tag:blogger.com,1999:blog-86374236203075216842024-02-08T18:13:53.833-08:00etceteraJoshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.comBlogger89125tag:blogger.com,1999:blog-8637423620307521684.post-50932084171343972342011-10-04T03:58:00.000-07:002011-10-04T03:58:52.194-07:00One Poem - Ben Nardolilli<b>No New Wave</b><br />
<br />
“Cycling across a wilderness of snow”<br />
- J. Grunthaner<br />
<br />
<br />
In search of an active walking life,<br />
He goes alight much too often,<br />
Breath? He takes it with the sunrise,<br />
Among the still, orchidaceous<br />
Chrome of cars waiting for commuters.<br />
<br />
Not everything demands an interview,<br />
Though the voices of curious objects<br />
Conduct their wet questions to him<br />
With the greatest ease and fashion,<br />
Birds want to know the most about him.<br />
<br />
All he can offer is a metallic reference,<br />
And try to be a hero to the apartments<br />
By removing litter and clippings<br />
From the sidewalks without compensation,<br />
Voices of floating girls are his pay.<br />
--<br />
<br />
<b>Ben Nardolilli</b> is a twenty five year old writer currently living in Arlington, Virginia. A chapbook, <i>Common Symptoms of an Enduring Chill Explained</i>, has been published by Folded Word Press. He maintains a blog at mirrorsponge.blogspot.com and is looking to publish his first novel.Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-89641242495411456702011-09-02T05:18:00.000-07:002011-09-02T05:18:46.145-07:00One Review - Iain Morrison<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="0" Name="Body Text 2"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style> <![endif]--> <br />
<div class="MsoNormal" style="text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 18pt;">What’s it called? </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><i><span style="font-family: "Arial","sans-serif";">Like</span></i><span style="font-family: "Arial","sans-serif";"> by Colin Herd - The Knives Forks and Spoons Press, 2011</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoBodyText2" style="line-height: 150%; text-align: justify;"><span style="font-size: 13pt; line-height: 150%;">I’ve thought that the word ‘like’, which is the title of <a href="http://www.colin-herd.com/">Colin Herd</a>’s chapbook with <a href="http://www.knivesforksandspoonspress.co.uk/theknivesforksandspoonspress/HOME.html">The Knives Forks and Spoons Press</a>, is and has been a problematic one for a poet of any era. Historically likely to appear more frequently than most other words in an artform much taken with likening, have poets not worried about the overuse of it’s ugly diphthong, it’s harsh plosive, the scarcity of useable alternatives? They surely have, and for a contemporary poet, in this postmodern game where the act of making metaphor has had its bluff called, the appearance of the word ‘like’ in a poem can point to an unfashionable, an unsophisticated, an un-metonymic mind.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">All the more provocative then of this shape-shifting poet, to lead us into his poems on such a wrong-foot.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">So, the three words on his chapbook’s cover read ‘Like Colin Herd’, but it is a question for the reader just how much ‘like’ Colin Herd this group of eleven poems is. To put it another way, how much would the poet align his voice with the aggregate of those presented in the poems? ‘Those’, for there is no clear overarching voice here. Through the poems, if we try to, we chase a wavering hologram of self-portrait, though probably not of Colin Herd’s self, any more than the perfume-hawking <a href="http://evalongoriaweb.com/">Eva Longoria</a> of the poem ‘Eva Longoria’ is likely to be coterminous, or even concerned to appear so, with the woman who suffers from scent-related allergies – if we can trust the poem on the matter, that is.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">In these poems, the concerns of a poet, or at least the causes of this poetry that must exist for real within the poems’ hall of mirrors, are glimpsed as his withdrawals, his tuckings away in our peripheral vision. I thought of Christopher Isherwood’s attestation, ‘<a href="http://en.wikiquote.org/wiki/Christopher_Isherwood">I am a camera’</a> and the lie given to this by the glaring omission of the juicy bits in his Berlin novels. In fact, that seems more right than what I started out saying in the last paragraph – if a self-portrait is present, it is only there as much as in the television programme <a href="http://www.mirror.co.uk/celebs/news/2011/07/15/through-the-keyhole-to-return-with-vernon-kay-as-host-115875-23271819/"><i>Through the Keyhole</i></a> where the audience is invited to guess ‘What sort of a person would live in a house like this?’. This poetry seems more and more to me to set about collecting voices in a miscellany that throws up an impossibility of cohesion or of straight-forwardness.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">Incidentally the poem ‘Denise Levertov’ felt like it allowed this reader closer to the poet than some of the others. It reminded me of the 1958 quarrel between poets Helen Adam and Denise Levertov in one camp and Jack Spicer in the other. Following a perceived insult by Spicer to the two women at a party held to celebrate their writing, the camps became defined along woman poet v. male poet lines, or perhaps woman v. man, or perhaps, as Levertov seemed to indicate in a letter to Lewis Ellingham (as quoted in his and Kevin Killian’s Spicer biography <a href="http://jacketmagazine.com/07/spicer-poetbe.html"><i>Poet Be Like God</i></a>) in which she says ‘I find homosexual males & lesbians uncongenial in groups’, straight v. gay. Spicer’s ‘insult’ took the shape of a poem he read out at the occasion which included the phrase ‘The female genital organ is hideous’ and then later ‘Men ought to love men/ (And do)/ As the man said/ It’s/ Rosemary for remembrance.’. Afterwards Helen Adam had a dream in which she delivered letters (another image from Spicer’s rather good poem), apologising as she did so for being a woman. The presence here of dreaming and hating and of Denise Levertov made me wonder if somewhere in Colin Herd’s poem, there is an act of reparation, or perhaps of revenge?</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">denise levertov</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">dreamed the thong of her sandal</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">broke</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">that’s a bad dream</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">i dreamed i was able</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">to mend</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">her dream-sandal, and did</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">so, very carefully.</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">she hated me for it, i think,</span></div><div class="MsoNormal" style="line-height: 150%; margin-left: 127.6pt; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">in the dream.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">To return to the chapbook’s title, omission, redundancy and unsureness are all also present in that word ‘like’ when it is used, like it probably is conversationally at least half the time in Scotland, as merely a space-filler, as a cover-up for not knowing what to say. Of a certain attractive ignorance.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">Why are these poems made of such stuff? Which motives is Colin Herd not fessing up to? There are clues, like, because his poems go further than Isherwood’s novels in allowing their voices the act of liking. ‘Franz Kline’ begins ‘i really like t<a href="http://www.google.co.uk/search?q=franz+kline&hl=en&sa=X&biw=1280&bih=619&prmd=ivnso&tbm=isch&tbo=u&source=univ&ei=aMZgTo_7H8Sx8gONl63cDw&ved=0CDgQsAQ">he famous/black and white paintings/of franz kline</a>.’, while ‘Read My Lips’ begins, ‘i’m such a fan’. We begin to sense what the poet is getting at in this opener about a ‘favourite wax-sculptor’ from the team at <a href="http://www.google.co.uk/imgres?imgurl=http://images.teamsugar.com/files/upl1/20/202476/41_2008/ZacEfronMadameTussauds.jpg&imgrefurl=http://www.popsugar.co.uk/Madame-Tussauds-High-School-Musical-Zac-Efron-Waxwork-Freaky-Fab-2335488&h=400&w=550&sz=69&tbnid=aV5dk6BBjoAbDM:&tbnh=100&tbnw=137&prev=/search%3Fq%3Dmadame%2Btussauds%26tbm%3Disch%26tbo%3Du&zoom=1&q=madame+tussauds&docid=jl6QQlXomIrSfM&hl=en&sa=X&ei=p8ZgToyGCsmh8QPa9OHjDw&sqi=2&ved=0CHsQ9QEwCQ&dur=2297">Madame Tussauds</a>. The speaker of the poem has, with a connoisseur’s relish, detected one particular hand in work designed only to be appreciated for its seamless replication of reality. And yet, the voice’s appreciation is only fuelled further by the inside knowledge he has gained. He speaks like a master forger admiring his hero, like the wannabe of Morrissey’s song <a href="http://www.youtube.com/watch?v=L1sbWscnAuc">‘The Last of the Famous International Playboys’</a> who is admiring not his tabloid monster mentor but the exquisite art in his self-construction. There is something murderous about each.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">In ‘Cumbernauld’ this exploration of the ‘artificially’ constructed is extended into 1950’s town-planning. Colin Herd spent some time growing up in the Scottish new town this poem centres on, or rather tracks, as it is variously manifested in a series of video clips. The last phrase in the poem, which I took at first to be throwaway if not fully sarcastic, began to seem more generous and somewhere between confident and optimistic when I considered it from the perspective of someone who knew their home town to have come fresh from an architect’s drawing board. Here, and in the rest of these poems, there might be an endorsement of DIY culture, or more simply, acts of making (or of making up in at least two senses); their endless possibilities. <a href="http://www.houseofnames.com/bryce-family-crest">The Bryce Family</a> of ‘Cumbernauld’ even provide a sort of creation myth for the town and for the Modern age.