort of immense danger. We need our Commander Bond to be saving more than his own, his agency's, and his lover's, skin.
 
 
PS - I liked seeing Moneypenny, Q, and M all have expanded action roles. Fun idea. More next time? Monica Belluci was sexy but under-used; and Seydoux effectively charming.

* Donald Pleasance increasingly looks like a character actor of genius, who made every film he appeared in exponentially greater, especially Halloween.
 
- review by Todd Swift, copyright 2015

Friday, 30 October 2015

Ben Mazer Interviewed by Robert Archambeau

Ben Mazer Interviewed by Robert Archambeau

[Note: This interview will appear as the Afterword in Ben Mazer's new collection of poems The Glass Piano, forthcoming from MadHat Press on November 1.]


THE AMAZING MAZER, ALWAYS AN EYEWEAR FAVOURITE


RA: I'd like to begin with process. Often, poets have spoken of their process as one or another kind of mixture of deliberation and intuition—whether they call the intuitive element "the muses" or (in Jack Spicer's case) a radio transmission from Mars. How does a poem begin for you, and what happens once you have the initial impulse?

BM: Jack Spicer was deeply in love with the relatively unknown but deeply brilliant poet Landis Everson, who in turn, late in his life, fell deeply in love with me, so I not only know all of the Spicer literature, but have heard many intimate, off the record stories of Jack's thinking about poetry, and his methods of composition. Like many of the best poets, he was possessed by words, and his poems came to him as voices that he heard and recorded without any other guidance than long, elaborate and strenuous preparations for being able to write poems—when they came into his head—which must have acted as a kind of net or formal conception already deeply ingrained in his consciousness by the time he was struck by inspiration, instinct, and intuition—what he referred to as transmissions from Mars—so that the poems were deeply guided by a well-prepared consciousness, with its fully digested lore and ideas, and personal feelings concomitant with his own rather compendious knowledge in many intellectual areas, such as philosophy, as well as the knowledge that comes with personal experience, while at the same time being completely intuitive and unexpected events of inspiration. I think most poets of a high calibre work in this way to some degree or other—typically hearing first lines of poems simply come into their head, sometimes even as heard voices, successively followed by a flow of words, lines, and passages that come as naturally as leaves to a tree, and are imbued with what Eliot called the auditory imagination, a deeper level of meaning that is not contained in the literal meaning of the words, but—on another level—in the sounds of the words, their origins and accumulated meanings and resonances, and their emotional suggestivity, until the poem peters out, completes itself, and the poet knows it. Sometimes the poet goes on too long—maybe just a line or two beyond the point where the genuine inspiration ends—but the poet is quick to spot this dead wood and snip it off to give the poem the wholeness and unity that it must have. There are many descriptions—throughout the history of poetry—of poets, many of them of the greatest stature—creating poetry in exactly this way.

I find that this is precisely the way I work when I am writing my best poems—that they are miracles of inspiration and intuition, and typically begin with a first line simply coming into my head—something like hearing a voice that fully forms itself without my interference—and then followed by another, and another, and so forth. I do, and I imagine other poets do this also, to a certain extent, realizing what the meaning of the inspiration is, even if only intuitively, tend to offer it a little guidance through an act of intense concentration on where I know the poem must lead, or upon some symbolic image or emotion (what Eliot called significant emotion), which I know instinctively to be the heart of the poem, and which I know must be unravelled to its end, even if I don't quite, at least consciously, know what that end is. I am there to find out what the end is, and I must seek the path the poem beckons me down in order to find out. This does occasionally demand a tiny bit of interference on my part: a search for the right word to convey what I feel to be the object of my attention; an intensified focus—more meditative and open than merely conscious—on the object of attention; a determination to get some nuance of what I discover to be the meaning or quality of the emotional experience of the poem into the poem. But I possess a well prepared machine or instrument, and largely when real inspiration hits there is very little or often no need whatsoever for interference on my part. The best poems simply write themselves, with a minimum of this sort of interference, and I imagine many people would be surprised to learn that internal rhyme, end rhyme, and meter come to me without conscious thought or guidance of any kind on my part—they are simply what the poem itself wants to say; and I am often surprised myself to discover afterwards how many connections and meanings and levels of meaning a poem which the unconscious created can possess due to what is essentially the gift of a possession of a naturally musical and meaningful consciousness which has paid its dues in experience and preparation. The most exciting poems of all are those in which I am swept up entirely by a cascading ocean of words which seem punched through with an infinite number of levels of meaning, all deeply felt in the act of composition, and which are above all deeply resonant musical conveyances of significant emotion. My long poem "Divine Rights" (in my collection Poems) is an example of this. Another is a poem from the same collection, "The Double".

