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"McCaffery, Steve"
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The Darkness of the Present
The Darkness of the Present includes essays that
collectively investigate the roles of anomaly and anachronism as
they work to unsettle commonplace notions of the
“contemporary” in the field of poetics. In the eleven
essays of
The Darkness of the Present , poet and critic Steve
McCaffery argues that by approaching the past and the present as
unified entities, the contemporary is made historical at the same
time as the historical is made contemporary. McCaffery’s
writings work against the urge to classify works by placing them
in standard literary periods or disciplinary partitions. Instead,
McCaffery offers a variety of insights into unusual and ingenious
affiliations between poetic works that may have previously seemed
distinctive. He questions the usual associations of originality
and precedence. In the process, he repositions many texts within
genealogies separate from the ones to which they are
traditionally assigned. The chapters in
The Darkness of the Present might seem to present an
eclectic façade and can certainly be read independently.
They are linked, however, by a common preoccupation reflected in
the title of the book: the anomaly and the anachronism and the
way their empirical emergence works to unsettle a steady notion
of the “contemporary” or “new.”
eBook
The Poem as Score and the Genealogy of Sonopoetic Notation
Partant du « poème comme partition » tel qu’il a été préconisé par Charles Olson dans « Projective Verse » (1950), cet entretien propose une généalogie du poème sonore au vingtième siècle qui inclut des systèmes de notation conçus sur des principes organiques et mimologiques.
Journal Article
Day Labour
Let me start at a mid-peak in the Language moment, at Ron Silliman’s buoyant proclamation of innovative fecundity in “The Practice of Art,” his 1994 afterword to The Art of Practice, the poetry anthology edited by Dennis Barone and Peter Gannick to supplement the acknowledged lacunae in Silliman’s own In the American Tree. That in excess of 160 North American poets, he claims, “are actively and usefully involved in the avant-garde tradition of writing is itself a stunning thought … [W]e in North America are living in a poetic renaissance unparalleled in our history.”¹ I wish to discuss against this
Book Chapter
Interpretation and the Limit Text
It would be perfectly in order to approach Jackson Mac Low’s poem Words nd Ends from Ez (WNEFE hereafter) as an exemplary text of neo-picturesque detail, embodying the variety and fragmentariness that forms the central core of picturesque poetics (outlined in chapter 9); it would be equally pertinent to examine the affinities between Mac Low’s work and Ronald Johnson’s method of corrosive reduction in his Radi os, discussed in chapter 2. However, I wish to examine Mac Low’s poem through a different non-aesthetic matrix in a discussion that can be considered a prelude to the longer chapter on John Cage
Book Chapter
Transcoherence and Deletion
I take this short epigraph by H. Leivick that prefaces Harold Bloom’s Kabbalah and Criticism as my entry into the semiology of John Cage’s mesostic (medialacrostic) writings. My point of reference will be his mesostic treatments (called by Cage the “writing-through” method) of Finnegans Wake, a text conceived by Joyce on the wrong side of speech as a subterranean warren of polyglossia, anagrams, portmanteaux, and eponymous theme-words, to which Cage’s reductive treatments proffer both homage and a testimonial of descent. Cage’s “writing-through” engages an interventional poetics designed to disclose a hidden coherence by eradicating a manifest coherence. In this manner
Book Chapter