Archive for the ‘Grand Gnostic Central’ Tag
Corpus Sample: the poetic Wittgenstein
A friend recently got a hold of the first and only book published during philosopher Ludwig Wittgenstein’s lifetime, the Tractatus Logico-Philosophicus. I don’t know what prompted my friend to order in a copy, but he was understandably perplexed; even Bertrand Russell famously failed to understand his student’s work. Philosophically, despite its immediate fame among the Logical Positivists, the Tractatus is, today, a “dead dog”, repudiated most famously by the author’s own reflections, published posthumously as the Philosophical Investigations. Nevertheless, a friend of my friend sought to console him, assuring him “the Tractatus is pure poetry.” Creative writers have tended to agree: Jerome Rothenberg and John Bloomberg-Rissman included sections from Philosophical Investigations in their assemblage of outsider poetry, Barbaric Vast & Wild, dramatist and novelist Thomas Bernhard published Wittgenstein’s Nephew in 1982, and Canadian poet-philosopher Jan Zwicky’s first book Wittgenstein Elegies appeared in 1986.
I don’t remember when I first encountered Wittgenstein, but it was surely before beginning my undergraduate studies. Those (eventually) were devoted to philosophy, and I wrote my honours paper on the private language argument in the Philosophical Investigations. To pass the time (four days) driving from Regina to Montreal, where we were going to study, a friend and I read through the Tractatus, doing our damnedest to make what sense of it we could. And my graduate studies resulted in a number of poetic texts, all engaging in various ways with the early and late Wittgenstein. Even more recently, a compositional method shared here takes an ironic inspiration from his remark that “meaning is use”.
I post below, then, two poems now included in my first trade edition Grand Gnostic Central. The first is a prose poem, borrowing liberally from Norman Malcolm’s memoir; the second is a poem that tries to come to terms with the Tractatus.
[from “Grand Gnostic Central”]
The walls are bare and the floor scrupulously clean. In the living-room, two canvas chairs and a plain wooden one around an iron heating-stove. In the other room, a cot and card-table, books, papers and pen. A man sits at the card table. His face is lean and tanned. He wears a flannel shirt and light grey flannel trousers. His shoes are highly polished. He looks concentrated and severe, striking out as if arguing. He stops, sits still. He remembers swimming—a small boy, the ease of floating, the sun and water in his eyes, closing them tight. He remembers how hard it was forcing himself down, down deep to the mud at the bottom, the water always pushing him back to the surface, his needing air pushing him back to the surface. He has written a treatise on logic. He knows those who do not know him think him an old man, irritable and obscure. He remembers writing his thoughts for the book in small notebooks he carried around. He remembers writing “If `the watch is shiny’ has sense…” He remembers the flash on the watch-face that gave him the example. It had rained and only now the sun cut through red clouds. The field’s mud is soupy and slick. He crouches down in the water at trench-bottom, once almost standing to keep his balance in the muck. He hears the sharp tiny ticking at his wrist. He dates the entry 16.6.15.
Holy Crow Channels LW
We know no sensations
give these propositions sense. Questions
that exact innocence free from naivete
demand a rigorous ignorance of the evident
apparent given as the one condition
for their initial
stuttered utterance.
The long tautology that bends say
the blade of a jet engine
to just the angle of most force
turns on this
when the need for further thrust
draws inertia from the potential
for doubt, unbinding concepts and arguments
and baffling mathematicians
just this side of mathematics.
We need our end to be
the final determination
of the rule that keeps stasis
appearing repeatedly, that blesses with some semblance
of regularity frequently enough
to let us see this
and hear that
completely unsurprised. These things we know
are hardly thought, for the common
is the category entered most
easily. We can count, yet,
to ask what numbers are
reveals the path that eases
the passage everywhere but where
the answer you expect to desire lies
and leads you to question
again the writings that made you
conclude the first proposition
that defined one doubtfully. For them
a mere analysis, for you
something more that flails you
to what is truly necessary. The clear thought
expressed as clearly as the fabric of language
will strain it
fascinates you with its immaculate muteness
that finally becomes a song so mythic
you are bound from it, fast,
and your hearing is filled
with what is spoken
in innocence, naively.