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">The chorus of <i>Like</i>’s voices fetishises an occlusion of the self. It leads us towards a point where the self might forget that it was ever something wild and untameable, or maybe it never was – maybe the poet doesn’t buy in to that notion. Think <a href="http://www.google.co.uk/imgres?q=poo+in+the+bath&um=1&hl=en&sa=N&biw=1280&bih=619&tbm=isch&tbnid=bV8hC3NhjF2yaM:&imgrefurl=http://www.facebook.com/pages/Dear-Rioters-of-Tottenham-Get-a-job/143570075728398&docid=UR8Wlbo3wmY-2M&w=180&h=217&ei=ksdgTpz3E4Wj8QOy_OAC&zoom=1&iact=hc&vpx=738&vpy=297&dur=335&hovh=150&hovw=128&tx=97&ty=79&page=1&tbnh=137&tbnw=119&start=0&ndsp=18&ved=1t:429,r:9,s:0">celebrity culture</a>: there is a neutering, an abnegation of responsibility in these voices with every visceral experience frozen behind a glossy marketing product which allows us to lean in to the dead lips of <a href="http://www.hrw.org/news/2011/07/11/united-states-investigate-bush-other-top-officials-torture">George Bush</a> <a href="http://www.google.co.uk/imgres?q=bush+senior+hussein&hl=en&sa=X&biw=1280&bih=619&tbm=isch&prmd=ivns&tbnid=K6gQ1mZvmB_EDM:&imgrefurl=http://mylogicoftruth.wordpress.com/tag/nwo-agenda/&docid=1odJgnZx1wE_dM&w=468&h=350&ei=MchgTqPrK8-18QO--eTtDw&zoom=1&iact=rc&dur=385&page=1&tbnh=144&tbnw=190&start=0&ndsp=18&ved=1t:429,r:3,s:0&tx=115&ty=83">Senior</a> or to coolly view the end of a teacher’s career wrought by vindictive pupils. We are in the viewing chamber and are entreated to behave as such. </span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">And the view from this chamber looks like an intriguing combination of <a href="http://www.heatworld.com/"><i>Heat </i></a>magazine and <a href="http://www.oup.com/whoswho">Who’s Who</a>. <a href="http://www.google.co.uk/imgres?imgurl=http://25.media.tumblr.com/tumblr_kvqxm6QXJL1qzg13ao1_400.jpg&imgrefurl=http://fydougiepoynter.tumblr.com/post/320661312/haodoyoudo-dougie-poynter-from-mcfly-3-my&h=470&w=345&sz=21&tbnid=HlX0ju6L5u3jvM:&tbnh=95&tbnw=70&prev=/search%3Fq%3Ddougie%2Bpoynter%26tbm%3Disch%26tbo%3Du&zoom=1&q=dougie+poynter&docid=5iG2PqIM46QQtM&hl=en&sa=X&ei=uchgTv-mCNK18QPHtpHYDw&sqi=2&ved=0CB8Q9QEwAQ&dur=722">Dougie Poynter</a> rubs shoulders with Denise Levertov, so perhaps it’s actually more fantasy dinner party territory. There’s little separation between discreet worlds.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">The lack of discretion relates to another likely source for the chapbook’s title: facebook with it’s ubiquitous ‘like’ button. In the World Wide Web evoked by this reading, incongruent content is flattened and vertiginously stacked. The communal voice of Wikipedia is imitated to teasingly bamboozling effect in ‘Turboprop’, and an enthusiastic nutter invites us to his or her page in ‘How to growl: Starter Techniques’, then we are treated to a series of video clips, perhaps brought up by the search-term ‘Cumbernauld’.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">As<span> </span>I wrote that last paragraph, a nagging possibility came into my head. I have just gone online to see if all this stuff is really there. It is! I just watched the video of the growling man who takes himself SO seriously it’s quite too hilarious. Colin Herd is making me look at things - weird things. Now I’m beginning to think that maybe this is partly what he’s aiming at: to force awareness of groups we might feel unrelated to or even alienated from and moreover, to force us to see them dispassionately. The level voices make it pretty hard for the reader to be judgemental. Is this taking us back into ‘I am a camera’ territory? In fact even the perceived mainstream is having its tightly-fitted lid lifted. This is the queering of everything with boggling political ramifications.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">Anyway, I’ve also just checked the <a href="http://en.wikipedia.org/wiki/Turboprop">Wikipedia entry for ‘turboprop’</a> and yes, I found the text of Herd’s poem pretty much verbatim. It’s hard to tell whether it’s only not completely verbatim because of Wikipedia’s shifting sands, but I’m choosing to enjoy the thought that here we have a teasing intro from the poet himself with ‘nozzle, obviously.’.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">The experience of sifting boredly through a tedious morass of online bumf to find what you’re halfway looking for is an act of reading/researching we have had to adapt to en masse only in the last generation. Are Colin Herd’s acts of transcription or near-transcription a clue to one of his themes – the relation of the individual to internet culture: the acceptance of <a href="http://www.outpost-of-freedom.com/jimbellap.htm">new ways of seeing</a>, interpreting and relating that the internet has demanded of us?</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">Such a take on the poems could be followed into its moral implications. The challenge of our age might prove to be the making of moral decisions when nothing is swept under the carpet out of sight anymore. Everything is there, hanging around in cyberspace like the YouTube suicide video of a high-school teen-killer, justifying itself incompatibly with everything in opposition to it.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">The contest between an individual consciousness, like Colin Herd’s, and the illusory communal ones is lost here, every time at the first hurdle, without a fight. This is poetry as pratfall. But think how enduring those vaudeville acts of seeming levity have proved as a guide to the prevailing social pressures of the silent film era. The everyman characters of Laurel and Hardy and Chaplin’s loveable tramp come to mind.</span></div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; text-align: justify;"><span style="font-family: "Arial","sans-serif"; font-size: 13pt; line-height: 150%;">And with the silent film era, we arrive at another of Herd’s celebrity cameos. In ‘I am’, the protagonist, in an act of Promethean theft, attempts to take an eyeball from the man of a thousand faces, Lon Chaney. This is a poet who is not afraid to become disfigured to get everybody’s points across. </span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com1tag:blogger.com,1999:blog-8637423620307521684.post-22686812724498736132011-08-23T08:26:00.000-07:002011-08-23T08:34:56.807-07:00Two Poems - Felino A. Soriano<div class="MsoNormal"><span style="font-family: "serif"; font-size: 16pt;">Recollections 34</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">|skipping rocks|</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">hand as sling</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">motional rubberized benefit of stretch:</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">decline-link or</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> plane of hope the lever functions reverse; </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">forrad, foray of play</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">filled speed of spilling vase</span></div><div class="MsoNormal"><span style="font-family: "serif";"> finger-thumb union</span></div><div class="MsoNormal"><span style="font-family: "serif";">birth of the silken gem, skin</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">of spatial specks lit by rhythm release</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">: skid, scope of patterned rise descend</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> rise again</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">decomposing existence within liquid tomb of coalesced</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> mirages</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif"; font-size: 16pt;">Recollections 36</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">|Saturday, a|</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">Resolution of sewing shadow, patterned gaffe</span></div><div class="MsoNormal"><span style="font-family: "serif";">fixated hem</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> distinguishing whole from the</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> meander of shortened prophecies</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> stable, un</span></div><div class="MsoNormal"><span style="font-family: "serif";">—stable paradox romanticizing self as <i>enough</i> beyond 24 obsessions </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">staving what starves among portions’ entranced focal </span></div><div class="MsoNormal"><span style="font-family: "serif";">numerals</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> staged finality, end of week’s posit of</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";"> explicated</span></div><div class="MsoNormal"><br />
</div><span style="font-family: "serif";">unravels.</span><br />
<div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "serif";">--</span></div><div class="MsoNormal"><span style="font-family: "serif";"> </span></div><div class="MsoNormal"><span style="font-family: "serif";"><b>Felino A. Soriano</b><span class="apple-style-span"> (b. 1974) is a case manager and advocate for adults with developmental and physical disabilities. </span>In 2010, he was chosen for the Gertrude Stein "rose" prize for creativity in poetry from <i>Wilderness House Literary Review</i>. Philosophical studies collocated with his connection to various idioms of jazz explains motivation for poetic occurrences. For information, including his 45 print and electronic collections of poetry, over 2,800 published poems, interviews, and editorships, please visit his website: <a href="http://www.felinoasoriano.info/" rel="nofollow" target="_blank">www.felinoasoriano.info</a>.</span><span style="font-family: "serif";"> </span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-30740428871454148942011-08-15T02:58:00.000-07:002011-08-15T04:46:18.901-07:00One Poem - Connor Stratman<div class="MsoNormal" style="margin-bottom: 0.0001pt;"><b>Facsimile I</b></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">i.