To put it an entirely other way: the advanced poet is likely to know exactly what he is doing, and is unlikely to make a mistake, even when writing without thought, and by intuition. He is like a jazz musician in that he either is on target and gets it right the first time, or else he flubs it, in which case he may wish to simply scrap the entire take as not up to snuff. Revision is largely, for me, a matter of cutting a line, finding a single better word (sound being the operative principle as much as the literal level of meaning), scrapping a weakening stanza, or some such minor alteration. Consider the fact that revision is as much an improvisatory act as the original act of composition, and depends just as much on inspiration and intuition. When the poet is at the height of his powers, revision is often if not generally entirely unnecessary.

RA: On the question of revision—you've lavished considerable attention on the poetry of John Crowe Ransom, even editing his collected poems in an edition that includes all of the revisions he made over time. For you, is revision something that comes immediately after composition? Ransom would revisit old poems many years later, often changing them significantly. Is that something you've been tempted to do?

BM: I've never been tempted into the kind of forays into compulsive, perpetual revision that absorbed Ransom late in life, though who is to say what devil might get into me when I reach those later years. No, generally revision is as I've described in my answer to the first question: it is a very minor affair, and generally does come almost immediately after composition, if at all. When I write poems I have a great conviction about them when I feel I am doing it correctly (that is, in the way that suits me, and suits the object of my mental attentions), and generally I tend to feel I have got it right the first time. If one is going to get it right at all, why not be done with it at the first stroke of the anvil. When I am writing I have that kind of control over my instrument, again like a jazz musician who has trained himself in the art of improvisation and concentration. When I am on, I am on, and I know it, and I know that I can do anything that the poem wants me to do. The poems that don't work out, the false starts, and half-successful attempts, I simply toss into the dustbin. It is easy to see in those poems that the poetry was not really genuine. I try to explain this to people: if, when it comes, it is genuine poetry, it is not going to need to be altered. It is just the case that I have prepared my instrument particularly well and thoroughly. Others may need to proceed more slowly, more cautiously, and refine over time; that is not my method. If I make a mistake, I feel I may as well give up for the day. I have a great trust in the powers of the unconscious to present one with gifts of treasure in the realm of significant utterance, even if that utterance is not immediately accessible to total comprehension. Eliot famously told Richards that he felt his most successful poems were those which elicited the most various and unexpected array of interpretations, strange and foreign to the poet's own understanding of his poem. This is a sign of the mysteries. It is the poem that rules and has authority over the poet, and not the other way around. The poet is the conduit for the poem. Otherwise we would just be writing what we already know. And even when we have a reason to write what we already know, sometimes especially when we have a reason to write what we already know, it is possible to get it right the first time, and still for the poem to be imbued with unexpected and rich meanings that the poet was not fully conscious of during the act of composition, though he is likely to notice them later. It is all a matter of the poet's capacity for concentration, and of his responsiveness to the powers of the unconscious mind.

Revision? Sometimes I'll work on a poem for several days in a row, as I did when I wrote the 41 sonnets in "The King" (New Poems); here's a case where composition itself is an act of revision through a process of accumulation. All composition is revision, just as all revision is composition.

RA: What can you tell us about the ways you prepare yourself to receive the poems when they come? To steal a phrase from Yeats, what is your singing school?

BM: Three things. One, about thirty years of continuous reading in every area of literature, with a continuous application to poetry and the criticism of poetry, and foraging forays into philosophy, history, anthropology, psychology, popular culture, family lore, love itself, and other subjects as well. Two, many years of hard labour scanning meters and cadences and other technical minutia of the most accomplished verse one can find, coupled with unceasing attempts to master the art of writing rhymed and metrical verse until it becomes effortless and as natural as breathing, so that one can break from or depart from or transmogrify these things at will or whim with authority, control and meaning. Three, intensive exercises in the arts of memory and concentration, with particular attention to the knack of holding an emotional memory steady in the mind's eye. There is also the fact of one's background. I was particularly lucky in this, in that I was surrounded by good books and a family that paid close attention to matters of aesthetic philosophy (whether they were aware of this or not!). But honestly, I think at root that it is an innate predisposition to deep reflection that one is born with, or in some cases scared or scarred into. My "singing school" is something like an adherence and receptivity to the ways and purposes of a controlling god. My source is divinity. Or perhaps it is the art of being transfixed to the point of solipsism. But with the object of focus the known world. There is more, but I can't recall what it was. I was six years old. I saw them through the window. The guys in the blue coats fired on the guys in the red coats, and then they all ran away.

