Great piece - seems that 'The Australian' is actually doing something positive towards a 'critical culture' in poetry. regards deb ----- Original Message ----- From: John Tranter <[log in to unmask]> To: <[log in to unmask]> Sent: Friday, December 01, 2000 3:25 PM Subject: Young People Against Poetry - against Ashbery? I thought the listmembers may be interested in the following: a column by Peter Holbrook (who teaches English Literature in Brisbane, Australia) in "The Australian's" 'Higher Education Supplement', 29 November 2000 (reprinted here with the permission of the author) _____________ Because 'poetry makes nothing happen', as W.H. Auden said, one can usually assume it's unlikely to be turned into an 'issue', material for one of those tedious national 'debates' we are forever having now. My assumption that poetry was out of harm's way was shaken, however, by a phone call some time ago from Brisbane ABC. They wanted 'a quick comment on the recent poetry debate'. Qué? Apparently, in reaction to the Brisbane Writers' Festival, there had been a putsch against poetry, orchestrated by the kind of group newspapers call 'shadowy'--in this instance, a certain Young People Against Poetry. These budding Savonarolas had accused poetry of being 'frivolous' and wanted it 'banned from schools'. They were indignant at 'poems ... 300 to 400 hundred years old being pushed down people's throats' (HES 25 October). I must say I didn't realize today's teenagers were so oppressed by the high culture of the past. It is pleasant to imagine them compelled to toil over their dog-eared copies of Paradise Lost, but experience in the tutorial room ('Dr Holbrook, did the French Revolution come before or after the Renaissance?') suggests intellectual parochialism is alive and well in our schools. One feature of the YPAPistas' uprising did appeal to me: sending a plane over Brisbane with the banner 'Poetry Wrecks Lives'. I wish I'd seen that aircraft, with its surrealist slogan, dementedly whizzing over the office towers. It reminded me of an image you might encounter in the poet John Ashbery--though he would come up with something whackier still. For decades this American has been producing some of the most baffling, haunting, and beautiful poems around. Ashbery was born in 1927 and has lived mostly in New York; from 1955-65 he wrote art criticism in Paris. (30 years of such writing have been gathered in Reported Sightings (Knopf, 1989)). He's published 21 books of poetry. The most recent are Your Name Here (FSG, 2000) and Girls on The Run (Carcanet, 1999). His Harvard lectures on poetry appeared this year (Other Traditions, Harvard UP). They give a welcome glimpse into the mind of this difficult yet entrancing poet. 'Difficult' is some understatement. Most Ashbery poems are serenely, glassily impermeable to the understanding--and all the more disorienting for frequently sounding pedestrian rather than oracular. Ashbery gets a lot of his effect from raiding the spoken language of his country, so that his poems, which sometimes have the cuteness and weightlessness of fairy-tales or cartoons, also include the bland diction of American suburbia: 'sheesh', 'ouch', 'heck', 'kinda comfy' all find a home in his poetry. Girls on the Run is a narrative poem (supposedly) based on the work of one Henry Darger, who lived in Chicago from 1892-1972. An isolated psychotic, Darger was also a self-taught graphic artist of rare talent who over a lifetime constructed a massive illustrated prose fantasy about the amazing adventures of a band of brave little girls. Ashbery's poem gives us the delirium of language, in which sentences have forgotten their beginning before careering to their end. Its opening is less strange than most of it: A great plane flew across the sun, / and the girls ran along the ground. / The sun shone on Mr McPlaster's face, it was green like an elephant's. // Let's get out of here, Judy said. / They're getting closer, I can't stand it. / But you know, our fashions are in fashion / only briefly, then they go out / and stay that way for a long time. Then they come back in / for a while. Then, in maybe a million years, they go out of fashion / and stay there. / Laure and Tidbit agreed, with the proviso that after that everyone would become fashion / again for a few hours. Write it now, Tidbit said, / before they get back. And, quivering, I took the pen. While Ashbery's poems defy explication--who is the 'they' in this passage?--they aren't empty. Rather, they convey what Ashbery calls 'all that we think about when we stop thinking'. In Other Traditions he admits he is 'mildly distressed at not being able to give a satisfactory account of my work because...this inability seems like a limit to my powers of invention. ... If I can invent poetry, why can't I invent the meaning?'. His answer is important: 'For me, poetry has its beginning and ending outside thought.' From one point of view this must be wrong. Surely poets think? Yes, but Ashbery's point is that the essential in poetry lies not in the what of language but the how. Students like to 'boil down' a Shakespeare play to its 'message'. But thus stripped down the play's 'moral' invariably turns out to be some ghastly commonplace:'Pride Goeth Before a Fall', say. There are easier ways of learning that than reading Shakespeare. Ashbery quotes Lytton Strachey's fine question: 'Who cares what Milton had to say?'. You don't read Milton for the ideas but for the awe-inspiring words with which he did his thinking. And it's in the words, more precisely their sound, that Ashbery shines. He is a master of cadence, and thinks of his poetry as music firstly. As with music, the arabesques of his poetry cannot be straightened into statement, and yet they communicate distinct awarenesses and feelings. Often in his poems an unpretentious, self-ironic, seriously intelligent voice is trying to tell you something which, it seems, it may be terribly important, even vital, for you to know, but which for some reason you are failing to understand, as if you were hearing only the fragments of a conversation. It's also possible that Ashbery, like many Americans since Emerson and William James, is deep down suspicious of thought--that he sides with experience itself, unresolved into metaphysical meaning. So he admires the nineteenth century English poet John Clare for an 'accumulation of particulars' that isn't finally worked up into some grand philosophic 'vision' (as occurs in Clare's near contemporary Wordsworth). Plato said a poet is 'never able to compose until he has become inspired, and is beside himself, and reason is no longer in him'. It's true of some poets anyway. Ashbery, simply, is working in latitudes of the mind most of us don't go to that often. Here is 'At North Farm', from one of his best collections, A Wave (Penguin, 1984): Somewhere someone is traveling furiously toward you, / At incredible speed, traveling day and night, / Through blizzards and desert heat, across torrents, through narrow passes. / But will he know where to find you, / Recognize you when he sees you, / Give you the thing he has for you? // Hardly anything grows here, / Yet the granaries are bursting with meal, / The sacks of meal piled to the rafters. / The streams run with sweetness, fattening fish; / Birds darken the sky. Is it enough / That the dish of milk is set out at night, / That we think of him sometimes, / Sometimes and always, with mixed feelings? So long as poetry as powerful and mysterious as that continues to be written, it will continue to be read and taught. Let's hope the YPAPistas eventually find their way to Ashbery, and to the great tradition in which he can claim an assured place. END Peter Holbrook can be contacted at this email address: [log in to unmask] ________________________ John Tranter, Jacket magazine from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/ - new John Tranter homepage - poetry, reviews, articles, at: http://www.austlit.com/johntranter/ - ancient history - the late sixties - at: http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569