</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">First it was history</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">then seismic</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">fingers in the ground</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">Now it’s electric books</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">and knitted clubs</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">How to posit a moment</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">and hold it still</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">or spit it like </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">our geography now determined</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">by spots of inky breath</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">Now what:</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">I don’t know</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">(nor act as knower)</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">The breath of godly love</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> is speck of black</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> stains</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">wrecked world of women</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">my other</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> your disappearance </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">contained in cups </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">of cheapened water</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> in the corresponding</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> holes of the sky</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">revise your meaning, please</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">ii.</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">film-firm surface</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">and insecured hands</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">I forget</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">to wonder</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">malicious steadiness</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">of</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">in-betweens </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
iii.</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">it’s your litany </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">that gets repeated</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">then thrown out</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">folded/crumpled</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">and wiped by the judge</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">The wince of begging:</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">acknowledged ownership</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">of the small scrap pile</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">they get something </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">done</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">like us luck struck</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">drawers of hall ways</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
iv.</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">in the good minutes</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">after sunrise</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">wilted names lock</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> on the walls</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">and call everything</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">something else</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"> --</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><b>Connor Stratman</b> is a writer currently living in Chicago. His work has appeared in journals such as <i>The Toronto Quarterly</i>,<i> The Journal of Experimental Fiction, ditch, Leaf Garden, Pinstripe Fedora, Otoliths, Counterexample Poetics, Scythe, </i>and <i>Little Episodes</i>, among others. He edits the online poetry journal <i>The Balloon</i>. He is the author of a chapbook, <i>invisible entrances</i> (erbacce-press, 2010) and a full-length book of poems, <i>An Early Scratch </i>(erbacce, 2011).</div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-52496471145680989362011-08-08T03:22:00.000-07:002011-08-08T03:22:56.096-07:00Bobby Parker's 'Ghost Town Music' reviewed<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
text-align:justify;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style> <![endif]--> <br />
<div class="MsoNormal"><a href="http://www.argotistonline.co.uk/Parker%20poems.htm">Bobby Parker</a></div><div class="MsoNormal"><a href="http://mermaidsdrown.blogspot.com/2011/04/ghost-town-music-by-bobby-parker.html"><i>Ghost Town Music</i></a></div><div class="MsoNormal"><a href="http://www.knivesforksandspoonspress.co.uk/theknivesforksandspoonspress/P-Z.html">The Knives Forks and Spoons Press</a>, 2011, £7</div><div class="MsoNormal">9781907812446</div><div class="MsoNormal">--</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">It is impossible not to connect Bobby Parker’s debut with the poetry of <a href="http://www.youtube.com/watch?v=FL4_byZiyo0">Charles Bukowski</a>. The apprehension about doing so stems from the negative connotations inevitably brought forth by such a comparison – dreggy bedsit scribble, easy cheap indulgence, soggy English American affectation. It is both a shame and a testament to the singular Bukowski that his influence has become so ubiquitous; likewise, it is a testament to Parker that his incorporation of Bukowski poetics is for the most part transgressive and not derivative, even incidental at times. His project has the strange quality of both extreme affect and lack of artifice – a staged lack of poeticity that somehow comes across as authenticity.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>Ghost Town Music</i> is more notebook than collection, featuring a comic strip, photography, reproduced handwritten scraps and typewritten pages. Again, these come across as entirely natural, expected, a kind of vital ambience for the poems themselves. And it is the poems themselves that are most worthy of discussion. Therein, however, lies the problem. Quoting from any of the individual poems as representative exemplars of Parker’s shtick would inadvertently undermine the way <i>GTM</i> functions as a whole. There is an absence of metaphorical language throughout – one poem even featuring a deleted section: “(THE EDITOR THOUGHT THAT THIS LINE WAS TOO / LYRICAL TO BE INCLUDED IN THE COLLECTION)” – and a plethora of unabashedly crude rememberings of high, horny and broke adolescence. Situated together in a nonlinear progression of scrawled reminiscence, which is charmingly human and naked, the pieces blur together into a never-pitifully-melancholy shard of growing up, and while on their own there is nothing particularly exciting or interesting about the language the poems utilise, as a speedily read mass they insinuate their – how to put this? – genuineness into the reader.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">For example:</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In the time between </div><div class="MsoNormal">getting the sack</div><div class="MsoNormal">from one job in a factory</div><div class="MsoNormal">and walking into town</div><div class="MsoNormal">to the recruitment agency</div><div class="MsoNormal">for another job in a factory</div><div class="MsoNormal">I marvelled at</div><div class="MsoNormal">the way the sun</div><div class="MsoNormal">made people on the street</div><div class="MsoNormal">seem happy to be alive.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">That is one poem (most are untitled and the book is unpaginated) in full. And in a sense, it’s not very good. If I were to read it on its own I would dismiss it as Bukowski-aping affect. It is hackneyed, and the marvelling at the people in sun is crudely functional. And yet as part of a collection read chronologically it, along with the other parts, coalesces into a believable authentic speaking self documenting an existence that is very much undocumented – as far as I can see – in the young contemporary poetry scene: a poetry about a particular kind of existence and formative surroundings free from mainstream stylisation, not locked into <a href="http://www.google.co.uk/imgres?imgurl=http://www.ideachampions.com/weblogs/cup%2520of%2520tea.jpg&imgrefurl=http://www.ideachampions.com/weblogs/archives/creativity/index.shtml&h=1042&w=747&sz=104&tbnid=mmaLvtEZLSbs5M:&tbnh=90&tbnw=65&prev=/search%3Fq%3Dcup%2Bof%2Btea%26tbm%3Disch%26tbo%3Du&zoom=1&q=cup+of+tea&docid=PDZwfSXLS_kjeM&hl=en&sa=X&ei=7Lc_Tv7IF4KKhQfYs-yCAg&ved=0CEgQ9QEwAw&dur=326">Movement-dogged bogstandard English plainspokenness</a>. It is the fact that these poems read like they could not have been written any other way that gives them their aura of authenticity, of genuineness, despite the obvious affectation. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The fragments of introspection are what work best for me, when Parker is less concerned with portraying a lifestyle than expressing personal feeling. ‘Little Bean’ is, as <a href="http://planetshapedhorse.blogspot.com/">Luke Kennard</a> has noted, quite simply heartbreaking and I wouldn’t want to taint it by speaking of it further. But also affecting are the fragments like this one, appearing sporadically, little notes to self made public:</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">If I want sun</div><div class="MsoNormal">I close my eyes under a lightbulb</div><div class="MsoNormal">If I want sea</div><div class="MsoNormal">I close my eyes and listen</div><div class="MsoNormal">To the toilet flush...</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Parker’s poetry in this collection, wilfully messy and semi-edited as it may or may not be, is a becoming. There is a humanity that presses against the words and helps give them their force, and as the poems ransack childhood and early adulthood for purpose, so their quality as poetry seems to be writing towards itself. It is a journey towards <i>something</i> enacted in the process of the poems together and the implication of what the poet is working towards as poet, and I think it will be a journey worth joining. </div><div class="MsoNormal"> --</div><div class="MsoNormal"> <br />
By <a href="http://etceterart.blogspot.com/p/publications.html">Joshua Jones</a>.</div><div class="MsoNormal"> </div><div class="MsoNormal"><br />