RA: We've been talking about process, now I wonder if we can relate it to form. I know you have an affection for rhyme: one of the pleasures of visiting the Boston area is hearing you and Philip Nikolayev improvising rhymes together as you walk the little streets around Harvard Square. But rhyme in your work tends to be intermittent rather than regular, and you've never been affiliated with New Formalism. What attracts you about rhyme, and what role does it play in your poetry? Also, what can you tell us about other unusual features of your poetry—the sometimes irregular syntax, the deliberate use of British spellings, the way a sentence can sometimes meander. The latter feature accounts, I think, for the comparisons sometimes drawn with John Ashbery, although I know you don't see him as a major influence.

BM: I am amused and intrigued by rhyme, especially intricacies such as partial or near rhyme, assonance, and internal rhyme, which my work naturally seems to gravitate towards. It is quite unconscious, and comes from years of reading and hearing the sounds of poems and language in my head. I rarely set out to write a rhymed poem—though sometimes I do, with the purpose of attaining a sort of formal integrity that might aptly suit my subject matter when my subject matter is largely tonal: the rhymes, both internal and at line ends, come quite naturally and unconsciously, without my thinking about them. I'm heavily schooled in blank verse, Marlowe, and so forth, so—as in Lowell's late sonnets—you get a varied mixture of real rhyme, heavy rhyme, sporadic rhyme, and blank verse punctuated by occasional rhyme. I like it! It rings the ear with emotion and pleasure when it hits home and has qualities. Sometimes it echoes a cadence I have heard somewhere that must be in the back (or at the tip?) of my mind. This can raise poetic ghosts, and induce resonances with emotional significance. And yes, Philip and I have had many a long session of improvising perfectly rhymed sonnets for sheer pleasure's sake—it's sort of a running theme with us. Again, it all comes from taking apart poems for years as you would take apart a radio and put it back together again just to see how it worked: the lesson sticks with you. I played classical piano as a child, and jazz music growing up, so it is all music and indicative tonality to me. Sometimes when I listen to people talk all I hear is the rhyme; I must have a look on my face as though I'm in outer space. I wasn't aware that my poetry had irregular syntax in it—but I suppose that's because I'm forging an idiom that correlates directly with whatever it is I'm expressing, whatever perception or emotion (the two can be the same). It has struck me that my use of internal rhyme is quite innovative, in fact: something I wait for people to notice and gather in cafes to discuss. As to the syntax though, I have read far too much Hart Crane, and perhaps that has something to do with it, as well as my early obsession with Cubism, which breaks up the syntax of visual perception, color and shape. It is all emotionally correlative. I follow the thought, the emotion; what happens as a result to the language is my business, but not my business, if you see what I mean. The British spellings: my maternal grandmother was English, and I grew up on English literature as a child; I can't really say what attracts me to the British spellings; just the offbeat pleasure of it, I suppose. It's my nod or tip of the hat to English literature and culture; my turning away from the downgraded cultural atmosphere of our times. I also misspell words and have no wish to correct them! I feel I am stuck with the emotional and musical baggage of their peculiar semi-neological resonances, and can't betray them for a correct word. Joyce of course carried this to the extremes of obsession. Meandering: I suppose by that you mean largely tour de force enjambment, which has always struck me as the sign of genuine (the personally unique taking part in the universal) emotion in all the glory of its flux and flow: its stasis which has its simultaneous existence as well, as a rounded unity, or a pervasive extension, mirroring the nature of reality such as we come to know it in our more observant, less impinged upon moments. Lycidas is a famous example of how far you can take that (Ransom has a good essay on this in The World's Body); but of course it can always be pushed farther, and it is experience that does it. It's that contained flowing which is so universal, like the bounded and boundless sea, interminable rain, infinity without cessation (passion and reverence), one's movements through the world and through oneself, monumental archetypes of catastrophe and rebirth, the night. No, I don't see Ashbery as an influence at all. I like his stuff—it always amuses me, and I'm attracted to "The Skaters"—but it's not a model I would aspire to, or anything I would want to steal from for my own use. He's merely there, Ashbery. I drove by Sodus recently. I like that neck of the woods. Nice to think of young Ashbery emerging from such a place. Seriously, though, the comparisons with Ashbery drive me crazy. I see no resemblance whatsoever, other than some vague resonance of the Harvard outsider poetry tradition, which I, too, partook of. The parti-colored brick and cobblestone, and the grey sky over Mem Hall, kind of seep into you like damp weather in the autumn. Probably comes from a mutual love of French poetry and music, Apollinaire and Debussy and so forth, as well. And the historical moment (which I reject, in order to embrace). Someone said we are a late blooming generation. But whatever we are doing, it strikes me that we are making it new. The young crowd in ascendancy now has much to buck against. Why not simply follow one's own inspiration? And let the rest take care of itself. Oh, the syntax: it might come from layered and abrupt shifts in imagery and meaning. The cinematic quality of consciousness. I try to mirror my thought, or perhaps go further than that. A guy's alone. The skeleton of a horse is crossing an abandoned railway bridge. Everything in the world is in its place. But what is that but hunks of color: solipsism or divinity? Or both?

