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Mariangela
Ian SeedThree texts
Rupert M LoydellVessel
Melita SchaumSome Guts
Simon Collings (with collages by John Goodby)Three Short Fictions
Meg PokrassThe Campus Novel
Peter RobinsonCharlie Boy and Captain Fitz: A One-Act Play
Alan WallSnapshot, Sachsenhausen and three more poems
Peter BlairSeven short poems
Lucian Staiano-DanielsFour prose poems
Olivia TuckThe Back of Beyond and two more prose poems
Tony KittTwo poems
Moriana Delgadofrom Reverse | Inverse
Lucy HamiltonSix haibun
Sheila E. MurphyKingfishers and cobblestones and five more new poems
Kitty HawkinsZion Offramp 76–78
Mark ScrogginsCome dancing with me and two more new poems
Marc VincenzPlease swipe right
Chloe Phillips‘Three Postcards’ and a prose poem
Linda BlackStill life
Melita SchaumIn memory of
John Taylor with drawings by Sam ForderImmortal wreckage
Will StoneNew in Translation
Snowdrifts
Marina Tsvetaeva, trans. by Belinda CookePoems from Prière (1924)
Pierre Jean Jouve, trans. by Will StoneSix prose poems
Pietro di Marchi, trans. by Peter RobinsonThe goddess of emptiness.
Jean Frémon, trans. by John Taylor -
A new Review of John Matthias’s Some Words on Those Wars by Garin Cycholl.
Anthony Howell’s review, A Clutch of Ingenious Authors: Michelene Wandor Four Times EightyOne: Bespoke Stories | Annabel Dover Florilegia | Sharon Kivland Abécédaire
Essays by Alan Wall
· ‘King of Infinite Space’: The Virtue of Uncertainty
· AI: Signs of the Times
· The Lad from Stratford
· Stanley Kubrick: Sex in the CinemaWill Stone’s Missing in Mechelen and At Risk of Interment
G. Kim Blank’s Civilizing, Selling, and T. S. Eliot Curled Up behind the Encyclopædia Britannica
Tronn Overend’s Samuel Alexander on Beauty
AND Conor Robin Madigan’s Master Singer, Simon Collings’s Robert Desnos, Screenwriter, and Igor Webb’s Never Again
Simon Collings, Carrying the past: The Afterlight by Charlie Shackleton.
New Fortnightly Serials
from The Runiad
Anthony Howellfrom White Ivory
Alan Walland much more below this column.
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Audio archive: Two poems, with an audio track, from Heart Monologues by Jasmina Bolfek-Radovani | Daragh Breen’s Aural Triptych | Hayden Carruth reads Contra Mortem and Journey to a Known Place | Anthony Howell reads three new poems | James Laughlin reads Easter in Pittsburgh and five more | Peter Robinson reads Manifestos for a lost cause, Dreamt Affections, Blind Summits and Oblique Lights
Previous Serials
2011: Golden-beak in eight parts. By George Basset (H. R. Haxton).
2012: The Invention of the Modern World in 18 parts. By Alan Macfarlane.
2013: Helen in three long parts. By Oswald Valentine Sickert.
2016: The Survival Manual by Alan Macfarlane. In eight parts.
2018: After the Snowbird, Comes the Whale, by Tom Lowenstein.
LONDON
Readings in The Room: 33 Holcombe Road, Tottenham Hale, London N17 9AS – £5 entry plus donation for refreshments. All enquiries: 0208 801 8577
Poetry London: Current listings here.
Shearsman readings: 7:30pm at Swedenborg Hall, 20/21 Bloomsbury Way, London WC1. Further details here.NEW YORK
10 reliable poetry venues in NYC.
· The funeral of Isaac Albéniz
· Coleridge, poetry and the ‘rage for disorder’
· Otto Rank
· Patrons and toadying · Rejection before slips
· Cut with a dull blade
· Into the woods, everybody.
· Thought Leaders and Ted Talks
· How Mary Oliver ‘found love in a breathing machine.’
AND read here:
· James Thomson [B.V.]
A dilemma for educators:
Philosophy and the public impact.
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Michelene Wandor on Derek Walcott and the T.S. Eliot Prize.
.Nick Lowe: the true-blue Basher shows up for a friend.
Anthony Howell: The new libertine in exile.
Kate Hoyland: Inventing Asia, with Joseph Conrad and a Bible for tourists.
Who is Bruce Springsteen? by Peter Knobler.
Martin Sorrell on John Ashbery’s illumination of Arthur Rimbaud.
The beauty of Quantitative Easing.
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On the small stuff.
A Fortnightly Review.
By SIMON COLLINGS.
Of Discourse
By Giles Goodland
Grand Iota | pp300 | £13.50 $18.00
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WHAT LINGUISTS CALL ‘function words’ make up only a small part of our vocabulary but they are the ones we use the most – words such as ‘it’, ‘those’, ‘despite’, ‘elsewhere’. What distinguishes these words from ‘content words’ is that they communicate little or no semantic meaning in and of themselves. Their function is grammatical and they are critical in enabling us to construct meaning from a sentence.