</div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-62674459167958033322011-07-23T04:02:00.000-07:002011-07-23T04:02:07.696-07:00A selection of poetry by Andrew McMillan<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-fareast-language:EN-US;}
</style> <![endif]--> <br />
<div class="MsoNormal"><b>BBC Radio 4 Afternoon Play Idea #3: </b><i>a glockenspiel indicates a train</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i>A psychiatrist’s office</i></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-align: left;"><b>Patient:</b><span> </span>problem? <span> </span>I want to tell stories<span> </span> but I never know </div><div> </div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: 36pt;"> how to round things up<span> </span>you know<span> </span>how to give someone </div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span>a perfectly circular tale they can spin around their hips</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span>for an afternoon<span> </span>take the other day for example:</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><b><span> </span></b>in a carriage between London and Manchester a man</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span> </span><span> </span>got into a fight with the conductor<span> </span> the conductor had a face</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span> like a dilapidated barn and he was trying to make the man pay</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>full fare because he hadn’t bought his ticket on the station</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>the man said he hadn’t had chance<span> </span> he’d been rushing<span> </span>his wife</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>was in hospital ‘cos she’d slipped down the stairs</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>he had to get back to see her and didn’t he understand<span> </span></div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>and couldn’t he let him off just once?<span> </span>the conductor said he was</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>just following orders and the man replied that that’s what they’d said</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>at Nuremburg and the conductor snatched his money and stormed off </div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>and the man with the wife with a sprained ankle and a broken arm</div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span><span></span>was left contemplating the thin orange slice of meat that was his ticket <span> </span></div><div style="text-align: justify;"> </div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: 36pt;"> And isn’t that a perfect place to end?<span> </span>I suppose it would be<span> </span></div><div style="text-align: justify;"> </div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: 36pt;"> but why was there a button missing from the man’s coat?<span> </span></div><div style="text-align: justify;"> </div><div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: 36pt;"> and where did the exhausted metaphor of the train </div><div style="text-align: justify;"> </div><div class="MsoNormal" style="text-align: justify;"><span> </span>sleep that night?<span> </span>and what does the conductor smell like </div><div class="MsoNormal" style="text-align: justify;"> first thing in the morning? </div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-fareast-language:EN-US;}
</style> <![endif]--> </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><b>cityscape</b></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">backslash of corrugated roof<span> </span>single cheek</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">of light across the broad chest of city</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">the potholed avenue the moon has been reduced to</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><b>landscape</b></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">hills<span> </span> dawn crowning to the east</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">planes beat their wings </div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">against the moon’s dull bulb</div><div align="center" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><b>seascape</b></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">the bells of night’s train ring out</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">the sea is a half-learnt song<span> </span>the sea is unsingable</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;">the moon’s mute conduction</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div style="text-align: justify;"> <span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 200%;"><br />
</span></div><div style="text-align: justify;"> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-fareast-language:EN-US;}
</style> <![endif]--> <div class="MsoNormal"><b>BBC Radio Four Afternoon Play Idea #29<span> </span></b><i>rent boy in a small town dreams of the big city</i><span></span></div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;">truth<span> </span>I want out<span> </span>to fade</div><div class="MsoNormal" style="line-height: 115%;">like an unfashionable pronunciation</div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;">it started with the recurring dream</div><div class="MsoNormal" style="line-height: 115%;">of a car journey<span> </span>there was opera</div><div class="MsoNormal" style="line-height: 115%;">there was a possibility of rain</div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;">and other times I was an over thumbed </div><div class="MsoNormal" style="line-height: 115%;">button <span> </span>dropping<span> </span>rolling through </div><div class="MsoNormal" style="line-height: 115%;">this oneplatformsinglestraightline of a town</div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;">until I’d wake to find myself in someone else’s</div><div class="MsoNormal" style="line-height: 115%;">morning<span> </span><span> </span>window<span> </span><span> </span>city<span> </span></div><div class="MsoNormal" style="line-height: 115%;">where the sky is scraped away to pure light</div><div class="MsoNormal" style="line-height: 115%;">and you can't hear yourself scream for the breathing</div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;">--</div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><div class="MsoNormal" style="line-height: 115%;"><a href="http://andrewmcmillanpoet.tumblr.com/"><b>Andrew McMillan</b></a> was born in 1988. These poems are taken from his second pamphlet, <a href="http://www.andrewoldham.co.uk/?p=1533"><em>the moon is a supporting player</em></a>, due to be published by <a href="http://www.redsquirrelpress.com/">Red Squirrel Press</a> in October 2011. A first pamphlet, <a href="http://www.redsquirrelpress.com/index.php?salt"><em>every salt advance</em></a>, was published in 2009 and is still available from Red Squirrel. Andrew has been Poet-in-Residence for <em><a href="http://offthepagepoetry.com/">Off the Page</a> </em>and the <a href="http://www.nayt.org.uk/"><em>Regional Youth Theatre Festival</em></a>; writer-in-residence for the <a href="http://www.watershedlandscape.co.uk/inspire/"><em>Watershed Landscape Project</em></a> and Apprentice Poet-in-Residence for the <em>Ilkley Literature Festival</em>. In 2010 he was commissioned by IMove, the cultural olympiad body for Yorkshire, to produce a new sequence of work. He is featured in the upcoming <em><a href="http://www.amazon.co.uk/Salt-Younger-Poets-Anthologies-Books/dp/190777310X">Salt Book of Younger Poets</a>.</em></div><div class="MsoNormal" style="line-height: 115%;"><br />
</div><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 200%;"></span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com1tag:blogger.com,1999:blog-8637423620307521684.post-44733897303065104502011-07-15T09:49:00.000-07:002011-07-15T10:17:21.603-07:00Siddhartha Bose - Kalagora, at the Edinburgh Festival 2011<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdImIFNUzBAThBnBGzaklfdggZo-ra-mFvGKP6qWPO6HD1iun9NK5P6kyEYiz2YIhSXHFT9igEpLvl-0j6M_lpCpNoNQVVLdDhtAADlkzWRvbL9OeXFsY-YVMRTFT6pktSvQdD1VJWKJc/s1600/kalagora_banner_728x90.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdImIFNUzBAThBnBGzaklfdggZo-ra-mFvGKP6qWPO6HD1iun9NK5P6kyEYiz2YIhSXHFT9igEpLvl-0j6M_lpCpNoNQVVLdDhtAADlkzWRvbL9OeXFsY-YVMRTFT6pktSvQdD1VJWKJc/s640/kalagora_banner_728x90.gif" width="640" /></a></div><br />
<a href="http://www.edfringe.com/wh%E2%80%8Bats-on/theatre/kalagora"><img height="90" src="http://www.pennedinthemarg%E2%80%8Bins.co.uk/downloads/kalago%E2%80%8Bra_banner_728x90.gif" width="728" /></a><br />
<br />
I can't make this but if you can, you definitely should. Bose's poetry was for me possibly the highlight of <a href="http://www.guardian.co.uk/books/2009/nov/07/voice-recognition-bloodaxe-poets"><i>Voice Recognition</i></a>, and I've only heard good things about this show.<br />
<br />
<img alt="" height="640" src="file:///C:/Users/Josh/AppData/Local/Temp/moz-screenshot-2.png" width="640" />Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-74946330778875713832011-07-11T05:17:00.000-07:002011-07-11T05:17:37.105-07:00Two Poems - Howie Good<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> <o:TargetScreenSize>1024x768</o:TargetScreenSize> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style> <![endif]--> <br />
<div class="MsoNoSpacing" style="text-align: justify;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">HISTORY IS SILENT</span></b></div><div class="MsoNoSpacing" style="text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">I stand all day on a corner of the avenue of ghosts. </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">You never know who the assassin might be. </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">The family I used to visit no longer exists. </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">A man wearing a Spanish cloak just like mine </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">wonders when it’s going to happen to him. </span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">Maybe the rain answers, maybe not.</span></div><div class="MsoNoSpacing" style="text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="text-align: justify;"><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> <o:TargetScreenSize>1024x768</o:TargetScreenSize> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style> <![endif]--> </div><div class="MsoNoSpacing" style="text-align: justify;"><b><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">STRANDED</span></b></div><div class="MsoNoSpacing" style="text-align: justify;"><br />
