Deputizable
Imputations del Riaje San Joaquin by Dennis Holt |
More on the Holy Mayan Empire The trip becomes: How much do you tell of your vision? And how & why do you ever withhold? With the advent of the Kingdom of Mescal people to Santa Cruz, an important liaison-link has been re- sacramentalized between the cypress & redwood crescent bay of MonteRey & Nathaniel Tarn's most magical lake, Lago Atitlán. . . . Cosmic Ladye hitching back into town. She speaks upon the metaphors of her most powerful vision. Upon as up on Dichtering von wood & winden stage. In the Guatemalan highlands the women are as beautiful as they've been shown on the quarter Quetzal coin. I wrote to Whalen once from Panajachel of their huge noble dignity & beauty - some of what Olson saw. Charles Olson as Quetzalcoatl A somewhat strange & wonderful friend of mine has come up with a hypothesis (e pluribus unum) that the people of the Vedas, when they had descended into Kashmir, established a kind of universal academy - a university - right there at the first wholly habitable spot they found themselves in after the trekking from the Proto-Indo- European north. He also claims that this academy used as its symbol the image of a sea-horse, & sent emissaries of wisdom & learning to culture-centers throughout the world, probably beginning as early as 1200 BC. Olson himself came up with the conclusion that Quetzalcoatl was the sea-horse: little wingèd under- water coiled-tail serpent with a funny shaped head - No horses in Mayaland until those other bearded Indo-Europeans come back less brightly. Edward Dorn as the Thorn in the Sea-Horse's Tail They've some of them been designating Creeley as Olson's principal heir - the best boy with continuing lamp. But doesn't it seem more obvious that Olson left his mantel - or at least the map above his mantle - to Edward Dorn? Any genuine heir of Olson would haff to have the historical consciousness that Dorn so assiduously cultivates; Creeley seems to me an extremely domestic poet, a wise family-man of American letters, but no Thucydides. Dorn is ever there: navegant dans son periplus, & telling all about it, often in terms appropriately classic-heroic. In the context of the Charles Olson Week of lectures & readings in Iowa City in November, in which Dorn & Creeley & Duncan all participated (as well as a number of im- portant academic Olson-scholars), Dorn stood out for me as the man who's most likeably foretilling from the helm of the bardic Viking-ship the great Northman - C.O. Máximo - left us as legacy . . . And a Viking-ship is a liking-ship, a questing & flowing fealty among men. In Iowa City I avowed to Dorn my troth. After Duncan's lecture, on the Caves at Niaux, we are as Knights Templar, comme les Chevaliers de la Bomologue. During Duncan's talk I wrote: "time or our human notions of it depend on human events in space & that is history " & a few minutes earlier: "Hollo [?] walks in & sits down to talk with Dorn" These are genuine heroes, as mythically obtrusive as Coeur de Lyon, & they dwell & tell among us, in this most human of histories, we master our mystery of. [per-féct, not domare . . . perféct . . . Comparing My Own with Those of Dorn Comparing (odiously) my own processes & products with those of Edward Dorn, I realize that a basic difference, & a source of my slight feeling of 'lagging too far behind the master', is that I am not merely making 'poems' (& I do have some sense of what can be & has been meant by that term), but more broadly (& importantly), trying to achieve some kind of diagrammatic understanding of the human social communicational space we (or I, at least) inhabit. . . . Dorn is so gracefully graceful. Think about that. It is not easy for beautiful graceful dignified men to always openly show themselves in this society: the pejorocracy of our time relentlessly inhibits the obtrusion of natural beauty & talent into its controlled atmospheres. To give oneself, one's spontaneous being, to the full natural grace of one's meaning-filled mythic-historical dance, is to yield to the gentle coaxing of the Great Choreographer. And Dorn is as slick (if that is the word) a dancer (& I keep on thinking that's principal word) as Gene Kelly or Fred Astaire, as Brando or Dean, as Mork (or Mr. Bill). Contemporary American "Poetry" as a Socio-dynamic "System" (That's more like it!) In order to proceed with what I want to