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The Crisis of Speech in the Prose Poems of Francis Ponge by Jane Elizabeth Monson

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The Crisis of Speech in the Prose Poems of Francis Ponge by Jane Elizabeth Monson Crossed Tongues: The Crisis of Speech in the Prose Poems of Francis Ponge by Jane Elizabeth Monson A Creative and Critical Writing Thesis Submitted in candidature for the degree of Doctor of Philosophy Cardiff University 2008 Crossed Tongues: The Crisis of Speech in the Prose Poems of Francis Ponge by Jane Elizabeth Monson A Creative and Critical Writing Thesis Submitted in candidature for the degree of Doctor of Philosophy Cardiff University 2008 UMI Number: U585051 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U585051 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Form: PGR_Submission_200701 NOTICE OF SUBMISSION OF THESIS FORM: a r d if f POSTGRADUATE RESEARCH C UNIVERSITY PRIFYSGOL C aeRDy,§> APPENDIX 1: Specimen layout for Thesis Summary and Declaration/Statements page to be included in a Thesis DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed 9 ^ . (candidate) Date ...^.S./fr../?^.......... STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of :.G .......✓. (insert MCh, MD, MPhil, PhD etc, as appropriate) S igned Jp*7>£t.. —................. (candidate) Date ....^ .......... u STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources/are acknowledged by explicit references. Signed (candidate) Date ... /.ff. ........... ; i u STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date ..........ZJT./.W'./Sf......... i '■J STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter- library loans after expiry of a bar on access previously approved by the Graduate Development;/Committee. Signed ... X. .T.. Sr:.'. (candidate) Date........Zr*,. /.. ^ t/. 5 ........ This thesis is dedicated to my mother Sarah Acknowledgements Thanks foremost to my supervisors, Martin Coyle and Stephen Logan. Our conversations have been memorable and your advice will continue to be part of future projects. Thank you also to Richard Gwyn and your well-judged responses to my poems. My gratitude to Anna Reckin for her generosity and help with translating The Minister’, to Shirley Ann Jordan for her engaged input, Carrie Etter for her practical support and encouragement and Nikki Sandlli for her time. Warm appreciation goes to Philip Monson, Paul Williams and the Paul Monson Will Trust, without whose financial support this thesis would never have happened in the time that it did. Thanks to my friends and family for all the ways in which they helped: Hannah Barrah, Antony Bilton, Ben Christophers, Ruth Cowan, Philip Diggle, Gamze Eren, Antony Hartshorn, Dorian Hayes, Rosie Henley, Hidemi Hatada, Ruth Johnston, Alex Kent, Jo Litde, Jean Long, Nigel Monson, William McDonald, Gordon Nagel, Jon O’Connor, Peter O ’Connor, Catherine Paterson, Ben Ramm, David Scott, Clare Sims, Jolyon, Sherry and Guy Monson, and Lao Kennish for introducing me to the poems of Francis Ponge at school Additional and warm thanks to Josie Pearse for our discussions at the British library, Kate North for your reassurance and clarity, and everyone at the Muswell Hill bookshop whose support has helped keep me going. Lastly, thanks to my brother Danny and my father Paul who have shown me nothing less than faith and interest, Maria Scott, my Grandmother, muse and teacher, and Phil Robins whose sense of humour, encouragement and patience have been invaluable. C ontents Introduction 4 Part One: The Objects of Speech Chapter One: Language and Things 30 Chapter Two: Language and Rebellion 60 Chapter Three: Neurosis and Prose Poetry 70 Chapter Four Ponge and Surrealism 85 Chapter Five: Language and Point of View 107 Chapter Six: Language and Death 132 Part Two: The Monsters of Speech Chapter Seven: The Closed Text 153 Chapter Eight: The Open Texts ® 181 Chapter Nine: The Open Texts (u) 219 Chapter Ten: Last Poems and Art Criticism 238 Conclusion 259 Part Three: Prwr Introduction 262 Speaking Without Tongues 272 Appendix A 314 Bibliography 315 StfiMpary This thesis is a critical, creative and part-biographical study of Francis Ponge’s increasing self-consciousness around the spoken word, from his early prose poems through to his art criticism, and how his obsession with verbal inadequacy serves to undermine his stated ambition to ‘side with things* and write from the object*s point of view. My reading of Ponge is based primarily on observations o f his neuroses involving speech, noting his first experience of being mute during a University oral