</div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">I study my reflection in the window of the butcher. The trains that leave the city empty return empty as well. Does the sound of sobbing mean what I think it does? People who were born here exchange knowing glances. Tomorrow’s paper may carry news of a terrible accident. For now, it’s night and raining, and somewhere lovers are blowing smoke rings into the dark.</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;">-</span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;"><br />
</span></div><div class="MsoNoSpacing" style="text-align: justify;"><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> <o:TargetScreenSize>1024x768</o:TargetScreenSize> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style> <![endif]--> </div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 9pt;"><b>Howie Good</b>, a journalism professor at <a href="http://www.ratemyprofessors.com/ShowRatings.jsp?tid=115887">SUNY New Paltz</a>, is the author of the full-length poetry collections <a href="http://www.amazon.com/Lovesick-Howie-Good/dp/0978904168"><i>LovesickHeart With a Dirty Windshield</i></a> (<a href="http://www.americanpopularculture.com/press_americana.htm">Press Americana</a>, 2009), (<a href="http://www.bewrite.net/">BeWrite Books</a>, 2010), and <a href="http://www.amazon.com/Everything-Reminds-Me-Howie-Good/dp/0982917643"><i>Everything Reminds Me of Me</i></a> (<a href="http://www.desperanto.com/about.html">Desperanto</a>, 2011).</span><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;"></span></div><div class="MsoNoSpacing" style="text-align: justify;"><span lang="EN-US" style="font-family: "Tahoma","sans-serif"; font-size: 12pt;"></span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-33262654700229465192011-07-04T07:52:00.000-07:002011-07-04T07:52:43.691-07:00One Poem - Colin Dardis<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><b>Dead Men Wait For Us</b></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"> </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">Dead men wait for us,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">camera shutter eyes breeding patience.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">Their wait is one of longevity and longing,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">the fox waiting to ensnare failure,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">the lioness camping down in salt mine plains.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"> </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">In our magnificence</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">we produce eternal marvels of unwieldy whimsy,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">secure in shared communion, only bowing down</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">to each other in fleeting moments of recognition</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">until the mirror purrs against our egos.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"> </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">We shall never die</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">as energy is never relinquished from this world,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">our infinities measured out in uncountable decades;</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">we control the sun, never caring to see dawn,</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">tomorrow dying in the promise of today.</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;">--</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"> </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"> </div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="color: black;">Born at the tail end of the seventies in Northern Ireland , <b>Colin Dardis</b> is a poet, artist, and sometimes musician. He edits <a href="http://speechtherapypoetry.weebly.com/">Speech Therapy</a>, an online zine focusing on poetry from Ireland and beyond. His first collection, 'left of soul' is available via lulu.com. His work has been previously published in 34<sup>th</sup> Parallel, Fire, Stimulus Respond, Fuselit, Decanto, Revival, Blazevox, Gutter Eloquence and elsewhere.</span><span style="color: black;"> His poem 'Perhaps', won the EditRed.Com 2006 Writer’s Choice Award for Poetry</span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com1tag:blogger.com,1999:blog-8637423620307521684.post-27301694301952812592011-06-16T07:37:00.000-07:002011-06-16T07:37:16.019-07:00One Essay - Matthew Spriggs<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><b><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 24pt;">The Viral Extermination of Meaning: </span></b></div><div style="border-color: -moz-use-text-color -moz-use-text-color windowtext; border-style: none none solid; border-width: medium medium 1pt; padding: 0cm 0cm 1pt;"><div class="MsoNormal" style="border: medium none; margin-bottom: 0.0001pt; padding: 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 14pt;">The Holocaust, Kitsch and The Postmodern Situation.</span></div></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> Kitsch is defined as “</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Art or <i>objets d'art</i> characterized by worthless pretentiousness” (Oxford English Dictionary). Kitsch then is a prehensile form of representation that seeks to reach in to history and draw out a “<i>cold</i> event” (Baudrillard 50) in order to rekindle it through the forgery of meaning. Its role is one of manipulation rather than guidance and, in this sense, kitsch is also prehensile because its effects are to reach into the mind of the observer and jerk out a desired response, which, as posited by Baudrillard, can only be a “tactile thrill [or] a posthumous emotion…[and] will make [the masses] spill into forgetting with a kind of good aesthetic conscience of the catastrophe”. The reductive and counterfeit force of Kitsch towards the artistic memory of the holocaust will be explored and juxtaposed, through the course of this essay, against the invaluable force of testimonial literature.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> In Kertesz’s “Who Owns Auschwitz?” he accuses kitsch representations of the Holocaust, such as mainstream film or as a knee-jerk plot device, of not only rendering the Holocaust “alien to human beings” (Kertesz 268), but also teaching the survivor “how he has to think about what he has experienced” (268). The choice here, however, is not between the event being either alien or unknown to the masses, but of the necessity for a reimagining to be accurate or, at the very least, informed. As such, insistence is perceived as an enemy to the Holocaust survivor because it forges certainties where there are none; it claims to lead the observer towards a conclusion by <i>insisting</i> its own teleology. Whereas, in reality the Holocaust can be seen as the very embodiment of death, which, of course, has no end—it is not reconciled by time. Worse still, insistence in contemporary film and television is twice removed: it is a result of observing the survivor and reconditioning his story so that it can be paraded before the masses. These sensational effigies, in their unwavering and clichéd opinions on the events that unfolded in the camps, appeal to their audiences by spoon-feeding emotion and commodifying an unimaginable experience; thus, they undermine the possibility of intelligent and meaningful studies on the subject. They insist on sentiment even though their medium, according Baudrillard, is responsible for an act of collective forgetting and so symbolizes the same “implosive radiation, [the] same absorption without an echo, [the] same black hole as Auschwitz”. Both events, the genocide of a people, and the televised aftermath, are a collapse of meaning and are swallowed by what Klüger calls “our deformed way of life” (Klüger 270).</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">The aforementioned “knee-jerk” reaction, referred to as the “Holocaust-Reflex” (268), is evoked through the repetition of preset formulas that demand a distinct and pre-approved moral response. Kertesz stipulates that the public is “left to dwell in the midst of Spielberg’s saurian kitsch” and consumed by</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> “the absurd chatter emerging from the fruitless discussions over the Berlin Holocaust monument” (269). Interesting that Kertesz uses the word “saurian”, alluding to cold-bloodedness, considering Baudrillard’s frequent references to “cold” (“cold masses…cold historical event…cold medium”). <i>Cold</i> implies an absence of connection; it evokes the barrenness of a world without friction. Such uninformed portrayals are incapable of accurately representing their subject matter because they simplify issues that are not just complex but are virtually inconceivable to the survivor himself, and whose only hope of examination comes from empirical evidence, not fictive. Kertesz, despite being a witness in history, does choose to fictionalize his story, perhaps this is to distance himself, to detach himself, so as to minimise emotional distortion. After all, how many instances have there been of the mind splitting or creating identities in order to work through trauma?