Corpus Sample: Materializations II: “Gloze”
Last week’s “materialization” sought to concretize the language by collaging snippets of decontextualized conversation. This week’s tightens the knot, making “the language speak” about the language itself.
The philosopher Ludwig Wittgenstein is remembered for remarking that “meaning is use.” Taking this maxim literally, I collaged together examples of every use of the word ‘gloze’ drawn from the examples supplied by the Oxford English dictionary under the word’s entry. The word is thereby lexically if not semantically “emptied out” in a cubist fashion, putting Wittgenstein’s contention to an ironic test. The poem is further self-reflexive, because the word means to glare or inspect closely; therefore, the title can be taken to be the imperative tense, instructing the reader to gloze, gloss (another meaning), or otherwise attend to the word itself. The word has the added bonus, aside from its polysemy, of being a pun on the plural of the substantive ‘glow’ and the third person singular conjugation of the verb ‘to glow’ among other things. Attentive readers will also note the poem is a chance fourteen lines….
Though this compositional procedure held promise, I exploited it only two more times, to write the poem “Gnarled Box” (along with “Gloze” included in Grand Gnostic Central) and a longer, much more complex, intertextual work that develops a passage from Lautreamont’s Poesies fittingly entitled “Poesies”.
‘Gloze’ is also the name of the first, self-published chapbook, that served as my calling card in Germany during my first European tour in 1996. And, like “Elenium” it inspired a videopoem by Ty “Jake the Dog” Hochban, viewable after the poem.
Gloze
No more men maye glosen withouten text
Than bylde materles. With fals talkyng
Many gloses are made. With Retorike,
Ne glosed eloquence, some to opteyn
Favour will flatter and glose, with new Glozes
Tainte the Text, and vnto you a fayned
Tale will gloze. Give a good glose from thy strain’d
Goggle eye, peep from the watry Humour,
And glow upon any word you may gloze,
The parasite glozes with sweet speeches,
With the tongue of flattery glozing deeds,
Known only to those who have glozed over
An illusory glozing of light dismally
Glimmering, glosing with the glory of day.
Corpus Sample: “After a Legend of the Prior of Urfort”
My stylistic trend of recent years has been asymptoting to a “poetry degree zero”, a language stripped of overt figuration or texture, relying, instead, on metonymy, allusion, and, what in classical rhetoric might be termed, arrangement. But recently I’ve been hankering for a more complex poetry, not unlike some of that included in my first trade edition Grand Gnostic Central and other poems (1998).
One poem there that embodies what I have in mind is a slightly cheeky retelling of a story about the medieval German mystic, Meister Eckhart, awhile the Prior of Erfort. Eckhart is referred to only paraphrastically, and the spelling of Erfort is modified, as well, for, well, poetic reasons. Whether the poem achieves the sophistication of thought and expression it aspires to I leave, of course, to the reader.
Too, thematically, it touches on the concerns addressed in my last Corpus Sample, since, one way humankind has traditionally attempted to tame the chaos of the wild ride of being alive is to impose a mythic pattern or order, as we’re told the Prior of Urfort seems to, here.
After a Legend of the Prior of Urfort
No soul
Has effect
But by the body held
What you know
What two no one can hold
Weave in a scuffle
These
The plottings
The subtle wishes
Sung by one
An inbred family
On a mountain top
These in one
Divine
He said
Corpus Sample: Grappling with the Heraclitean Tao: “At Red River’s Edge” and “Tonight, the world is simple and plain…”
Sometimes, whether sincerely or out of hubris, one comes to believe they’ve got a grip on things, and so it seemed, more or less, to me. But, recently, reading Baudrillard’s Symbolic Exchange and Death and an overview of the late Mark Fisher’s life and work, reflecting how, when I was around ten years old, the world was being maneuvered into its (apparent) Neoliberal (dis)order (a view of things probably already belated) and beginning a perceptible acceleration into what has come to be called the Anthropocene, I feel, now, there is nowhere to stand, nowhere at a standstill, that vertigo and fear just under the heart that starts at a sudden drop.