In Of Discourse, poet Giles Goodland, a lexicographer by profession, foregrounds such words. Each of the 213 texts in the book is based on a different function word. Goodland, who has long been fascinated by these kinds of words, accumulated a large file of examples of their deployment, including in his own writing. Of Discourse, a mix of prose and verse, was assembled from these many fragments. It is organised into 19 sections, each exploring a different aspect of grammar.
The poem structured around ‘is’, in the opening section, tells us:
The humour of the second line is typical of Goodland’s writing. The etymologies of inside and insidious have no more connection than those of twerk and gesamkunstwerk (meaning ‘total art work’). Words make sense only in relation to other words, ‘chair’ and ‘assembly’ are structurally equivalent, as are ‘glue’ and ‘wedge’. This is language speaking to us.
Each line in the poem is a kind of aphorism, but don’t expect everything to make sense. ‘Language is the misunderstanding that sense is a possibility,’ the poem tells us. ‘Substance is the intimate cause of an aggregate effect: movement is an object.’
The difficulty of pinning down the meaning of the verb ‘to be’ has preoccupied philosophers since Aristotle. We know what ‘is’ means at one level, but what is ‘existence’? What is ‘being’? The verb describes a condition or state, rather than an action, something which simply ‘is’. The last line of the poem reads: ‘Is is is, is resolutely intransitive, verb in which nothing happens.’
‘Be’ and ‘being’ are the subject of texts in the second section. The former opens with a quotation from Descartes: ‘Matter I define to be substance divisible: spirit substance indivisible.’ This is immediately juxtaposed with the sentence: ‘Be valiant that the laws of Buddha not pose as stone’, reminding us of the pitfalls of trying to make fixed distinctions in language.
Two other verbs which serve as important function words are ‘can/could’ and ‘do/does’. The text relating to ‘could’ begins with a kind of narrative constructed from fragments of collaged text held together only by the repetition of the function word.
The text based on ‘does’ is more of a discourse, posing a string of questions. It begins:
Selfhood is the topic of section 8, covering 21 function words from ‘we’ to ‘anyone’. A number of these pieces are like the ‘could’ poem quoted above: non-linear, dystopian narratives about the subject, held together by constant repetition of the particular pronoun. The short poem ‘oneself’, in contrast, reflects directly on selfhood. Here it is in full:
The ending here echoes the phrase ‘Be valiant that the laws of Buddha not pose as stone’, quoted earlier. These kinds of cross references run throughout the book.
Function words relating to time, space and movement provide the subject matter for sections 12 to 17. One of the interesting things about the poems in these sections is the way specific function words vary widely according to context. Section 16, ‘Of movement’, covers 25 words, more than any other section. These include words like ‘from’, ‘across’, ‘down’, ‘through’ and ‘onto’. In some cases, actual physical movement is indicated, but movement may also be metaphorical, or involve no movement at all. In the poem using ‘from’, for example, we have ‘ooze from the broken nettle stems’ (actual movement), but also phrases like ‘arise from mere chance’, ‘suffer from light pain’ and ‘arrive at death, from want of energy’.
The final section is called ‘Of nothing’, though curiously words signifying absence are often used to affirm a presence, as Goodland’s texts reveal. The first poem in this section states ‘the poem begins nowhere but not out of nothing’ — i.e. it arises from something. In the poem based on the word ‘not’ we have the sentence ‘our guts modify this to nothing that will not be shit’, the negative form here being used as a rhetorical device to emphasise the ‘shit’. The word ‘else’ is particularly interesting as it is primarily used to contrast ‘x’ and ‘non-x’ (as opposed to ‘nothing’), as in ‘a heartache that no one else can heal’. But it can also stand for ‘anyone’ as in ‘anyone else having problems?’ or ‘who else do you see?’ (i.e. is there anyone else you see?) It can also be rhetorical, as in: ‘What else would you do with a Monday night?’ The final line of the entire book reads ‘no doubt was possible’, i.e. it was certain.
Goodland has explored similar territory in the past, especially in What the Things Sang, published by Shearsman in 2009. That collection included several list poems, each line beginning with a function word or words, including ‘if’, ‘as when’ and ‘or’. The poems were assembled from quotations employing the particular function word. Of Discourse is a far more extensive mapping of this terrain.
The texts are ludic, baffling, funny, and thought provoking by turns. Goodland eavesdrops on language talking to itself, language in many registers from T. S. Eliot and Rudyard Kipling to computer manuals and the shorthand of texting (lol), connected only by a shared use of certain function words. In the poem based on ‘itself’, we’re advised ‘remember the line of association controls itself’, and ‘the sentence reads itself as we listen’.
♦
SIMON COLLINGS lives in Oxford. His poetry, short fiction, translations, reviews and essays have appeared in a wide range of magazines including Stride, Fortnightly Review, Café Irreal, Litter, International Times, Junction Box, The Long Poem Magazine, Ink Sweat & Tears, PN Review and Journal of Poetics Research. Why are you here?, a collection of his prose poems and short fiction, was published by Odd Volumes in November 2020. His third chapbook, Sanchez Ventura, was published by Leafe Press in spring 2021. He is a contributing editor of The Fortnightly Review. For more information, visit his webpage.
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Publication: Saturday, 20 May 2023, at 20:54.
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