More about the syntax: Sometimes planes shoot off at oblique angles. Other planes shoot off at oblique angles from those planes, and others from those. This is the way the mind works: holding perception at a distance to the point of substitution. How else are we going to deal with the richness of our memories?

RA: It's interesting that you mention a "Harvard outsider tradition," since for most people the words "Harvard" and "insider" go together, like little cucumber sandwiches and summers in the Hamptons. What can you tell us about this tradition, and your relation to it?

BM: Poets are poets. You can't change them. They say nothing, stare into space, or talk like maniacs about incomprehensible complexities, and sometimes disappear for days on end without anyone ever finding out where they went. They procrastinate, and can't be made to do anything but read endless numbers of poetry books. They don't fit in socially at the Fly Club, they dress funny and don't know how to assert themselves, and are shunned by all but the strangest of social outsiders. This is as true at Harvard as any place, and probably even more true at a place like Harvard, where people are being groomed to be presidents and so forth. Practical concerns are not their forté. I'm third generation Harvard myself, but the Mazers were all Jewish (my grandfather Moses was class of '24, when there was still a quota and there were I think no more than 8 to a dozen Jews at Harvard at most). I got into Harvard through the back door, as it were, as a Special Student (an offbeat status which I share with Robert Frost, Wallace Stevens, and Eugene O'Neill), and then only because Seamus Heaney and William Alfred (Robert Lowell's friend) wrote letters on my behalf. This was all contrived so that I could study with Seamus Heaney, but I took advantage of the situation and took courses with such excellent professors as Derek Pearsall (Chaucer), David Perkins (lyric poetry), Leo Damrosch (American poetry), and Donald Bacon (modernism), and was tutored privately by Bill Alfred. The literary studies at Harvard were brilliant at the time (many people were still alive who had known Eliot, Richards, etc.)—I don't know what they are now. I absorbed myself in them completely, and felt that I was entering a tradition. They were every last one of them outsiders: Tuckerman, Eliot, Frost, Stevens, Cummings, Wheelwright, Robert Lowell, Delmore Schwartz, Dunstan Thompson, Frank O'Hara, John Ashbery . . . They were spooky ghosts on the fringes of that cucumber sandwich crowd, and never the twain did meet. Few did well in their studies (Eliot was mediocre as an undergraduate), and many dropped out, or were thrown out. Delmore Schwartz surprisingly won the Boylston Prize for a brilliant philosophical essay in 1936. I've written about this before at length in Fulcrum (#5, 2006), where I think I summed up the situation of the outsider tradition pretty well, so perhaps it's best to wrap up this question with a passage quoted from my essay there:

"It is in fact precisely the poet, more than anyone, who has usually found himself to be problematic and institutionally marginal at Harvard, and who has typically had an unpredictable, unconventional relationship with the university. [. . .] By and large, the best of the Harvard poets have been far from either staid or academic. They have been poets, with all the wildness and sensitivity that that implies. What distinguishes them as Harvard poets or near Harvard poets—as often as anything—is a consciousness of the tribulations—fugitive, obscure and various—of those who have existed with them in a continuous tradition: not Harvard's, but poetry's."

RA: Finally, I wonder if you could say a little something about the place and meaning of poetry in the world. You've been bold enough to speak publicly about the future of poetry: what do you see for poetry when you look in your crystal ball?

