Foreign contexts

Back in P. N. Review 175 James Sutherland-Smith in his Letter from Belgrade described well the attraction of living immersed a foreign language:  “… the advantage to a poet of not understanding. For poets whose gift is to write poems where their language is distilled to the highest proof, a babble around them, or at best only a surface understanding of the others languages spoken around them, creates no interference with the language within them. It permits an enormous concentration. For poets, whose gift is to clarify meaning, attention to the babble around them is useful training for the poetic processes of making meaning precise and lucid.”

I am not sure which of these varieties of poet Sutherland-Smith considers himself ... back in an even earlier Letter from Belgrade (PNR 169) he wrote: “When I write a poem I have the desire to make something potentially useful for the English language. ‘Potentially’ is the whole of it, either to indicate a direction the language can take or to conserve a way of saying something that is in danger of being confined to the notes in the OED. ... There is also a measure of self-assertion when I write a poem. I am establishing and making public my own idiolect.”

Of course not everyone takes that approach — I cannot imagine Berryman’s idiolect, no matter how much he drank, ever getting close to the syntax of his poems.

But Sutherland-Smith is right about the effects of being in foreign parts. When you have to express yourself in a language you have only a weak grasp of, or say something unambiguously to someone who has rudimentary English, it focuses the mind on how meaning is conveyed and on how it can be undermined, for instance by the use of idiomatic turns of phrase.

As one ventures into reading poetry in another language and attempting to translate it, one quickly appreciates the impossibilities, and how the deep contextual associations at the level of each single word are utilized to establish meaning, tone, effect.

Hoping for lightning

John Berryman

Here’s the last paragraph of Adam Kirsch’s article on John Berryman ‘That thing on the front of your head’ from the Times Literary Supplement, Feb 6, 2015:

Randall Jarrell wrote that a poet was someone who stands outside in storms hoping to get struck by lightning. Berryman, who spent so many years waiting for genius to find him, eventually lured it by making the waiting around, with all its attendant boredom, guilt and vice, the very subject of his poetry. In 77 Dream Songs, he used every technique of artificiality — in diction, syntax, allusion, rhythm — to create a voice of shocking honesty and directness; and by achieving this paradox, he liberated himself from the impersonality (itself, perhaps, no more than ostensible) of high Modernism. If we have no poets like John Berryman today, it is not because we are less ingenious than he is, but because our poetry seems to have so much less at stake.

Randall Jarrell

Kirsch is referring to Jarrell's remarks at the very end of his essay 'Reflections on Wallace Stevens' from Poetry and the Age:

How necessary it is to think of the poet as somebody who has prepared himself to be visited by a dæmon, as a sort of accident-prone worker to whom poems happen — for otherwise we expect him to go on writing good poems, better poems, and this is the one thing you cannot expect even of good poets, much less of anybody else. Good painters in their sixties may produce good pictures as regularly as an orchard produces apples; but Planck is a great scientist because he made one discovery as a young man — and I can remember reading in a mathematician’s memoirs a sentence composedly recognizing the fact that, since the writer was now past forty, he was unlikely ever again to do any important creative work in mathematics. A man who is a good poet at forty may turn out to be a good poet at sixty; but he is more likely to have stopped writing poems, to be doing exercises in his own manner, or to have reverted to whatever commonplaces were popular when he was young. A good poet is someone who manages, in a lifetime of standing out in thunderstorms, to be struck by lightning five or six times; a dozen or two dozen times and he is great. 

The mathematician referred to is the Cambridge mathematican G. H. Hardy who wrote in his 1940 book A Mathematician's Apology:

I do not know an instance of a major mathematical advance initiated by a man past fifty. If a man of mature age loses interest in and abandons mathematics, the loss is not likely to be very serious either for mathematics or for himself. 

The image of the poet standing in a thunderstorm also puts me in mind of another figure from Cambridge: Ludwig Wittgenstein, whose explanation to his sister of his choice to be a primary school teacher after not only beginning to gain a reputation as one of the world's foremost philosophers, having already published his Tracatus, but also having given away one of Europe's largest personal fortunes which he had inherited from his father. As Norman Malcolm explains in a London Review of Books article from 19 November 1981, “Hermine Wittgenstein tells of the bewilderment of the family over Ludwig’s determination, immediately upon his return home at the end of World War One, to rid himself unconditionally of his whole fortune; and of her own dismay at his decision to become a country schoolteacher. She protested to him that his teaching in an elementary school would be like ‘using a precision instrument to open crates’. She was silenced when he replied ...

You remind me of somebody who is looking out through a closed window and cannot explain to himself the strange movements of a passer-by. He cannot tell what sort of storm is raging out there or that this person might only be managing with difficulty to stay on his feet. 

The very young Ludwig Wittgenstein

On several occasions Hermine observed Ludwig’s teaching in the boys’ school. He encouraged his pupils to invent a steam-engine and to create other constructions, steering them to correct solutions by means of questions. Tremendous interest was aroused: the boys ‘literally crawled over each other in their desire to be chosen for answers or demonstrations’. But he was impatient with untalented or lazy pupils, and his inability or refusal to soothe unsympathetic parents eventually led to his resignation.”

Eurovision syntax, the persistence of hymns, and the ungooglable

After watching the Eurovision final, I awoke the following morning with an earworm, which I soon realized was a few bars of Romania's entry "Playing with Fire" ... in particular the line with the syntactic inversion: "Spend with me the night". And it seemed that it might be the slightly odd syntax that helped the line stick in the memory.

When I think back to the hymns we sang every morning as schoolboys, it is often the unusual phrases, the inversions, or the enjambments that my young brain never quite decoded, that seem to have lodged most securely.

