Whose broken window is a cry of art

I always feel a little badly for Gwendolyn Brooks. Like many readers, for years all I knew of her work was “We Real Cool,” the short striking poem that gets anthologized all over the place, and that fits–for careless or superficial readers–a little too neatly into racist tropes of African American cultural dysfunction.

Don’t get me wrong–I like the poem, I think it’s got a lot going on, formally as well as in what it has to say. More so, in fact, than at first meets the eye. It’s just that it’s almost too accessible, and so invites quick dismissal. And, like any over-anthologized piece, it ends up being what this deep and multifaceted author is reduced to.

Then I started reading some of her other work, and discovered how much broader and deeper her range is than any one poem can illustrate. But one poem that grabbed me and wouldn’t let go was “Boy Breaking Glass.” It’s a gnarly poem–challenging, complex, rich in meaning and technique–and I found I had to write about it, to understand why I found it so compelling. I worked at it and let it sit and then worked at it some more, but was never satisfied. Finally I decided just to post what I had, even so. The recent events in Baltimore just make it all the more appropriate.

Here’s what I came up with.

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The (in)human author and the (in)human characters

The other night we were talking about fiction, or more generally any art, that could represent a non-human reality, a non-human perspective and experience. I argued that fiction was particularly unsuited to this task, because it’s a genre rooted in very human experiences and conventions for representing those experiences. A couple of us speculated that any art is ultimately going to founder on this problem, because we always bring our human perspective to bear, both in the making and in the reception of the work. But I suggested that other genres—poetry, nonfiction—might do better at getting us closer to some such world.

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Objectivism, Williams, and counterpoint

This from a while back, when I was doing some reading in prosody inspired by Charles Hartman’s Free Verse.

Dipping into an earlier chapter of Sound and Form in Modern Poetry (while reading Jeffers’s Cawdor, which Gross analyzes, which led me to think of Paterson, which got me trying to remember what Gross had said about Williams). Gross takes issue with Williams’s objectivism. (By the way: I say Gross, although my edition is Gross & McDowell, because I’m assuming the substance of the argument is to be found in the earlier edition, which he wrote alone.) He begins by quoting the following from Williams’s autobiography: Continue reading

Cubist Grammar and the Ambiguity of Pi: Charles Hartman’s “Tambourine”

One spring evening many years ago I stood in the balcony in a bar in Seattle’s Pioneer Square, waiting for the next act in the Seattle Improvised Music Festival to begin. Two percussionists laid brass gamelan keys, blocks of wood, glass bottles, a metal sheet and assorted other objects on the floor next to an antique washing machine. This was a large enamel tub with a spindle in the center driven by an electric motor. Jutting out from the top of the spindle was a short wooden arm, to the end of which a piece of string was attached, and at the end of the string was a small hard rubber ball. As the spindle turned the arm the string yanked the ball around, and the ball bounced against the deeply resonant enamel walls of the tub. The turning of the spindle and the shape of the tub gave the sound its regularity, its pattern, while the play of the string and the bounciness of the ball gave it its random quality. It was never quite clear from moment to moment if the machine would keep the beat or change it, but it always seemed to return to some fundamental ur-rhythm, not an actual rhythm but a potential for many rhythms. The musicians improvised with this lunatic metronome, using mallets on the things they had laid out next to it. The biggest challenge they faced was not to fall into any set rhythm, but instead to respect the irregularities of their guiding instrument—to listen carefully, not to let their playing become stereotyped, but constantly to hover around the edges of rhythm, maintaining the tension between the ear’s desire for pattern and the arbitrary fluctuations of the apparatus. It was one of the most lucid demonstrations I have ever witnessed of that basic tension in all art, between the desire for order and the demands of the contingent, whether in the world at large or in the materiality of its medium.
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