Thursday, February 02, 2006

7 Reasons Bruce Andrews Would Hate Us

Because we compared him to a Fascist like Pound!

1) COMPRESSION/staccato brevity

2) Inclusion of/engagement with HISTORY (inc. POLITICS, ECONOMICS, usw.)

3) Deployment of PERSONAE: distance between poet and words

4) CONDENSARE of existing language, rather than pure soul invention

5) Rethinking of TRANSLATION & its function: Dante

6) PARATACTIC organization of materials (“paratactic clown act”)

7) Composes in rhythm of MUSICAL PHRASE (hip hop?) vs. symmetrical metrical structures

Post more! 1912 is still happening …


Saranique said...

Its ok though, really.
In the 45 minutes I was there, it came across to me that he hated lots of things. :)

rodney k said...


Lara said...

It's interesting, with personae in the picture, you always have to wonder whether "the obscure reveries of the inward gaze" are overtaking the poet... In order to be effective, Pound used a dogmatic approach in his essays to set out all these rules in order to change the course of poetry, yet he breaks many of these rules himself. He just needed to cause a stir by putting forth this raging personality to attract lots of followers. "Mauberley" not only interacts with art in the confines of the poem, which Pound specifically says not to do, but it also has quite a somber tone much of the time, another of his self-proclaimed no-nos. In "Mauberley," the persona feels suddenly alienated and conscious that being the center of attention of the moment is much less desirable than expected...under "half-watt rays"
you might look really good, but technically, you're rather diluted. It wouldn't be a stretch to speculate that Pound's eventual fascist beliefs come from a complete disconnection of the extreme persona from the person that has to function day to day with others...

rodney k said...

I wonder too if Pound eventually disappeared into his persona, accidentally became the mask. The artist become the art(ifice). It's always been unclear to me whether Pound actually belonged in St. Elizabeth's, I mean clinically really went nuts, and wasn't just there as:
1) a way to dodge the treason charge;
2) a way to get the American government to pay a poet's room and board. Then as now, a nearly impossible feat!

Anyway, something clearly went haywire. His life in Italy through the '50s and '60s was a sad one; the great thunderer wouldn't speak for days at a time, though he squeezed out some very impressive Cantos (the Thrones section esp.) in those last fifteen years.

"under half-watt rays" is just a magnificent image: showily contemporary and yet completely right, precise, at the same time. Glad you called it out.