Of course, unknowingly, I’d grappled with these matters before. “At Red River’s Εdge”, the first poem of my first book (Grand Gnostic Central) attempts to resolve, with all the virtues and vices of a youthful work, this nigh metaphysical flow of things (or, as I thought of it at the time, “dissemination”), while the last poem of the book (“Tonight, the world is simple and plain…”), it appears to me now, approaches the same concern, but from a different angle.
At Red River’s Edge
I shed scales and
blood the slow water
at the river’s edge, the fish
gutted on some warming rock.
A wondering after
origins and wellsprings
rises with my standing
and squinting into the glare
of light broken upstream
at my vision’s limit.
What source spills
up this river?—
numberless puddles brimming
over as rain falls
to fill them, clear
water writhing
over slick dark rock
too hard to carve
a lasting path in,
waves of rainwater
draining in rippling sheets
off flat rock walling
a gleaming highway,
or running in rivulets
charging a careening stream
from a sudden height
in an opening spray of sparks
that scatter against one
mountain’s steep
lower rises. Upward,
glaciers moan and turn
themselves to fluid under
their own weight
for the sake of motion.
Lighter ice and snow
drop, overheavy
overhang, giving
the glitter of crystals
to the lift of winds
and the long swerve of descent
to dew on darting speargrass
leaves or on the grains
of the smallest antmounds
mining the glint
of sand mixed in the topmost soil
of swelling foothills.
Clouds shadow the climb
of rock, condensing
and losing themselves
in the strain
to come to nothing
but clearest light.
Everywhere, countless sources urge
one flow that fills
perfectly any particular
gap in every ground
in its scrambling run
to that ease of gravity
proper to the sea. This river
one route before me
and beyond me on
either side, never ebbing,
only ever changing course
to another. I follow
some black bark carried free
on flashing rises of the current,
sometimes edging a shore, sometimes stilled
in the turning of
a darker random
swirl, but always
spiraling out again
to give with the slow measure
of the ocean’s deepest founding swells
or float on the light
lift of waves
and the chance of the wind
into some child’s quick
excitement in the seadrift.
“Tonight, the world is simple and plain….”
Tonight, the world is simple and plain.
The earth is round and the sky two domes
Enclosing us, excluding nothing.
The stars are all arranged in such a way
As to suggest an endless emptiness
Or heavens full of foreign deities.
And choosing to choose neither we lose
Ourselves, desiring only an end
To this plane enclosed around itself
That keeps us coming to ourselves again.
“…where lives the virtue of poetry…”
Yesterday, Canada’s Chris Banks baldly posed the question to his Facebook friends “What is authentic poetry?”. I (mis)remembered, after my own initial contributions to winding or snarling the ensuing thread, I had written a poem that addressed at least “the virtue of all authentic thinking” (and I’m hardly the first to imagine or suggest that poetry can be a kind of thinking). I post that poem, below.
It was written at the same time as the poem that opens Ladonian Magnitudes, “topos tropos typos’ (a confession”, itself composed before even my first trade edition, Grand Gnostic Central. It’s title is a quotation from Charles Olson. Whether it is possessed of any qualities that might be construed as “authentic” I leave to the judgement of the reader. For my part, I cite again, as I did first in yesterday’s thread, Novalis, from his Fragments and Studies 1799-1800, #671: “Schwer schon ist zu entscheiden, doch einzig mögliche Entscheidung, ob etwas Poesie sei oder nicht”: It’s already difficult to decide, but it’s the only decision possible, whether something is poetry or not.
“Unreal, that is, to the real itself”
where lives the virtue of poetry
and all thinking free
of the tyranny of the real
in perceiving the real
flow, elementally
fluid, hence watery
form forms
breath
seen in Winter
as slippery
hard and cold
as ice to the head
cracked
as the sea, unfathomable
God as Melville says
pondering
from the masthead
a shriek above
the water
a shriek
above the water
the same
Three poems in German translation
Three poems in German translation
Karawa.net has kindly published three poems from Grand Gnostic Central in careful, meticulous German translation by Petra Sentes, with the English-language originals.