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80S-Abstracts-F2 Abstracts 1 A Ahearn, Barry Tulane University Samuel Menashe: The “Neglected Master” in the Eighties[KF1] PANEL 01A: BEARING WITNESS The 1980s were a difficult period for Samuel Menashe. He would repeatedly offer his poems to major commercial publishers and, just as repeatedly, would be turned down by them. He could not know at the time, but in the 1990s he would be published by Penguin, and in the 21st century he would win a measure of fame as a “neglected master” and be published by the Library of America, one of the very few living poets to be accorded this honor. His search for a publisher in this decade, however, did result in the release of his Collected Poems (New and Selected)[KF2] by the National Poetry Foundation in 1986. The focus of this paper will be on what led to the NPF publication, especially how the championing of his work by Hugh Kenner was crucial. The paper will also describe Menashe’s reaction to the circumstances that led to the publication, his thoughts about the place of that book in the overall arc of his career, and to the degree to which his failure to interest a large commercial publisher in his work is reflected in his poetry. We find, for example, in such poems as “Salt and Pepper,” increasing intimations of the onset of old age without the concurrent critical attention that Menashe felt he deserved. In fact, the theme of elusive fame runs strongly through his poems in this decade. We shall see that although Menashe was pleased to find a publisher in the 1980s, he eventually had mixed feelings about the National Poetry Foundation. The paper will draw on three sources: (1) close reading of some of his poetry from the decade; (2) the Menashe archive at the Berg Collection and the correspondence therein with Kenner and Carroll Terrell; and (3) personal conversations and correspondence I had with Menashe during these years. __________________________________________________________________________________________ Anderson, Stephanie University of Chicago The Submerged Date in Coolidge and Eigner, 1982-84 PANEL 06A: TEMPORALITY The practice of dating and calendrical poetics is variously motivated: think of the date as graffiti, a gesture that possesses a tradition and a right to speak; think of the date’s epistolary echoes and how it contains collectively held knowledge. It can be an anchor, and it can function as enumeration—as an ordinal, showing position. For Larry Eigner, dating began from the latter impulse, as part of an archival practice: “Kind of lucky I began dating things as a regular thing in October ’59 after Don Allen sought for dates to things he took for The New American Poetry […]; before that I considered luck might more than likely run Abstracts 2 out, I might be jinxed and get writer’s block if I dated, it’d be overconfidence, counting chickens before they hatched…” (The Collected Poems of Larry Eigner, ed. Curtis Faville and Robert Grenier, vol. 1, p. xv [KF3]). Eigner indicates a danger in dating, in assuming that one’s practice can remain constant and worthy of future study. But as the reproductions of his typescripts in The Collected Poems reveal, the anchor of the date quickly becomes a formal property of his texts—part of the “grid” (Grenier) of the typewriter page—especially as the poems attempt to depart from the constraints of single locations and perspectives by precisely playing with spatiality. In the first issue of L=A=N=G=U=A=G=E, Clark Coolidge refers to “air” as Eigner’s “medium”; I take part of the import of this statement to be that Eigner’s poems both provide material shape to the ineffable—air, time—and show the inevitability of momentum as lines thrust the reader down the page. In a poem dated March 17-April 6 83, Eigner writes, “what sounds / and sights / given / time / ways / down / you look / now you see now you don’t / heads and tails.” Time—and the date—both weighs and is a way; it is like glass, both rigid and flowing; it is distantly submerged and glintingly solid. In short, it moves beyond ordinal sequencing but still structures. Coolidge carves the date into the end of The Crystal Text, where it appears almost as a formula: “25VIII82–9VI83.” His crystal becomes totemic for a daily practice that is not one of enumeration but of fractal recursion—a structure resulting from slow compression; a dating deeply submerged. He writes, “The stillness of the crystal says Time, time is your / medium. And time is also the fallenness / of all your virtue” (100). Perhaps here, like Eigner, Coolidge expresses reservations about the “medium” of “Time,” or the “overconfidence” of a dated practice. Yet in this text Coolidge undertakes thematically, via the crystal, what he sees Eigner doing via the materiality of the text: “a hard movement of the words / allows equal solidity to the spaces between. / otherwise such seemingly ‘fragmented’ structure / fall [sic] to the bottom” (L=A=N=G=U=A=G=E, Issue 1). In this paper, I show how Eigner and Coolidge both excavate the multi-faceted date, and employ its slow motion to structure these works written between ’82 and ’84. __________________________________________________________________________________________ Ang, Brian Independent scholar Language Writing and the Present PANEL 11C: POLITICS, LANGUAGE WRITING, AND COMMUNITY “What is the difference between method and technique? One could say that technique is the principle of construction in the writing. In other words, how the writing is written. And method is the principle of construction which begins with the activity of the writer as a whole, the extension of the act of writing into the world and eventually into historical self- consciousness.” —Barrett Watten, “Method and Surrealism: The Politics of Poetry” (1981) Abstracts 3 This paper will examine methodological constructions in Language writing for the purpose of furthering potentialities for present poetic praxis. It will examine Language writing’s early propositions of poetic value, politicizing referential critique and the emphasis on language, enabling increases in the agency of technique for non-instrumentality and its strategic diminishments of obvious political content, and its self-critical contextualizing developments toward investigations of social meaning and struggle and more nuanced positions. Toward the present, these examinations will be read with the recently emerged conceptual writing’s methodological propositions of diminished reading and the emphasis on concept, as guiding resources and commitments for propositions of methodological development, including the examination of precedent works since Language writing within this propositional matrix. __________________________________________________________________________________________ Archambeau, Robert Lake Forest College PANEL: 11D GNOSTICS, MYSTICS, AND HERETICS OF THE REAGAN YEARS Panel participants: Robert Archambeau (chair and organizer), Joseph Donahue, and Stephen Fredman In the popular imagination, the 1980s are years of materialist excess, economic self-interest, and the triumph of capitalism. Perhaps it should not come as a surprise that these were also years when a number of important poets turned away from materialism to examine, and participate in, versions of the spiritual life. John Taggart, John Matthias, and the performance artist Laurie Anderson (who undertook important poetic works in the 1980s) were all born within a few years of each other in the 1940s, came of age during a period of prosperity, dissent, and spiritual exploration, and all experienced disillusion with the dominant culture of the 1980s. Their responses are diverse: Taggart’s poems for the Rothko Chapel seek a world of art and spirituality removed from the everyday; Anderson’s poetic work seeks an angelic, apocalyptic resolution to the various social crises of the 80s; and Matthias turns to the history of Catholicism and its repressed heretical off-shoots as a way of trying to reconcile himself to a violent and alienating world. Together, these three papers show a spectrum of spiritual responses to the specific problems of the Reagan years. __________________________________________________________________________________________ Archambeau, Robert Lake Forest College History, Totality, Silence: John Matthias’ "A Compostela Diptych" PANEL 11D: GNOSTICS, MYSTICS, AND HERETICS OF THE REAGAN YEARS Abstracts 4 Much of John Matthias’ work from the 1970s consists of his attempts to address what he terms his “post-activist consternation,” his sense of disillusion with American culture and politics following his intense involvement in 1960s Bay Area radical protest culture. In “An East Anglian Diptych” and “Notes from an Apocryphal Midwest” he had tried to reconcile himself to specific places: to the English countryside and to Indiana, where he settled. In his most ambitious poetry of the 1980s, the long poem “A Compostella Diptych,” Matthias turns to the history of the ancient pilgrim route crossing France and Spain, seeing it as a microcosm of Western history. He tries, again and again, to see in the shape of that history a meaningful totality, something that would rise above the “catastrophe which keeps piling wreckage upon wreckage” seen by Walter Benjamin’s angel of history. All attempts to see a meaningful totality in history, though, become subverted by narratives of persecution: Matthias punctuates his pilgrim narratives with the history of the heretics slaughtered in the name of Catholicism. In the end, he turns from attempts at a totalizing history and addresses himself to a transcendent silence that serves as the precondition for all history. __________________________________________________________________________________________ Abstracts 5 B Babbie, Raymond Tyler University of Washington H.D. in the 80s PANEL 09B: RESPONSE TO MODERNIST POETRY IN THE 1980S At the 2012 Louisville Conference on Literature and Culture since 1900, H.D. scholar Eileen Gregory presented a paper[KF4] on Levinas and affect in the context of modern women poets. She began with remarks about her early scholarly engagement with H.D, explaining that her early work focused on H.D.’s strength but at the cost of not considering her suffering.
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