</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Améry, in “At The Mind’s Limits”, explicitly states that <i>nothing</i> was learnt at Auschwitz. In light of this, one can infer that it is the opinion of at least one survivor that no edifying teleology can be drawn from the event, therefore only candid duplicates or witness reports are acceptable mediums. In other words, testimony is the gold standard because it bears the least distance from the truth, regardless of whether that central truth is empty or not. It is these televisual illusions that leave the public wholly detached from the important issues and allow the commodification of Holocaust events to proceed by lulling the masses into a sentimental reverie while the reality—exemplified by the “sadistic mania…[of] </span><i><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">SS Unterscharführer </span></i><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Boger” (269)—is overlooked for the very same reason that there are Holocaust-deniers: because the truth cannot be assimilated. Deconstructed to its basest level, the Holocaust does not contain a message, so kitsch representations are developed, like viruses in a lab, to infect the tragedy with cartoon meaning. </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Klüger addresses the nature of this virus when she claims that “the museum culture of the camp sites” (Klüger 66) is essentially self-indulgent because it allows its viewers a prideful satisfaction at recognizing their own “stirrings of humanity” (66). She relates this feeling to the effect a haunted house conveys: we pay to be reminded that we are real and capable of feeling because there is a dearth of experience to remind us of this in modern society. Kitsch wishes to convince us that these emotional responses can be bottled-up-and-labeled for distribution with a kind of didactic logic, and then can be readily dismissed as recognized and overcome. Society prevails and “Plague”, in keeping with Camus’ analogy, is quelled! Ostensibly, though, this plague has been absorbed by another omnipotent digital and commercial plague. The result, in Klüger’s words, is that the observer turns away from the “ostensible object and…towards oneself. It means looking in a mirror instead of reality” (66). We disregard the real in favor of these Platonic individual reactions, which can be easily and explicably gauged. And so, hitherto, the Holocaust has been stolen from the survivor, as Kertesz says, and claimed by selfishness and narcissism. This virus propagates a hallucination of the past that is ignorant of solidarity and celebrates a false empathy. In truth, it is sympathy towards oneself for attempting to bear the plight of others. </span><span lang="EN-US" style="font-family: "Bembo","serif"; font-size: 11pt;"></span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">For </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Klüger, the <i>names</i> of the camps will suffice. For her the stranger’s act of visualizing camp life is superfluous because memory relives what reproduction cannot, and imagination falls short here. She believes the tourist excursion of visiting Dachau or Auschwitz is an utterly false portrayal of what life in the camps was actually like: “The simple barracks of stone and wood suggest a youth hostel more easily than a setting for tortured lives. Surely some visitors secretly figure they can remember times when they have been worse off than the prisoners of this orderly German camp.” Thus, because Klüger believes place does not capture time, the commercial reopening of camps cannot be considered anything but kitsch due to the impossibility of a “<i>timescape</i>” (67). That is, the buildings are <i>just</i> buildings, not entities that are forever inextricable from the bygone misery. They do not embody the horror that transpired within. Only the memories of horror can connect the two, and those memories are accessible only to those who possess them in the first.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">For Kertesz, there are select few works of Holocaust literature that he truly ranks as having “world importance” (268). That only a handful of artists have achieved a breakthrough of catharsis, he asserts, is of fundamental importance because the only significance there can be in expounding on Holocaust experience is with a responsibility to truth, not didacticism. In Kertesz’s words: “The artist hopes that </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">through a precise description, leading him once more along the pathways of death, he will finally break through to the noblest kind of liberation, to a catharsis in which he can perhaps allow his reader to partake as well.” (268).</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> This process of division is, ostensibly, the closest the masses can come to comprehension. In short, the survivors can distribute their experience and the masses can contribute portions of knowledge to propel us, as a whole, towards some form of reconciliation, but the raw material can come <i>only</i> from the survivors. Baudrillard seems to shun this possibility because, for him, the only chance society had at capturing “the artificial heat of a dead event to warm the dead body of the social” has ben swamped by the medium of television. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> The overarching question in Kertesz’s work is why should he “as a Holocaust survivor and as one in possession of a broader experience of terror, be pleased when more and more people see these experiences reproduced on the big screen—and falsified at that?” (269). Quite simply, Kertesz sees no reason for these fictional representations because even when drawn from authentic experience there is very little to be concluded from the Holocaust. Thus, what is the point of a fictional account that only conveys a general sense of horror? What can the masses learn from that? Surely it is the case, though, that in an ocean of facsimiles the masses cannot distinguish between testimony and kitsch, therefore nothing is learnt from either. (How many people have seen <i>Schindler’s List</i> compared to how many have read <i>Survival in Auschwitz</i>?)</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Since the liberation of the camps on May 8<sup>th</sup> 1945, American cinema alone has produced over fifty feature-length films that deal, directly or in part, with the Holocaust. Although television is mostly to blame for this endless procession of simulations: in the media, as documentaries, as dramatizations, etc. Other uses of the Holocaust show how the events have been absorbed into America’s moral landscape. The very word has become an instrument of sensationalism, a way of saying “if you disagree, you’re as bad as Hitler,” I was recently confronted by a religious fanatic who told me that was precisely his belief regarding all evolutionists. In essence, the term has come to represent “<i>something</i> evil and destructive”, at the discretion of its speaker. For example, anti-abortionists call the practice a Holocaust of potential human life and the annihilation of Cambodian intellectuals by the Khmer Rouge has been given the same label. Ironically, this is not dissimilar to the political sentiment of Hitler’s era regarding the struggle of the Aryans against peoples considered to be inferior. Lueger, leader of the Christian Socialists, once said, “I decide who is a Jew” (Bullock 40). The process of Othering garners its strength in this manner because it allows blame to be focused on a unified group, a consolidated enemy, which, in turn, reduces problematic conflicts to a black-and-white issue. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Clearly then the problem is not etymological; it is semantic. The word Holocaust is derived from several languages—Greek, Yiddish and Hebrew—and generally denotes either burning, calamity or destruction. The point is that the word carries a moral weight that makes it a powerful coercive tool. Directors and screenwriters use it in exactly the same manner to ensure their films are moving or affective. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">For Baudrillard, the truth of the Holocaust is inaccessible and, thus, exists only as a televised event— a transference that represents an extermination of meaning rivaled only by “the camps themselves” (Baudrillard 49). In this way, the notion of kitsch representations of the Holocaust is the symptom of a much larger process of erasure, an erasure that is <i>proliferated</i> by the “cold medium” of television rather than “exorcized” (49) by it. Through the creation of “imaginary memories”, and due to the very nature of television, there is a subsequent viral spread of “forgetfulness, deterrence, and extermination” (49); the Holocaust event enters into a self-replicating virtual destruction, not of people but of understanding, that began the very instant the camps were liberated. He states: “One no longer makes the Jews pass through the crematorium or the gas chamber, but through the sound track and image track, through the universal screen and microprocessor” (49). This televised event operates under the ruse of “immediate polls sanctioning the massive effect of the broadcast, the collective impact of the message—whereas it is well understood that the polls only verify the televisual success of the medium itself. But this confusion will never be lifted” (51). What happens, then, is that the medium celebrates its ability to function effectively and the “heated discussion” that transpires as a result of the broadcast is thought to counteract the “cold monster of extermination” by reinvigorating the “dead body of the social” (50).</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">In truth, the impotency of television— the desensitized nature of its viewers, who have been left numb after decades spent transfixed by its cold glow—embodies both the detriment that it inflicts on the Holocaust and the harmlessness. Television simultaneously strips the event of meaning and importance by rendering it quotidian, stereotypical, and allows the masses to step over this carcass on the path of history. Quite simply, unlike cinema, television is “<i>no longer an image</i>”. Cinema is still laced with the power of “<i>myth</i>” (51), a quality that allows it “something of the double, of the phantasm, of the mirror” (51). A film is an event that you observe, television is located “in your head— you are the screen, and TV” (51) plays <i>through</i> you. Furthermore, because we have become a filtration device for the Holocaust we have also been immunized against it, we have mitigated the horror of the event and empowered the kitsch by passing it through the monotony of our lives, which is the only locus where it still has a presence. Here the need for a “<i>timescape”</i> becomes hauntingly apparent. