The Uncontainable

This past summer, I talked to Rachel Blau DuPlessis at the Kelly Writers House about her long-term engagement with Williams' Paterson particularly, and long-form poetic works in general. Her "life-poem" Drafts, described by Ron Silliman as "one of the major poetic achievements of our time," continues an engagement with and challenge to Williams' aesthetics; numbering close to 100, DuPlessis' Drafts are more open, polysemic, multiple, and provisional than perhaps Williams' could have let himself perform, but which, it seems, he dreamed in his own imperfect way. DuPlessis has also written critically about Williams in her book The Pink Guitar: Writing as Feminist Practice, which, like her poems, challenges generic considerations, and expands what the critical essay can be. (And by the way, listening to audio of her performances, available on PennSound is a really great way to start navigating her work).
I feel like this audio interview will be one of the last I will be collecting before attempting a reconsolidation of the various materials. As you can probably tell, the content for this blog has been steadily petering, with some renewals here and there, but nonetheless on the fade. It has always been a question for me whether any consolidation is worthwhile or advisable, which is why interviews like those below have been kept in as close to their rawest form (with some mild editing) because I have felt it is better to make them available during the process, rather than to wait and wait for an ideal form that never comes. What would be the ideal? There are so many objects that this blog can be translated into (so then, why not keep as blog?) In fact, there is an application now where I can press a few buttons, enter a few passwords, and voilà! the blog is "slurped" into a book. (This application here may be easier, all you have to do is enter the url impossibleobject.blogspot.com and see what it would look like without having to download any software.) Obviously, that option only would be some kind of conceptual parody of blog specificity, although it may be worthwhile as a textual trace--evidence, like performance photos, and ultimately useful in case Blogger decides to suddenly cease operations or their data gets wiped out in an electromagnetic singularity. Nevertheless, there will be at the very least a few more postings, including an interview (text only) with Jennifer Scappetone, before Impossible Object makes a leap into another medium or into the void.
The following interview with Rachel Blau DuPlessis took place on June 10, 2010 in Philadelphia.
I heard this was a really bad poem: (4 min. 23. sec)
Nobody cared about Williams (or the long poem): (2 min. 51. sec)
Marcia Nardi and the lost women of the 50s: (7 min. 11 sec.)
This is the thing that can never be contained: (6 min. 02 sec.)
Unicorn versus plethora: (4 min. 42 sec.)
Paterson's opening passage: (3 min. 50 sec.)
Eros and plethora: (4 min. 26 sec.)
The triadic line, eros, rape: (4 min. 28 sec.)
Staggering identification with beautiful thing: (2 min. 45 sec.)
Language poetry and Paterson: (2 min. 51 sec.)
Visiting Paterson: (1 min. 30 sec.)

Notes on the Paragram: Poetry and Comedy

Sometimes the best insights come while watching television in hotel rooms. I had a minor Raymond Williams moment the other night in Ardmore, PA, watching Family Guy after coming across the word “paragram” used to describe certain poetic effects (see Perloff, McCaffery, Kristeva, Roudiez, Marsh.) The episode begins with Peter playing Wheel of Fortune and it’s clear that he is so oblivious to the basic rules and generic conventions of the show that he calls the host “Regis,” rattles off a string of hilariously useless “letters,” and doesn’t understand that the “fat man in the circle” is a keyed-in video image of himself. If you look up paragram, you’ll see that it merely means a “pun.” But, I think it is used in the context of poetic theory to imply more broadly what happens when the meaning of a word oscillates because of the unstable rules by which we are to understand it. We appraise the word through a montage of contexts, rather than a montage of words themselves. Compare, for example, the use of a word in Futurism and one in Language Poetry. The Futurist word is a verbal piece of shrapnel, an object-in-itself, flung; whereas the Language Poetry word radiates in multiple dimensions precisely because we are not sure how to take it. Lytle Shaw talks about this dynamic in the Williams-inspired work of Robert Smithson, whose word pile we saw in the last entry. Shaw says that Smithson engages multiple genres such as “science fiction, geology, travel narrative, philosophy, poetry, art criticism, pulp drug novel, cartography, and film treatment” (124) to force the extreme dislocation of his non-sites, his various concrete poems (“concrete” in various dimensions; “poem” in various dimensions). So it is that, for Williams' Paterson, we are immediately given directions how to “take” the book; those directions are just as immediately thwarted. At the beginning of Book I, Williams sets out a kind of subtitle to Paterson:

“: a local pride; spring, summer, fall and the sea; a confession; a basket; a column; a reply to Greek and Latin with the bare hands; a gathering up; a celebration;
in distinctive terms; by multiplication a reduction to one; daring; a fall; the clouds resolved into a sandy sluice; an enforced pause;
hard to put to it; an identification and a plan for action to supplant a plan for action; a taking up of slack; a dispersal and a metamorphosis.” (2)

Subtitles tend to place and frame the work, but this list of genera is more like Borges’ example of the Chinese encyclopedia. What is Paterson? Some of the answers veer towards the surreal (Paterson is a basket) some defy the basic grammatical premise (Paterson is in distinctive terms). Rather than an exploration of the materiality of the signifier, this type of humor banks on the immateriality of the premises which give sense to the signifier. After all, Paterson can be spring, summer, fall and the sea, the batman symbol and Alex Karras in Webster.