BM: I discovered Rimbaud when I was 16. I had played hookey from school and taken the bus into Harvard Square. In the basement of a very filthy used bookstore, I found an old blue and grey Pelican paperback anthology of French poetry and slipped it unnoticed into my pocket. It was a very grey, foggy, and sort of misty or rainy day, typical New England, and on the bus ride back I happened to have my eye caught by this poet, Jean-Arthur Rimbaud, who had been about my age when he had written his poems. I began reading and was immediately transported into some realm that I had never experienced before, but which I had the sensation of having always known had existed. It seemed as if words were detached from time and space. I didn't know Rimbaud was a famous poet, and I thought that this was my own discovery entirely, something that no one else in the world knew about except me. Right then and there I recognized that this fellow was me, and had written exactly what I was trying to write. I became insatiably obsessed, and I think that right there that was some kind of beginning, or a further beginning built upon other pivotal reading experiences of childhood such as my discoveries of Lewis Carroll, Poe, the perfectly circular sentences of Raymond Chandler, and the clipped and projective syntax of Samuel Beckett, whose Waiting for Godot I had dipped into with a sense of wonder and discovery. Among poets, Rimbaud was my first true hero. I thought that I possessed an immense secret about an entirely unknown figure. Through me, I felt, this person was living again. Ah, the providential reader! Years later, when I discovered the Confessions of Verlaine on the interminable hold shelf of an antiquarian book store, a book that was never for sale, and which I wasn't even allowed to look at until the owner had left the shop for the day, and the girl behind the counter took pity on me, I almost died of grief when I read, only at the very end of the book, that Rimbaud had just come into Verlaine's life, the only mention of him in the book's very last sentence. Why couldn't the Confessions have gone on! I tried to trace Rimbaud's footsteps in the snow around Harvard Square—and almost succeeded!

I guess what I'm driving at is that poetry and poets are for poetry and poets, and only then for the rest of the world to catch up with, or be stirred by in some way that it can't quite fully comprehend. Poetry has an endless future, in a way encompassing the entire universe, but I think that the core of the thing, when you get right down to it, is that, aside from writing sheerly for his or her self, a loved one, a poet friend, or truth or God (however fictional the poet's means), the poet is really writing for the providential reader, that strange young person of the far distant future, who, with immensely empathic consciousness, will stumble across the stuff and say to himself, "This person is me."

October 2015

Ben Mazer's collections of poems include Poems (2010), January 2008 (2010), New Poems (2013), and The Glass Piano, forthcoming from MadHat Press in November. He is the editor of The Collected Poems of John Crowe Ransom (Un-Gyve Press, 2015), Hart Crane's The Bridge: The Uncollected Version (MadHat Press, 2015), Selected Poems of Frederick Goddard Tuckerman (Harvard University Press, 2010), and Landis Everson's Everything Preserved: Poems 1955-2005 (Graywolf Press, 2006). He lives in Cambridge, Mass., and is the editor of The Battersea Review.

Robert Archambeau is a poet and critic whose books include the poetry collections Laureates and Heretics and The Kafka Sutra and the critical studies Laureates and Heretics and The Poet Resigns: Poetry in a Difficult World, among others.  He is professor of English at Lake Forest College.

 

LESBIAN VAMPIRE ACADEMY

TRIGGER WARNING - AN ADULT POEM FOR HALLOWEEN...

LESBIAN VAMPIRE ACADEMY

It is not, one might suspect, a place for sisters
To swallow a garlic tablet, or inspect a crucifix;


Lipstick applied strictly without mirrors;
The librarian expects Swinburne’s books


Returned to the minute or penalties accrue;
Turned at eighteen from mortal to undivine,


They prefer their correction on the rack
Wriggling as they divest them of mortal wine –


The inside gag they have to label our blood –
For make no mistakes, these fanged co-eds


With their skirts and blouses kill for sport
Like gods did once; they’re the new thing,


Digitally connected to the boys they lure
To suspend upside down, pleading anaemia


Or malaria or worse – girls long in tooth,
Their claws decreased for Instagram, their busts


Instead pronounced – most from Slavonic
Lands, or so they sound – they smirk, and grind


Their words like chewing bones, torture
Syntax because they can; whip their torsos


Into archaic shape, and shine at night
As brightly as any chemical tan applied;


I have begged for these daughters of Satan
To accept me onto their course; their syllabi


Defeats most sibyls, their demonic kissing
Transformative as any degree in engineering