A rhythmically definitive phrase such as Henry Francis Lyte's "To his feet thy tribute bring" has a sculptural permanence, and a small child doesn't notice the inversion, and similarly will sing William Chatterton Dix's phrase "As with gladness men of old" without realizing that it is part of a subordinate clause, whose relevance is only to be revealed four lines later.

And of course the sonorities of music can add greatly to emotive power. I always liked how John Greenleaf Whittier's "O brother man" resounded when sung to Hubert Parry's setting. (If anyone knows of a recording of this please let me know). I always sang the last verse with gusto:

Then shall all shackles fall: the stormy clangor
Of wild war music o'er the earth shall cease;
Love shall tread out the baleful fire of anger,
And in its ashes plant the tree of peace.

The enjambment of the second line is an important element of the effect, as is the line-slowing juxtaposition of "wild war" and its immediate echo in the elision of "o'er".

Language is pulled at, stretched, compressed to accommodate form. Berryman's Sonnets are an extreme example: take #21 which starts with:

Whom undone David upto the dire van sent
I'd see as far. I can't dislike that man,
Grievously and intensely like him even,
Envy nor jealousy admit, consent
Neither to the night of rustlers I frequent
Nor to this illness dreams them; but I can,
Only, that which we must: bright as a pan
Our love gleams, empty almost empty—lent.

Convoluted thought and the urgency of the form render the language unfamiliar, and 'difficult'. But Berryman can also hit an originality of word combination without syntactic contortion, as in the line from #13 "The spruce barkeep sports a toupee alas". This form of verbal originality, a determined and fierce avoidance of cliché, a quest for the ungooglable combination, leads in a sort of reductio to the work of J. H. Prynne where phrases appear stripped of immediate semantic support from a normal sentence structure, and rather the connotations of words and short combinations interact and interfere creating a sort of moiré effect, as in a verbal quantum double-slit experiment. Ashbery's poems at times operate in a similar fashion constructing content from accumulated connotations and resonances, but his material is longer phrases, and sometimes deliberately familiar formulations, so nothing ungooglable there, and his structures are coherent in the way much music coheres. Prynne is subatomic.

Sleeping it off

I notice that August Kleinzahler's new book Sleeping It Off in Rapid City is released today. It's a 'new and selected' and I'm looking forward to seeing it. The title reminds me of an old Origin Press publication: Clive Faust's Sleeping It Off (1992).

Tony Frazer interestingly notes on the Shearsman recommendations page that despite Faust living in Bendigo, none of his books have been published in Australia.

Sleeping It Off is a beautifully produced chapbook - quoting from the colophon: "bound into Ingres Antique Camel endsheets with letterpress printed Indian Wool covers".

Faust provides snatches of urban scenes caught vividly with emotion and a sense of humour which aren't a million miles from Kleinzahler ...

... The flags
on the flagpoles at the R.S.L.
hall
    stay floodlit
in white arches of the portico, each
month monday -
              that'd be
tonight

but generally the texture of the verse is a sort of article-free pronoun-free string of newspaper headlines, which - like any formal device from heroic couplets to Berryman's contorted syntax - serves to constantly present the reader with the fact that this is conscious art. Here the prolonged and static description, blow by blow, is somewhat in the vein of Joyce:

         Attendant

bolts gate, lugs carcass off truck,
hangs slippery liver from a free
hand, closes to gate on black leopard pacing
the double mesh, tosses liver in, secures
gate on outer wire, opens inner
from angle to slip meat through; shuts lock bolts each
gate to respective fence.

I'm reminded of one of the clauses of Bunting's advice to young poets: "Cut out every word you dare" ... one advantage of stripping out the little words is that the others words take on more individual clarity, they stand out the more. What is the origin of this article-less style? Pound with 'May I for my own self song's truth reckon, / Journey's jargon' and 'Set keel to breakers', or Hopkins? Or what about:

Blind sight, dead life, poor mortal living ghost,
Woe's scene, world's shame, grave's due by life usurp'd,
Brief abstract and record of tedious days,
Rest thy unrest on England's lawful earth,

James Sutherland-Smith from Belgrade

P.N.Review 180 has arrived and there's another of James Sutherland-Smith's Letters from Belgrade.

Back in PNR 175 he described well the attraction of living immersed a foreign language: " ... the advantage to a poet of not understanding. For poets whose gift is to write poems where their language is distilled to the highest proof, a babble around them, or at best only a surface understanding of the others languages spoken around them, creates no interference with the language within them. It permits an enormous concentration. For poets, whose gift is to clarify meaning, attention to the babble around them is useful training for the poetic processes of making meaning precise and lucid."

I'm not sure which of these varieties of poet JSS considers himself ... back in an even earlier Letter from Belgrae (PNR 169) he wrote: "When I write a poem I have the desire to make something potentially useful for the English language. 'Potentially' is the whole of it, either to indicate a direction the language can take or to conserve a way of saying something that is in danger of being confined to the notes in the OED. ... There is also a measure of self-assertion when I write a poem. I am establishing and making public my own idiolect."

Of course not everyone takes that approach - I can't imagine Berryman's idiolect, no matter how much he drank, ever getting close to the syntax of his poems.

But Sutherland-Smith is right about the effects of being in foreign parts. When you have to express yourself in a language you have only a weak grasp of, or say something unambiguously to someone who has rudimentary English, it focuses the mind on how meaning is conveyed and on how it can be undermined, for instance by the use of idiomatic turns of phrase.

As one ventures into reading poetry in another language and attempting to translate it, one quickly appreciates the impossibilities, and how the deep contextual associations at the level of each single word are utilized to establish meaning, tone, effect.

In the latest letter he touches upon the topic of the day job, line managers and performance review grades: Larkin's toad and 21st century Human Resources tactics.