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Fence Above the Sea Brigitte Byrd Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Fence Above the Sea Brigitte Byrd Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FENCE ABOVE THE SEA Name: Brigitte Byrd Department: English Major Professor: David Kirby Degree: Doctor of Philosophy Term Degree Awarded: Summer, 2003 “Fence above the Sea” is a collection of prose poems written in sequences. Writing in the line of Emily Dickinson, Gertrude Stein, and Lynn Hejinian, I experiment with language and challenge its convention. While Dickinson writes about “the landscape of the soul,” I write about the landscape of the mind. While she appropriates and juxtaposes words in a strange fashion, I juxtapose fragments of sentences in a strange fashion. While she uses dashes to display silence, I discard punctuation, which is disruptive and limits the reader to a set reading of the sentence. Except for the period. Stein’s writing is the epitome of Schklovsky’s concept of ostranenie (defamiliarization). Like her poems in Tender Buttons, my poems present a multiplied perspective. On the moment. Like Stein, I write dialogical poems where there is a dialogue among words and between words and their meanings. Also, I expect a dialogue between words and readers, author and readers, text and readers. My prose poems focus on sentences “with a balance of their own. the balance of space completely not filled but created by something moving as moving is not as moving should be” (Stein, “Poetry and Grammar”). Repetitions are essential in everyday life, to the thought process, and thus in this collection. Like Stein, language poets are exponents from ostranenie, and the results are flatness of tone, experimentation with syntax, and decontextualization of words. I work within the same parameters. Also, I am making a political statement with this collection by asking the reader to be active and react to the text instead of being fed a poetry that is made a commodity for consumption. I particularly agree with Hejinian’s aesthetics and poetics: “the ‘open text’ often emphasizes or foregrounds process. and thus resists the cultural tendencies that seek to identify and fix material and turn it into a product” (Hejinian, The Language of Inquiry). Each poem from “Fence above the Sea” is an experiment with the thought that each sentence is a story and that a poem is an open text which is the mind. THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES FENCE ABOVE THE SEA By BRIGITTE BYRD A dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philososophy Degree Awarded: Summer Semester, 2003 The members of the Committee approve the dissertation of Brigitte Byrd defended on April 9, 2003. David Kirby Professor Directing Dissertation William Cloonan Outside Committee Member S.E. Gontarski Committee Member Sheila Ortiz-Taylor Committee Member Approved: Hunt Hawkins, Chairperson, Department of English The Office of Graduate Studies has verified and approved the Above named committee members for Camille iii ACKNOWLEDGEMENTS Grateful acknowledgement is made to the editors of the following journals in which some of these poems first appeared: Phoebe: A Journal of Literary Art: [from “Requiem Series”] “7. (the sand),” “8. (a beginning)”; So to Speak: A Feminist Journal of Language and Art: “Mistaken Etiquette”; The Eternal Anthology 4 (U.K.): “Extreme Injury,” “Pebbles/Pieces of Glass,” “Diversion,” “She Looks As Usual,” “Adagio for Hands,” “Stanza of the Father,” “The Door Was Open”; HOW2: “Angel and Puppet,” “Errancy,” “Calisthenics,” “Poetics.” Many thanks also to David Kirby, S. E. Gontarski, Sheila Ortiz-Taylor, and William Cloonan, for their support. Thanks to Cynie Cory, who helped me shape this manuscript. And thanks foremost to Camille and the cats. iv TABLE OF CONTENTS Abstract vi I REQUIEM SERIES 1 1. (a breath) 3 2. (silence) 4 3. (a house) 5 4. (a garden) 6 5. (a sign) 7 6. (Cassis) 8 7. (the sand) 9 8. (a beginning) 10 II HER FEET ARE NAILED TO THE PLINTH 11 Samothrace 12 Notes on Yellow Paper 13 Cinéma Vérité 14 Comparative Obscurity 15 American Tanz Theatre 16 A Matter of Sounds 17 Mistaken Etiquette 18 III WALLS IN THE FUTURE 19 Extreme Injury 20 Georgian Permutation with Water 21 Babushka with Plum Blossoms 22 Pebbles/Pieces of Glass 23 Diversion 24 She Looks As Usual 25 Adagio for Hands 26 Stanza of the Father 27 The Door Was Open 28 Angel and Puppet 29 IV THIS ATTRACTION TO A WINDOW 31 v Errancy 32 Chained to Char 33 Off with Her Head 34 Busy Picking Wild Flowers 35 Calisthenics 36 The End of Spinning 37 Enlightenment 38 Mystic Bakers 39 