Or genetics. I want to learn to die in the arms
Of one of these creatures of the evening glow –


Though they prefer artifice and gaming
Among their own lithe immortal jejune kind;


They toss and throw men around like dice,
Break off their parts like icicles in red snow;


And genuinely disdain what jets from lust
Except it has glucose and drips roseate,


Sublimely, from a spliced open vein or more;
Don’t call them tarts or harlots or whores,


Just because you cannot control their feeding
Or what drives them to desire a frenzied milk

That runs in rivulets down the giving dead.
I ask for them to have mercy on my Christian


Birth and imbue me with acrobatic skills
So I can fly-crawl and web-scuttle as they do;


I have been lead here by graphic insights
And a craving to live when rivals pass away;


But tonight is Halloween so they are gay
And dancing sickly-pale, half-vivid, quiet


To hear the ringing of girls from the academy
Trick or treating in the laneway; I am dropped


Like a bad option and told to return next year.
I pass giggling donors dressed as ghosts,


Envision soaked engaging toasts ahead;
Praying to the grape-ripe moon for dark power.


30 October 2015
copyright Todd Swift

Saturday, 24 October 2015

GUEST REVIEW: FRITZ ON ACHARYA

Leah Fritz reviews
A WorldElsewhere
by Shanta Acharya
 
A World Elsewhere, by Shanta Acharya, is a novel about India, in particular its conventions regarding women. Although the English it is written in is faultless, its style is as Indian as a film by Ravi Shankar – which is no mean feat. This book is an excellent read but it is necessary to remove Western spectacles and imagine oneself in the faraway country it's about as if it's your own, in order to glean its conventions as if you are a native. Attitudes toward women are strange everywhere of course, and wife-battering, for instance, is not unknown in the West – far from it! – but the particular justifications for being cruel to women are as different from one country to another as their languages.

This novel is placed in Orissa, India. Acharya intersperses Indian words within English sentences and, although there is a glossary at the end of the book, I found I was able to read them in the text almost as if they were English. Strangely they are clear expressions although untranslatable, sort of like French or Yiddish expressions in an English text, and accepting this makes the reader feel sort of at home in the subcontinent. I found it a warm, welcoming device.
The heroine, Asha, is a brilliant and beautiful girl who grows into young womanhood within the pages of the novel. Her family is Brahmin, which is the highest caste in India – and while the caste system is no longer legal, it still functions in custom.
 
Asha is the second child in her family, the first a boy; two more boys are born after her. Her mother, Karuna, and her father, Aditya, are also central to the story. The author has analysed them well. She notes that their marriage was arranged by their families, as is customary in India. Asha is bothered that her father is 12 years older than her mother. That there is a discomfort between the two is not obvious to begin with, but unreels for the reader gradually.
 
Asha thinks it is necessary to marry someone one's own age and  of one's own choice in order to be 'in love', as if lack of personal choice were the only problem between her parents. And so she (wilfully) chooses a fellow student at her university, Anaan, who is handsome and woos her with books in which he places love-notes. Apparently they both agree about marriage – that it should be by choice and no dowry should be attached to it. Anaan is of a slightly lower caste and has no job; Asha's father. a university teacher who earns enough money to support the family but not enough for a dowry, does not approve of that custom in any case. Asha forces her family to accept Anaan for her husband, and then great trouble ensues.
 
Underlying this story is an underlying conflict between India's ancient customs and, in a sense, Bollywood movies. Marital discord occurs in the West as well as in the East, of course, and seems to have little to do with how the marital partners were selected. But the laws and customs oppressing women may arguably be stronger in India. For instance, a married woman voyaging to another country could not do so without her husband, at least in the time-frame of this book.
 
But I do not want to spoil your reading by giving away the story completely. This is a fascinating novel, well told. If I have one quibble, it is that Asha is depicted as a beautiful girl, but we have no further description of her, and so that doesn't sink in – or at least, it didn't for me. I did find her a bit too perfect to be real. But her passion and angst are clearly drawn, and so are her parents in all their imperfections.
 
I am looking forward to the sequel!
 
Leah Fritz is an American writer in London, whose poetry has been widely published, most recently by Salmon.

HELLO

Adele, whose new video is here above, is only 27. Her previous albums have sold more than any other recording artist of the 21st century - and now, her new song, cheekily titled 'Hello', is as big a song as any by Cher, Bonnie Tyler, or Celine, in their heyday - it recalls the huge moments of the 80s, when Madonna, Michael Jackson, Sting and Elton John made videos that broke millions of hearts, or thrilled millions more.
 