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> Klüger voices the sad irony that the “hard currency which Jewish pilgrims, especially the American variety, bring to Poland…has presumably made the Auschwitz museum into a lucrative venture for nearby Cracow.” (Klüger 68) The underlying message being, of course, that the world is incapable of understanding by way of this “museum culture” but their desire to try is a fruitful and potentially unending source of capital. The deeper issues, such as the “organic connection between our deformed way of life…and the very possibility of the Holocaust”, are reduced to the kitsch realm of “a simple matter concerning Germans and Jews…a fatal incompatibility” (Kertesz 270). The result being, according to both Klüger and Kertesz, that Auschwitz is diminished “to whatever ‘hits the eye’” (Klüger 270). This is a proliferation of superficial understanding that, once again, overlooks the intricate threads of the tapestry in lieu of a general picture of sorrow. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">In the end, the Holocaust is obscured amongst the incessant march of televisual reproductions, “the social inertia of cold systems” (Baudrillard 50), and the sequence of elimination goes unnoticed because forgetting “finally achieves its aesthetic dimension in this way—it is achieved in retro, finally elevated to a mass level.” The <i>Holocaust of Meaning </i>is ongoing and the possibility of true acumen is destroyed by the very medium that claims to inform. Can we, as a collective, profess to have learned anything? I would venture a guess to say, yes, we have learned that excessive information leads nowhere. We have confirmed what we already knew: that an overload of data always ends in a collapse of the structure, an “implosion of meaning” (Baudrillard 79). We should remember though, like Dr. Rieux, “that history might once again claim the price of such testimony; that the experience of survival is by no means in itself immune to future plague” (Camus 322) because once we allow ourselves to forget and we lose sight of that meaning so begins another cycle of victimization and abhorrence that indelibly ends in bloodshed. Providing a nonviolent world for posterity is not a part-time occupation, it is a process of insistence—not an insistence of meaning that is inimical to the survivor—but an insistence upon every individual to recall the facts of the past and allow them to guide us into the future. In 1928 the social and political mood in Germany was one of desperation that followed in the wake of world depression and the post-war climate, the masses turned to extremism in their desperation and in the space of one year “the Nazi vote leaped from…810,000 to 6,409,600, and their numbers in the Reichstag from 12 to 107” (Bullock 144). This fact speaks for itself and it <a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=2730169430195281259" name="_GoBack"></a>calls for an acknowledgement of individual obligation so that these decades of history might never again become our present.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"> </span> </div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"><u>Works Cited</u> </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"><br />
</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Baudrillard, Jean. “Simulation and Simulacrum”. “Holocaust”. United States of America: University of Michigan, 1994.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Bullock, Alan. “Hitler: A Study in Tyranny”. London: Odhams Press Limited, 1952.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Felman and Laub, M. D. “Testimony: Crises of Witnessing in Literature, Psychoanalysis and History”. “Camus’ The Plague, or a Monument to Witnessing”. New York: Routledge, 1992.</span></div><div class="MsoNormal" style="margin: 0.1pt 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Imre, Kertesz. “Who Owns Auschwitz?” The Yale Journal of Criticism.</span></div><div class="MsoNormal" style="margin: 0.1pt 0cm; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">Klüger, Ruth. “Still Alive”. New York: The Feminist Press and the City University of New York, 2001. Print.</span></div><div class="MsoNormal" style="margin: 0.1pt 0cm; text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">“Oxford English Dictionary”. Parisian Review VI 40, 1989. Sun 24 Oct 2010.</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;"></span></div><div class="MsoNormal" style="text-align: justify;">--<br />
<br />
Since returning from a year of study in San Francisco, <b>Matthew Spriggs</b> has been slaving away at his novel, "Quintessence of Dust", which has been his charge for almost two years and is still nowhere near completion. In the meantime, he spends his hours thinking about writing short stories and bad poetry but ends up writing essays about any subject that is unrelated to his course. After finishing his final year at UEA, Matthew plans to continue drinking, working towards publication and getting punched in the face by local poets.</div><div class="MsoNormal" style="text-align: justify;"></div><div class="MsoListParagraphCxSpFirst" style="text-align: justify; text-indent: -18pt;"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 11pt;">1.<span style="font: 7pt "Times New Roman";"> </span></span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-37009110876864445792011-06-04T11:40:00.000-07:002011-06-05T07:02:51.414-07:00Five Poems - Sam Riviere (from '81 Austerities')The following poems are from Sam Riviere's compelling '81 Austerities' sequence, of which there is information and more poetry <a href="http://austerities.tumblr.com/whatitis">here</a>. Also, Andy Spragg has interviewed Riviere <a href="http://misosensitive.blogspot.com/2011/05/sam-riviere_06.html">here</a>. <br />
<br />
<br />
<div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">GUIDE TO THE LIBERAL CITIES</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">tour the museums and charity shops </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">careful not to purchase anything</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">in case someone interprets it as art </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">do not read at the pub speak </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">of entities in need of authentic substance</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">be it souls gold or blood </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">try not to *do* anything </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">especially like linger </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">in the butterfly enclosure for a kiss</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">stay instead inside the reptile house</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">stinking of skunk </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">safe in the dry warm dark</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">don't compare origins with anyone</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but remember thinking</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">"peeling your jeans off each leg </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">is like skinning a leek"</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">ignore the prospective tenants </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">filing through your sleep</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">by all means make an intrigue of your partner</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but remember the bedroom is a gallery </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">and you should draft an exit</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">don't remain attached to any project</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but defer indefinitely the work</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">towards your own capture</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">do not stain the toilet bowl</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but taste your breath</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">and skulk across the early park</span></div><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;"><br clear="all" style="page-break-before: always;" /> </span> <br />
<div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">IMAGINE ONE LACKS A BASIC COMPONENT</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">the glimmer or grain inside an actual </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">person remember those blurry tears </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">they felt at the time like evidence </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">planted a sort of elaborate deception </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">to convince oneself later like a full day </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">in youth spent practicing one's signature</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">for the writing presumably of cheques </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">BEST THING YOU CAN DO NOW IS DO NOTHING</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I shouldn't be so mean</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">that woman in paris wanted money for sugar</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">a diabetic relieved to find someone english</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">yes I refused her</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I doubt she actually collapsed</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">or the spanish family on the tube jaundiced</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">in awful london light going the wrong way</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">round the circle line </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I could have said something</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I was playing my game with the little piece </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">of dirt on the window </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">moving my head to make it vault </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">the obstacles at stations</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">this amoebic sprite </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">was starting to develop some character</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">when it cleared the signs at tower hill then monument</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">the reflection I met in the tunnel</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">was tinted blue in its commuter's grimace</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but inside inside it was rejoicing</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">POV</div><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;"></span> <br />
