The Public World/Syntactically Impermanence. Leslie Scalapino

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СКАЧАТЬ of these as one’s reorientation of apprehension. The syntax itself reorients one’s apprehension (by continual dis-location) and enables that which is exterior to be included in a process of its examination, necessarily self-examination.

      My argument to Silliman was that no one can conceive within the ‘given’ language—and articulate reality, as that. It can’t be ‘there’ because it isn’t that.

      This may or may not be a different concern from that of women and imported minorities working here as illegal indentured servants who are slaves, for example.

      That is, individuals in writing or speaking may create a different syntax to articulate experience, as that is the only way experience occurs. Or they may describe their circumstances and contexts, as if from the outside, using normative language.

      The dichotomy is in anyone as a function of the world? Language as interior and entirely from the outside at once—which is a series, starting up throughout.

      “Holding to a course with the forbidden sublime, love of beauty originally obfuscates or sublimates to refine what is unclear to be scrambled later from its perception of perfection by that continuing. Which is to change the world. As it does which is why, nothing individually lost, there’s a difference to be told.”¹⁴

      Notes

      1. Clark Coolidge, quoted in Postmodern American Poetry, ed. Paul Hoover (New York: Norton, 1994), 652. My intention in taking all the written quotes from one source was to indicate the similarity of direction articulated by poets with widely varying aesthetics collected in one text. I was pointing to the existence of a commonality, which is ‘public’ even if not numbered in millions. However, Joan Retallack accurately pointed out to me that I didn’t comment on the role in the canon of anthologizing: “A surface illusion of comprehensiveness gives these compendiums the power to conceptually blot out the possible presence of multitudes of other interesting writers and (in the case of the Hoover and Messerli anthologies) the small presses that publish them. I.e., they become a substitute (for teachers and writers) for going to the individual books of individual poets. That there are many anthologies of contemporary work coming out right now seems to me the only good sign…. Since the essay is entitled ‘The Cannon’ I immediately assumed you would be commenting on the way in which anthologies take over the reference market so to speak.”

      2. Leslie Scalapino, way (San Francisco: North Point Press, 1988), p. 105.

      3. Clark Coolidge, in Postmodern American Poetry, p. 651.

      4. Susan Howe, quoted in Postmodern American Poetry, p. 648.

      5. Amiri Baraka, quoted in Postmodern American Poetry, p. 645.

      6. “Everything is in the poems, but at the risk of sounding like the poor wealthy man’s Allen Ginsberg I will write to you because I just heard that one of my fellow poets thinks that a poem of mine that can’t be got at one reading is because I was confused too. Now, come on.” Frank O’Hara, quoted in Postmodern American Poetry, p. 633.

      7. John Cage, quoted in Postmodern American Poetry, p. 652.

      8. Ron Silliman and Leslie Scalapino, “What / Person: From an Exchange,” Poetics Journal 9 “The Person,” pp. 51–68, ed. Lyn Hejinian and Barrett Watten, Berkeley, Calif., June 1991.

      9. Bob Perelman doesn’t remember making this remark and states he would not make such a comment as it is puritanical and offensive. It was not recorded (the tape ended). His words were only part of an exchange in which a number of the men spoke, then agreed with his statement. No women spoke to this. He replied to this essay: “So I look at the picture of my literary position in your piece and see an inflexible anti-erotic commissar insisting that people write conventionally.” His point or remark to me here is well-taken: I do not mean to characterize his writing or thought in that manner, but rather to demonstrate occurrence in public expression of ideology.

      10. Betty Page, referred to in a talk by Barrett Watten at the University of Maine.

      11. Bernadette Mayer, quoted in Postmodern American Poetry, p. 659.

      12. Infancy & History / Essays on the Destruction of Experience, Giorgio Agamben, Verso, 1993.

      13. Talk given at Philip Whalen’s Birthday Reading at the San Francisco Art Institute, October 20, 1996; and talk given at Allen Ginsberg’s memorial in San Francisco.

      14. Bernadette Mayer, quoted in Postmodern American Poetry, p. 659.

      :: Silence and Sound/Text

       Note on my work:

      I would like to do a writing in which ‘cultural’ (that is, both outside one and interior) scrutiny can occur as being the process of the writer’s thought and recognition coming up to the surface.

      In As: All Occurrence in Structure, Unseen—(Deer Night), I intended a double—that an outside culture as seen interiorly by one be brought to bear on one’s own culture, that ‘conceptualization’ and ‘experience’ be at once apprehension and overt (as a play, yet read in silence) illusion.

      This work was written during and after return from traveling in Bhutan and Thailand; it actually refers to many places, however. The word “their” sometimes refers to the people in the other culture, and more frequently to one’s. I wanted to iterate the separation psychically (here), which would ‘then’ not be the cultural categorization, but the bounding out of ‘one.’ ‘One’ is maintained.

      As if ‘iterating’ conflicts inside one and outside at once—it is motions’ illusions.

      ‘Their’/word has to jump into the bounds of ‘their’ location, as oneself; oneself interpreted as being or through their ‘here’ (one’s own location)—one can be interiorly ‘only’ other than what one is.

      The gesture itself and observing is recognized as illusion.

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