This is classic pop - filmed on the outskirts of Montreal in a sepia landscape of tottering barns and falling Maple leaves - the London phone box in the woods and the African-American lover from "the town where nothing ever happened" - strangely at odds with the lyrics about calling from California - but it works.
 
Damn, does it work. Adele has never looked more powerful or glamorous - she is beauty personified, in voice and persona - yet she is also a villain in this song, a daring move.  Drenched in irony and regret, I dare you to listen or view without tears rolling down your cheeks.  Adele is my hero. This is the song of the year.

DENIAL

In one of the oddest moments of 21st century history, the German Government has strongly laid claim to total responsibility for The Shoah (the Holocaust) as a rupture in human civilisation and argued it must continue to teach and defend this historical reading of German guilt. The gut-wrenching irony which is almost beyond my ability to comprehend is that the denial of this official history was presented by the leader of the Jewish state of Israel. Germany it seems is laying claim to its modern existential identity as the post-Holocaust nation as guardian of both guilt and solemn reparation. Whereas for Netanyahu the Holocaust seems to be a more free-floating thing capable of new definitions and even origins. For him the victims remain undeniably the same but the causation can be shifted without existential damage to Israel because in this new foundation story of the Holocaust the chief villain is not a slain ghost like Hitlerism but the current foe - Palestinism. Fascinating and worrying.

CANADA THE COOL

Canada has elected Justin Trudeau to be their new PM, in a sweeping and somewhat unexpected victory for the Liberals over the nasty Harper government, which was linked to right-wing elements in America and was a climate-change denying party opposed to Canadian multiculturalism.
 
After almost ten years of such conservative rule, Canada had begun to look like it was being run as a branch plant of Haliburton, and racism and environmental degradation was on the rise. Trudeau, the son of the greatest Canadian leader - Pierre Trudeau, a stylish pacifist intellectual who saw bilingualism and internationalism as the way forward for Canada - ran a flawless campaign, led by the brilliant Gerald Butts - a former debating partner of mine back in university days - a campaign which emphasised decency, community spirit, optimism, and fairness.
 
In a moment of calm sanity, Canadians voted out a terrible government and have ushered in a rule that promises to be balanced and just.  The BBC barely reported this win, until it got wind of the fact that the young, handsome, and tattooed Justin was a story worth telling. Canada is currently the new Camlot. It is now a bastion of reason and goodness in a turbulent and declining West.

Wednesday, 7 October 2015

UPDATING THE YOUNG BRITISH POETS LIST

Please check this list twice and let us know who we should add! Thanks.