talk about here, I must first attempt to inculcate an orientation & instill a reverence with regard to the value, and thus the power, of messages. Human speech is a continuously operating communications-network. Messages over the lines of this network have values determinable via the agency that we call poetry, or the poetic faculty, by which we mean that human capability that allows us to find & produce & recognize messages of greater than usual value. Most poets, or active practitioners of poetry, amass (or amount) the most valuable of those messages, whatever their source, into collections which they share with their friends, & often also with the society at large. . . . Into the arena at Iowa City - the seance - however you will: Charles Olson (e. e. cummings) Robert Creeley Dennis Holt (Bolinas - Placitas) (Hollywood - Andes - Venice) Robert Duncan Anselm Hollo (Oakland - San Francisco) (Finland - England - America) Edward Dorn Tracy Hughes (Idaho - New Mexico - La Jolla) (Massachusetts) On Olson & Myth "...Marsden Hartley, who painted the rocks at Dogtown..." (Dembo in Boundary 2) . . . "For Olson myth conveys information of importance: the compact expression of lived experience over generations, not of a single lifetime. It preserves what is necessary for racial and cultural survival while it scants the personal and the unique. How many historical Agamemnons and Priams were there whose stories got squashed [!], summarized in the oral memory, until only the smooth pebble of the myth was left?..." (CO - B2 p. 141) . . . Each man must interpret his own locality, & in a language that is local. Such language does not depend on merely the lexically local, but also on the psychospiritually & socially local. . . . ...in a speech that is local. Which tends to imply that its audience is also centrally local. . . . Thus, I can not let myself get hung-up over the fact that Olson wrote huge, more-powerful-than- I-may-ever-get-to verse about places I have never seen. What is said derives from the places seen before & beside the saying. Each man's periplus prescribes his body of work. (Note here that place must often be understood as locally as the lexico- syntactic juncture between two words in an epic narrative, or a dictionary-listing of an erudite term.) . . . By continuing to cultivate the larger, human cosmic myth, while keeping my references to what has been observed, & carefully concluded, my value as poet, as eyes & ears & recording stylus, will be as great, from my own places. Lexicon as Labyrinth One way, for a simple mind, to understand how we might proceed along a way, if not the Way, is to attempt to reduce the problem of the next step to the problem of saying (or writing) the next word. For words imply so much else in our action within & among this human social space. . . . Beneath the tarred & pebbled streets of the city - the shining glowing city - is a labyrinthine web of tunnels & passageways, from subway-chutes to lizard-holes. At each turning, in that spidery system without street-signs, we are made to move by forces we can barely if at all perceive, even when we've been made conscious of their necessary existence. . . . "Value is perishing from the earth because no one cares to fight down to it beneath the glowing surface so attractive to all. Der Weg stirbt." (Olson) . . . An obtrusive possibility in this context, is that the struggle for value - to find & see & comprehend & transmit its absolute essence - might be an essential aspect of value: value might never be shown in the superficially clearly given, where all corridors are plainly marked. Value might derive only from the quest for value, through the efforts toward fundaments for its very comprehension. . . . Der Weg stirbt only if there are no walkers along that way. The rockiest peaks remain. Always men will find & follow paths. The stacks of flat rocks at the crest are testimony to that: onicnomachitocac. And those spider-wires, across the trail in the early morning dew & mist, are not as barricades verging on lands of taboo; they are finish-tapes at the threshholds of farther understandings. |
WAR! || BROKEN NEWS || CRITIQUES & REVIEWS || CYBER BAG || EC CHAIR || FICCIONES THE FOREIGN DESK || GALLERY || LETTERS || POESY || SERIALS || STAGE & SCREEN || ZOUNDS |
©1999-2002
Exquisite Corpse - If you experience difficulties with this site, please
contact the webmistress.
|