Tuesday, November 18, 2008

and here's another (the last one in the book):


The Complete Introductory Lectures on Poetry

To Ted Berrigan


It was when the words on the covers of books,
titles as true as false leaves led me to believe
in inviting the ultimate speculation of love –
that I could learn all of the subject –
that I first began to entertain what is sublime

Like a moth I thought by reading Jokes and
Their Relation to the Unconscious
or Beyond
the Pleasure Principle
or Eat the Weeds or
The Origin of the Species or even a book on
Coup d’Etats or The Problem of Anxiety I
could accomplish all the knowledge the titles implied

Science that there is often more
in the notes on the back of a discarded envelope,
grammar in the shadows slanted on the wall
of the too bright night to verify the city light

and then awakening, babies, to turn and make notes
on the dream’s public epigrams and one’s own
weaknesses, self that’s prone to epigrammatic ridicule

and to meditate on fears of all the animal dangers
plus memories of reptilian appellations for all
our stages of learning to swim at a past day camp

It is to think this or that might include all
or enough to entertain all those who already know
that in this century of private apartments
though knowledge might be coveted hardly anything
is shared except penurious poetry, she or he
who still tends to titles as if all of us
are reading a new book called The New Life.

(Bernadette Mayer)

another version of this poem prints a full stop after "implied". I prefer the slippage of sense allowed here by the absence of punctuation.

3 comments:

walrus said...

I thought that was very fine -- liked it more than the "alot" poem, which struck me as too slight. But this is grand. About a week ago I picked up her Sonnets in a 2nd-hand bookshop, but I haven't yet been in the right frame of mind to approach it... This makes me think I should. Do you know Sonnets? I'm guessing you do -- in fact, you've probably mentioned it before & will reprimand me for not paying attention!

All the best,
Walrus

belgianwaffle said...

You have a copy of her Sonnets? I am INTENSELY jealous. I've looked for one online and seen copies listed at exorbitant prices. That was a real find!

I like this poem, too. As for the 'Alot' one, I think it's deliberately (?) slight - many of her poems seem to be there for no particular reason other than 'being there' which (I suppose) is rather how we all go through the days. Or, to put it another way, I think she's questioning the criteria of what makes a poem a poem. I may be wrong, of course.

From my reading of Coolidge to date, I sense something similar is going on: such a formidable output it's hard to imagine each and every one is a winner. It seems more a matter of keeping the ink flowing, the poems rolling? (breaking with what Creeley described as the showing it to mummy syndrome. He asks whether each time you go for a swim it has to be the best swim ever. Advice I would do well to follow ...). Then again, that's not to say you have to publish everything. Or that everyone will find it interesting.

Be that as it may ... I'm interested in her 'Old Notebook' text in this volume where she seems to be providing the origins of several early poems (ones I know from 'The Reader') amidst other random jottings.

The bottom line is: I think B.M. is (almost) always terrific. I bet even her shopping lists are fun to read! (Now I think of it, one of the poems in 'Smashed Pine cone' is basically her going out to buy fruit and veg.)

No tickings off today -

Cheers

The C.

walrus said...

Wow. I had no idea. And it only cost 99p. I'll keep it to sell as a last resort, when my back's against the wall . . . which won't be long now!

All the best,
W

PS I think re your comments on Mayer/Coolidge/Creeley it's a bit like simply lifting the lid on the poet's head and peeping inside -- observing the cogs turning -- that kind of a poem, rather than the great dramatic emphatic hieratic performance (for some reason Yeats comes to mind, though I have to say I can't help admiring Yeats -- after watching the recent Remembrance Day ceremony at the Cenotaph I was moved -- after hearing a Sassoon poem being read to the crowds -- to go back to Yeats's comments on WW1 poetry in his Introduction to The Oxford Book of Modern Verse: 'passive suffering is not a theme for poetry'...)

April Fool?