"Space may be torn"

Reading a review in the NYRB of the current Brice Marden exhibition in New York.

I don't know much about Marden - a little more, anyway, having watched an interview at this link: http://video.google.com/videoplay?docid=983257097746078134.

I like this jotting in his 1972-73 notebook - 'Suicide Notes' - :

"more drawing"/"less painting"/"more painting into line"/"space may be torn".

*

For one reason or another I am back with Charles Bernstein's poems & essays. Last night in bed I happened on 'Appropriation' from the volume 'Poetic Justice'. Here's the first sentence:

"As saying as continuousness, really a single notion, just picked up, what was said, inside, motionless, really somebody, coming in, a very fine pivot, specimens, only to (that, you'll, already, &, of, dicker)."

One of those pivotal moments when a writer who you know is important and have read and have bought several books by and have read interviews with and listened to other writers say why he is so infuential etc. etc. etc. and yet has never got you 'there', suddenly does.

You could take the sentence (if it is one) quoted above so many ways & it opens up so many lines of writing and thinking. If - that is - and here I am reminded of Brice Marden in the online interview inviting visitors to simply pick a line and follow it and get lost and then orient themselves again - you are prepared to give yourself to the language and lose the thread and then catch yourself in that moment - a "very fine pivot" indeed. A dance step, even.

And why not read 'irreligiously' (to twist the expected phrase applied to reading a writer with devotion)? Take what you want & need & go.

"Happens all of a sudden, shades of color for example, but nobody understands that the best guess is not to work at it at all."

This one paragraph text buzzes where so much of 'Republics of Reality' has (up until now) remained resolutely dull on the page. Cleverly dull - but dull all the same. Now, maybe, I see the potential.

"Look around the corner & forget about what you were thinking"

Marden's 'plane image' (that's how I hear the phrase) of space created by line. As he says "the whole evolution of modernism is about getting up, up, up to the surface, tightening the surface of the plane." Bernstein's sentence and syntax - similarly -insists on the 'surface', a created space of meaning which lies and relies on the page, the clutches of commas, qualifying veerings of sense, lines extending 'out' as much as being intercepted 'in' the act of citation & appropriation.

As Bernstein says: "poetry should be at least as interesting as, and a whole lot more unexpected than, television." I'll say!