exam as significant, and then exploring how his awareness of verbal inadequacy intensifies throughout his creative and critical texts and disturbs his intended phenomenological approach to things. In the thesis, Ponge’s oeuvre is mainly read as a diaristic account of his relationship with spoken expression, his difficulties changing and repeating themselves according to his choice of each object, and notably his decision to work within and against the prose poem. His writing is interpreted as being about the object giving Ponge a voice - or a host of voices according to the problems he encounters through each object — rather than about a poet who endows each object with a rhetoric of its own. I also explore where this ‘crisis of speech’ has parallels in the work of his contemporaries. The present thesis draws new conclusions about the prominence of die spoken word in his writing and his development of the prose poem in Twentieth-century French Literature, based on a combined study of his life, his writing and fundamentally neurotic and obsessive relationship with the spoken word. At the same time, the thesis recognises Ponge as the motivation behind the collection of prose poems that make up the last part of die dissertation, where themes and objects from Ponge’s texts resurface. The collection itself starts from a similar situation to that of Ponge in which objects and language conflate with the human subject’s helplessness before various manifestations of the spoken word. 3 Introduction Francis Ponge lived for nearly all of the Twentieth century (1899-1988) and was a French writer of prose poems, poetics, drafts, notes, reflections, and essays on European Modernist artists, including Pablo Picasso, Alberto Giacometti and Georges Braque. However notable this array of texts may sound, the small percentage of intellectuals, academics and poets who have heard of Ponge are aware that he is less known for his critical pieces than for his prose poems about objects, and his idiosyncratic focus on ordinary things that range from the cigarette to the crustacean. The fact that many of Ponge’s critical and creative texts correspond to the point of being inseparable is essential to understanding his work. As he says of his so-called poetic texts and so-called critical or methodological texts’ in an interview in Modem Poetry in Translation in 1971: My critical texts, my texts on painters for example, are just as difficult, often more difficult, to write as those considered poetic. I make no distinction. My audacities and scruples are the same, whatever genre you assign to the text1 Given the ‘difficult* aspect of his texts, the simplicity of Ponge’s subject matter is therefore often misleading and in theory does little to aid the reader when confronted with die poems in isolation from his poetics. A pioneer of one of the first branches of prose poetry, the object poem in prose, which takes as its primary subject matter and focus the everyday or commonplace object, Ponge devoted both his poetry and poetics to a philosophical and semi-scientific scrutiny of the object and the complexities of the relationship between the ordinary object — man-made and natural — and language.2 1 Francis Ponge, Interview in Modem Poetry in Translation 21 (1974), 17,16. 2 It is important to clarify from die beginning of the thesis my particular use of the word ‘object’. I am referring to die subject-matter of Ponge’s prose-poems, the focus of which was the everyday object, which in turn was the impetus, and material for the wider subject-matter of language and phenomenology. Ponge’s contemplation and meditations on the object itself, be it plant, stone or cigarette, became inextricable from the object, so 'object* refers to both the thing in front of him, and the use of his language as he observes. l-a«g«ingp becomes the ultimate 'object* subject matter of the poem, but only through the ’object’ thing that he contemplates. 4 Among Ponge’s contemporary practitioners of the object poem were Gertrude Stein (1874-1946), Max Jacob (1876-1944) and Robert Bly (b.1926), although they are more commonly referred to as prose poets who wrote poems about objects, rather than as object poets. Ponge wore the title of object poet more convincingly because his poems do not appear to stray from the things themselves into the wider terrain and more general subject matter of prose poetry. The language of prose poetry is carefully accorded with the subject, and in this respect is as focussed on the object as the object poem, but it entertains a broader host of themes and discourses.
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