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NEW OBJECTIVISTS NOUVEAUX OBJECTIVISTES NUOVI OGGETTIVISTI Cristina Giorcelli – Luigi Magno

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NEW OBJECTIVISTS NOUVEAUX OBJECTIVISTES NUOVI OGGETTIVISTI Cristina Giorcelli – Luigi Magno NEW OBJECTIVISTS NOUVEAUX OBJECTIVISTES NUOVI OGGETTIVISTI edited by sous la direction de a cura di Cristina Giorcelli – Luigi Magno LOFFREDO EDITORE UNIVERSITY PRESS Nuovi oggettivisti_7bozza.indd 2 14/11/13 10:03 Nuovi oggettivisti_7bozza.indd 3 14/11/13 10:03 4 Pubblicato con il contributo del Dipartimento di Studi Euro-Americani e del Dipartimento di Lingue, Letterature e Culture Straniere, Università degli Studi Roma Tre – Via Ostiense, 236 e Via Valco di San Paolo, 19 – 00146 ROMA ISBN 978-8-887564-641-7 Finito di stampare nel mese di ottobre 2013 In copertina: Tony Smith, Marriage (1961) © LOFFREDO EDITORE UNIVERSITY PRESS s.r.l. Via Kerbaker 19 – Napoli 80126 (NA) www.loff redo.it universita@loff redo.it Nuovi oggettivisti_7bozza.indd 4 14/11/13 10:03 4 5 Pubblicato con il contributo del Dipartimento di Studi Euro-Americani Indice e del Dipartimento di Lingue, Letterature e Culture Straniere, Università degli Studi Roma Tre – Via Ostiense, 236 e Via Valco di San Paolo, 19 – 00146 ROMA I Cristina Giorcelli ISBN 978-8-887564-641-7 Introduction 11 Bob Perelman 1 + 1 = 1: Louis Zukofsky and Question of Unity 17 Bob Perelman Finito di stampare nel mese di ottobre 2013 A Guide to Homage to Sextus Propertius 31 The Job 42 Rome 43 Rachel Blau DuPlessis Objectivist Poetics and the Work of Drafts 45 In copertina: Tony Smith, Marriage (1961) Rachel Blau DuPlessis Draft 104: The Book 61 Draft 106: Meant to Say 66 Noura Wedell Transforming Service: Radical Documentary and the Promise of Objectivism 71 © LOFFREDO EDITORE UNIVERSITY PRESS s.r.l. Maria Anita Stefanelli Via Kerbaker 19 – Napoli 80126 (NA) Bargaining with the American Language: www.loff redo.it universita@loff redo.it Lina Angioletti’s Translations 89 Nuovi oggettivisti_7bozza.indd 4 14/11/13 10:03 Nuovi oggettivisti_7bozza.indd 5 14/11/13 10:03 6 Cristina Giorcelli William Carlos Williams’s Objectivism 105 II Luigi Magno Objectivistes américains et nouveaux objectivismes dans la littérature française. Un parcours 123 Geneviève Cohen-Cheminet La mémoire vive de l’Objectivisme: un “héritage précédé d’aucun testament” 143 Benoît Auclerc “Rapport objectif (sic)” – A propos de Ponge 159 Jean-Marie Gleize Un Objectif 179 Jean-Marie Gleize Suite d’une histoire de la poussière 193 Annalisa Bertoni “Les choses existent une à une” dans l’œuvre de Suzanne Doppelt 199 Suzanne Doppelt Cosmic dérive 211 Jean-Jacques Poucel Radicaux-Subjectifs (de Reznikoff à Hocquard et après) 215 Nuovi oggettivisti_7bozza.indd 6 14/11/13 10:03 6 7 Cristina Giorcelli III William Carlos Williams’s Objectivism 105 Cecilia Bello Minciacchi L’oggetto appeso, la parola incollata, il sasso. II Su alcuni montaggi di Nanni Balestrini (1961-1967) 233 Luigi Magno Antonio Loreto Objectivistes américains et nouveaux objectivismes dans Marco Giovenale e Michele Zaffarano: la littérature française. Un parcours 123 una matematica della realtà 249 Geneviève Cohen-Cheminet Marco Giovenale La mémoire vive de l’Objectivisme: un “héritage CDK 263 précédé d’aucun testament” 143 fi ve prose pieces 266 a girdle of color 269 Benoît Auclerc essential oil 271 “Rapport objectif (sic)” – A propos de Ponge 159 Michele Zaffarano Jean-Marie Gleize Prose marxiane / Marxian prose pieces 273 Un Objectif 179 Scavate buche nello spazio / Dig holes in space 278 Jean-Marie Gleize Massimiliano Manganelli Suite d’une histoire de la poussière 193 Nuove scritture italiane. Tra fasi e ridefinizioni: Alessandro De Francesco e Giulio Marzaioli 283 Annalisa Bertoni “Les choses existent une à une” dans l’œuvre de Suzanne Doppelt 199 Alessandro De Francesco Corpo estraneo in moto ascensionale – Suzanne Doppelt Foreign Body in Ascending Motion 295 Cosmic dérive 211 Ridefinizione – Redefinition 299 Jean-Jacques Poucel Giulio Marzaioli Radicaux-Subjectifs (de Reznikoff à Hocquard et après) 215 [estratti da] Quattro fasi 309 Contributors / Auteurs / Autori 319 Nuovi oggettivisti_7bozza.indd 6 14/11/13 10:03 Nuovi oggettivisti_7bozza.indd 7 14/11/13 10:03 Introduction “De la musique avant toute chose, Et pour cela préfère l’Impair” (Paul Verlaine, “Art Poétique”) “the line is the meat, not what it says” (William Carlos Williams, “A New Line Is a New Measure”) Poetry must be “precise about the thing and reticent about the feeling” it “presents the thing in order to convey the feeling” (L. S. Dembo, “The ‘Objectivist’ Poet”) In 2012 I have had the great pleasure of holding a second Conferen- ce on Objectivism, actually, on New Objectivisms. This year I renew the pleasure by publishing its proceedings. In 1998, when I launched the Conference “The Idea and the Thing in Modernist American Poetry,”1 it was the first and only one dedicated to Objectivism in this country up to then. A collection of excellent essays resulted from that Conference – written by scholars such as Burton Hatlen, who would surely have been