Eyewear Young UK Poets List, A Work In Progress (poets must be born in or since 1970)
  • Abigail Parry
  • Ahren Warner
  • Alice Willington
  • Alistair Noon
  • Amy De'Ath
  • Amy Evans
  • Andrew Bailey
  • Andrew Fentham
  • Andrew Spragg
  • Angus Sinclair
  • Anna Kisby
  • Anna Selby
  • Anna Smaill
  • Anne Welsh
  • Ben Borek
  • Ben Parker
  • Ben Stainton
  • Ben Wilkinson
  • Beppe Bartoli
  • Bethan Tichborne
  • Caleb Klaces
  • Camellia Stafford
  • Camilla Nelson
  • Cath Nichols
  • Chloe Stopa-Hunt
  • Chris McCabe
  • Chrissy Williams
  • Christopher Crawford
  • Colette Sensier
  • Colin Herd
  • Declan Ryan
  • Edward Ragg
  • Eileen Pun
  • Elizabeth Guthrie
  • Elizabeth Stefanidi
  • Elizabeth-Jane Burnett
  • Emily Berry
  • Emily Critchley
  • Emily Hasler
  • Emily Toder
  • Fabian Macpherson
  • Frances Leviston
  • Hannah Silva
  • Harry Man
  • Hayley Buckland
  • Heather Phillipson
  • Heidi Williamson
  • Helen Mort
  • Holly Corfield Carr
  • Holly Hopkins
  • Holly Pester
  • Ian Pindar
  • Ishion Hutchinson
  • Jack Underwood
  • Jacob Polley
  • Jacob Sam-La Rose
  • James Brookes
  • James Byrne
  • James Wilkes
  • Jennifer Wong
  • Jessica Mayhew
  • Jim Goar
  • Jo Crot
  • Joe Dunthorne
  • Joey Connolly
  • John Challis
  • Jon Stone
  • Jonty Tiplady
  • Kaddy Benyon
  • Kate Potts
  • Katherine Kilalea
  • Kathryn Simmonds
  • Kei Miller
  • Kelina Gotman
  • Kelley Swain
  • Keston Sutherland
  • Kim Lockwood
  • Kirsten Irving
  • Laura Elliott
  • Laura Kilbride
  • Liz Berry
  • Lizzie Whyman
  • Lorraine Mariner
  • Luke Kennard
  • Luke Samuel Yates
  • Luke Wright
  • Marcus Slease
  • Maria Taylor
  • Marianne Morris
  • Martha Sprackland
  • Martin Jackson
  • Matthew Gregory
  • Meirion Jordan
  • Melanie Challenger
  • Michael Kindellan
  • Michael McKimm
  • Miriam Gamble
  • Nat Raha
  • Nathan Hamilton
  • Oli Hazzard
  • Ollie Evans
  • Owen Sheers
  • Patrick Coyle
  • Penny Boxall
  • Phoebe Power
  • Rachael Allen
  • Rachael Boast
  • Rachael Nicholas
  • Rebecca Cremin
  • Richard Lambert
  • Richard Parker
  • Ryan Van Winkle
  • S.J. Fowler
  • Sam Riviere
  • Samantha Jackson
  • Sandeep Parmar
  • Sarah Howe
  • Sarah Kelly
  • Sarah Westcott
  • Siddhartha Bose
  • Simon Turner
  • Sophie Baker
  • Sophie Robinson
  • Stefan Mohamed
  • Stephen Emmerson
  • Steve Willey
  • Stuart Calton
  • Swithun Cooper
  • Tamarin Norwood
  • Theo Best
  • Thomas Ironmonger
  • Tiffany Anne Tondut
  • Tim Cockburn
  • Toby Martinez de las Rivas
  • Todd von Joel
  • Tom Chivers
  • Tom Warner
  • Tom Weir
  • Tony Williams
  • V.A. Sola Smith
  • Zoe Brigley

HOWL FOR NATIONAL POETRY DAY

AUTUMN LAUNCH PARTY WITH WINE, POETRY READINGS AND SPECIAL PERFORMANCE BY EYEWEAR! 8TH OCTOBER

Eyewear Publishing
60th ANNIVERSARY SPECIAL: LIVE READING OF HOWL BY EYEWEAR TEAM AND EYEWEAR POETS
 
 Oct 8th. 2015
LONDON REVIEW BOOKSHOP, BLOOMSBURY , 19:00-22:00
An amendment to our last letter: Please arrive at 7pm and RSVP to info@eyewearpublishing.com

Remember, tomorrow evening we are celebrating National Poetry Day and the 60th Anniversary of the first live reading of Howl. The Eyewear team will be doing a special rendition for your pleasure, followed by readings from an exceptional selection of new Eyewear Poets.

Readers:

 Keaton Henson will be reading from his debut, Idiot Verse 
Jacquelyn Pope will be reading from her translations of Hester Knibbe (recently featured in The New Yorker!)
Hester Knibbe will also be reading from her book Hungerpots
Mel Pryor will be reading from her debut collection  Small Nuclear Family
 Eliza Stefani will be reading from her debut collection Sleeping With Plato
Keith Jarrett will be reading from his pamphlet I Speak Home
Don Share will read from Amy Newman's acclaimed feminist update of Howl

 
You may also be interested in the new BAREKNUCKLE POET anthology, a gorgeous selection from the journal's entries in the last 12 months, with a special section dedicated to the 60th anniversary of HOWL's first live reading.

  
About Eyewear:
Eyewear Publishing Ltd. is based in London, England. It was founded in the Diamond Jubilee/Olympic year of 2012. Emphasis is on excellent new work, as well as the rediscovery of out-of-print figures.

 
Contact: info@eyewearpublishing.com
Twitter: @EyewearPoetry
FB: www.facebook.com/EyewearPublishing
Linkedin: www.linkedin.com/company/2884858?trk=tyah

www.eyewearpublishing.com

BEEN A LONG TIME

Eyewear blinked and now we are back - the blog that is... a whole new autumnal season of posts about music, books, film, TV and politics will come your way, as well as prize-winning poems and other reviews and guest spots. Stay-tuned!

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