Poetics 40 Countless Pretenses 41 V THE HOUSE FAR FROM THE STARS 42 Overlooking the River 43 Reflection on Madeleines 44 To Dramatize the Harvest 45 Things They Said 46 Speaking As a Poet 47 Vibration in the Line 48 Decorative Emptiness 49 Festive Uncertainty 50 VI DUST DOES NOT CREATE AN ATMOSPHERE 51 Notable Exceptions 52 Translation 53 Happy Windowpane 54 Stickler for Precision 55 Unintentional Promenade 56 Perforation of the Heart 57 Loud Darkness 58 Architectonic of a Requiem 59 NOTES 60 BIOGRAPHICAL SKETCH 63 vi ABSTRACT “Fence above the Sea” is a collection of prose poems written in sequences. Writing in the line of Emily Dickinson, Gertrude Stein, and Lynn Hejinian, I experiment with language and challenge its convention. While Dickinson writes about “the landscape of the soul,” I write about the landscape of the mind. While she appropriates and juxtaposes words in a strange fashion, I juxtapose fragments of sentences in a strange fashion. While she uses dashes to display silence, I discard punctuation, which is disruptive and limits the reader to a set reading of the sentence. Except for the period. Stein’s writing is the epitome of Schklovsky’s concept of ostranenie (defamiliarization). Like her poems in Tender Buttons, my poems present a multiplied perspective. On the moment. Like Stein, I write dialogical poems where there is a dialogue among words and between words and their meanings. Also, I expect a dialogue between words and readers, author and readers, text and readers. My prose poems focus on sentences “with a balance of their own. the balance of space completely not filled but created by something moving as moving is not as moving should be” (Stein, “Poetry and Grammar”). Repetitions are essential in everyday life, to the thought process, and thus in this collection. Like Stein, language poets are exponents from ostranenie, and the results are flatness of tone, experimentation with syntax, and decontextualization of words. I work within the same parameters. Also, I am making a political statement with this collection by asking the reader to be active and react to the text instead of being fed a poetry that is made a commodity for consumption. I particularly agree with Hejinian’s aesthetics and poetics: “the ‘open text’ often emphasizes or foregrounds process. and thus resists the cultural tendencies that seek to identify and fix material and turn it into a product” (Hejinian, The Language of Inquiry). Each poem from “Fence above the Sea” is an experiment with the thought that each sentence is a story and that a poem is an open text which is the mind. vii “One more moment, and everything would lose its meaning, and this table and the cup and the chair he was clinging to would become unintelligible, alien and heavy. So he sat there, waiting for it to happen. And no longer bothered to defend himself.” --Rainer Maria Rilke “. she doesn’t defend herself against these unknown women whom she’s surprised at becoming, but derives pleasure from this gift of alterability.” --Hélène Cixous “. .do you realize -- we’re floating in space -- do you realize. .” --The Flaming Lips viii I. REQUIEM SERIES 1 in memory of Bernard Fourneron (1932-2002) 2 1. (a breath) And then, there is another day The father is a breath. This is not a mistake it is. There is a question that is not answered and it is hard to turn away from moving water. Why no chance no memory no incense no scent no sound. There is a father who sleeps and sleeps and slips. Is this the answer. The father is not a priest. If I dance are you dancing. J’aime la musique pour les morts. The air is wind. His chest fills with requiem. The son sings. Another plane another question. The daughter waves in my head like a performer. That I wear grief in my hair is not ironical it is there in the faucet. A mind is lost and it is not a question in the sea. The hands are covered with freckles. Is memory the future and it is lost. Another breath when a mind is not. One of these mornings: (re)play: You will look for me. Streamsound. Replace the words and I’ll be gone. And then, 3 2. (silence) And then, there is another day (TRY SILENCE) 4 3. (a house) And then, there is another day Regression to a narrative is not a question. It is not. The house is empty. That was yesterday. The daughter sleeps in the house which is empty without the father who sleeps and sleeps and slips. It will be mine. And she is mine. We believe in nothing is not their answer. Is it his. The floor is. A mosaic floor over the ocean and ants lost in the blues the greens the purples the reds the colors of my sea.
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