with us in 2012 and would be pre- sent in this volume if his life had not been tragically cut short. We do miss him! Rachel Blau DuPlessis and Bob Perelman, present at the “The Idea and the Thing in Modernist American Poetry” Conference and in its pro- ceedings, however, are lending continuity to this new enterprise. “New” in that some of our opinions may have changed and, with an additional fourteen years of reading and teaching, we may hopefully have achieved new insights. But “new” also because when, with Luigi, we decided to organize a Conference on New Objectivisms, we immediately resolved it should be “different” from the previous one. Thus, not only is the French pers pective now taken into consideration together with the American and the Italian ones, but creative writers of the three nationalities have been invited to Nuovi oggettivisti_7bozza.indd 10 14/11/13 10:03 Nuovi oggettivisti_7bozza.indd 11 14/11/13 10:03 12 participate not as showpieces, but as equal partners. I say this to make it clear that Luigi and I, as critics, are quite aware that our work is ancillary to that of the creative writers or, at best, it interacts with theirs. After so many years of voicing and preaching supremacist and totalizing critical theories, we felt that some sense of proportion had to be re-established. Luigi and I – and the audience at the Conference, together, possibly, with the present readers – were curious to know why the Objectivists, a small group of tenacious American poets who carried some of the Moder- nist tenets to their utmost extremes, who were marginalized in their own country for most or all of their lives, and who were rediscovered by the L=A=N=G=U=A=G=E poets (among them, Bob Perelman, Rachel Blau DuPlessis, Ron Silliman, Charles Bernstein, Lyn Hejinian) in the 1970s, have today a following both in France and in Italy. We wished indeed to explore the reasons why the contemporary French and Italian poets, who have adhered to the Modernist aesthetic theory of revivifying con- temporary verse by drawing new strength from alien sources, have turned, in their two non-English languages, towards the Objectivists – so idiosyncratic in their own land! Furthermore, we desired to find out whether it was precisely because of the Objectivists’ near rejection at home, of their being “voces claman- tes in deserto,” that these contemporary poets were attracted to them. And, therefore, whether they too feel as alien at home as the Objectiv- ists did. The answer, of course, is that all artists do to some extent, but by choosing to follow such ecrivains de niche, the question is: are these contemporary French and Italian poets deliberately making an elitist stand – that is, a marginal stand taken with pride, if not with defiance – or, on the contrary, do they simply and frankly think that the time has come for Objectivism to collect its due? And, in this case, why? We think we have discovered (in these matters, tentativeness is de ri- gueur!) that the Objectivists’ “influence” entails many distinguos – eighty- two years from the publication of the 1931 February issue of Poetry in which the poetics of Objectivism first saw the light have not passed in vain. Such distinguos are probably not due solely to the fact that the Ob- Nuovi oggettivisti_7bozza.indd 12 14/11/13 10:03 12 13 participate not as showpieces, but as equal partners. I say this to make it jectivists’ poetic credo has been fertile in languages and cultures differ- clear that Luigi and I, as critics, are quite aware that our work is ancillary ent from their own. Another significant reason may be that the world is to that of the creative writers or, at best, it interacts with theirs. After so no longer what it was and, consequently, the words to express it and the many years of voicing and preaching supremacist and totalizing critical attitudes behind the need to give expression to one’s observations/emo- theories, we felt that some sense of proportion had to be re-established. tions, have changed – in many ways, dramatically. In addition, the con- Luigi and I – and the audience at the Conference, together, possibly, stant, reiterative exposure to novelties that come from the most diverse with the present readers – were curious to know why the Objectivists, a fields – visual arts, photography, popular music, advertisements, films – small group of tenacious American poets who carried some of the Moder- may also have offered these contemporary poets many different and nist tenets to their utmost extremes, who were marginalized in their own stimulating contributions to be added to that of Objectivism. country for most or all of their lives, and who were rediscovered by the Moreover, we were eager to assess whether for these contemporary L=A=N=G=U=A=G=E poets (among them, Bob Perelman, Rachel Blau poets – as for their precursors – words are still audio-visual “things” in DuPlessis, Ron Silliman, Charles Bernstein, Lyn Hejinian) in the 1970s, their own right, “material objects,” sensory objects made of letters and have today a following both in France and in Italy.
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