<div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">All day I have been watching women </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">crush ripe tomatoes in their cleavage</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">whatever you can think of </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">someone's already done it</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">there's a new kind of content</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">pre-empting individual perversions</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I've seen my missing girlfriend's face </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">emerge cresting from a wave of pixels </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I sleep with a [rec] light at the foot </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">of my bed all the film crews </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">have been infiltrated by </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">militant anti-pornographers</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">sometimes in surfaces there is a dark </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">ellipse it's the cameraman's reflection</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">THUMBNAILS</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">torture is when the mind</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">is inseparable from the body</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">it is the making a point of this</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">the heads of the massive sunflowers</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">weigh almost as much as human heads</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I was lying in a bathtub filled with petals</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">and later someone touched me on the subway </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">perhaps the real horror is that we are used </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">to being able to escape I look oriental </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">but my grandfather was german </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">and I have the pinkest nipples</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">riding past the empty greenhouses</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">I was thinking of undoing my blouse</span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">and when my blouse rode up it opened </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">little diamonds between the buttons and there </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">was my skin I imagined the greenhouses </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">in flames then everything was made </span></div><div class="MsoNormal"><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">of little diamonds it was a unit </span></div><span style="font-family: "Helvetica","sans-serif"; font-size: 10pt;">that felt completely natural</span><br />
<b>-- </b><br />
<br />
<b>Sam Riviere</b> began to write poetry while at the Norwich School of Art and Design, and completed a Masters at Royal Holloway. His poems have appeared in various publications and competitions since 2005. He co-edits the anthology series <b>Stop Sharpening Your Knives</b>, and is currently working towards a PhD at the University of East Anglia. He was a recipient of a 2009 Eric Gregory Award.Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com2tag:blogger.com,1999:blog-8637423620307521684.post-65270425164522037842011-05-26T03:03:00.000-07:002011-05-26T03:03:50.236-07:00One Poem - Matt Haigh<div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB" style="font-size: 14pt; line-height: 115%;"><span style="font-family: Calibri;">SPACE <span> </span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">The war, a thing on which you snag your shirt,</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">plays Tetris over us. Those hours spent</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">in rooms with rings of fungal light</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">could not have prepared us for this.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">We’re here because all moons of flesh were too gentle.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">There was no bite, no bullet-smash in white magnolia.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">A thumb on one pink plug, a tame, ticking pulse.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">We dreamt a flash grenade’s fullness in the palm.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">What are stars, or snow; what is the sound </span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">of a chandelier rocking in slow motion?</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">Our guilty blood boils at birdsong while we watch </span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">for the enemy – we’ve been told he looks ambiguous.</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;">--</span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;"> </span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span lang="EN-GB"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Matt Haigh</b> is a 26-year-old poet from Cardiff. He has previously published material in <i>Pomegranate</i>, <i>The Cadaverine</i>, <i>Fuselit</i>, and <i>Word Riot</i>.</span></span></span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-88927282627359893152011-05-20T16:05:00.000-07:002011-05-20T16:05:15.300-07:00One Poem - Sarah Chapman<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0cm;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style> <![endif]--> <br />
<b>AN AMERICAN PLACE I KEEP</b> <br />
<br />
<br />
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">Today, all that holds me together is</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">light/ in occasional parallel stripes</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">of girls wearing tinted sunglasses sucking</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">on a strawberry sherbet, bending their height</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">slightly to look at old magazine racks, and</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">although the word ‘mountain’ is never used,</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">hair is everywhere. The short men who stare</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">at cars order cigarettes/ boys coax gum</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">out of forty year machines. White fingerprints</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">of the check out man braise receipts that are</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">yellow in colour.</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt;"><br />
</div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;">--</span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt;"><span lang="EN" style="color: #333333; font-family: "Georgia","serif"; font-size: 12pt;"> </span><b>Sarah Chapman</b> lives and works in the rough part of East London. She has been writing poetry for a year and has been published in <em>Pomegranate </em>and <em>Spilt Milk. </em></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-7939590750335799922011-05-05T13:31:00.001-07:002011-05-08T06:10:35.431-07:00One Essay - Neil Williams<div style="border-color: -moz-use-text-color -moz-use-text-color rgb(79, 129, 189); border-style: none none solid; border-width: medium medium 1pt; padding: 0cm 0cm 4pt;"><div class="MsoTitle"><span style="font-size: large;"><b>Two Interpretations of Silence: The Un-Represented in Two Grahams.</b></span></div></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">Humanity’s reliance on representation goes hand in hand with its suspicion of it. We need to represent to remember, to pass on information, to preserve. Yet it is necessarily a remove from the original event, and each form of representation lends its own form of distortion. This problem has haunted Western philosophy since the ancient Greeks, but perhaps has never had so much real world relevance as it has in the last sixty years, when the issue arose of how to represent the Holocaust. With this in mind, this essay will read two post-Holocaust poems, revealing the particular problems of representation that each poem explores, and the potential solutions that each poem presents. </span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The first poem to be explored is <i>Ten Shots of Mr Simpson</i><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[1]</span></span></span></a> by W. S. Graham. The poem presents ten instances of the poetic speaker trying to ‘photograph’ Mr Simpson, a concentration camp survivor. Each of the ten numbered sections enacts a different photographic attempt, and increasingly the poem foregrounds the similarities between photographic and poetic representation. The immediate thing that strikes the reader is the violence inherent within the photographic vocabulary, which becomes more exaggerated as the poem continues: the ‘shot’ of the title, ‘the point[ing]’ (2:6) of the camera, connected to the action of the Nazis(2:7), the question ‘[s]hall I snap him now?’ (3:9) indicating the breaking of the subject through representation. None of this language is at all forced, Graham is merely bringing forth the aggression inherent within our language of representation. The violence reaches its explicit peak with the line: ‘I have you now and you didn’t even/feel anything but I have killed you’ (9:13-14).</span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The language of the photo-shoot isn’t just violent, but possessive, as the previous quote shows. Graham constantly refer to ‘having’(1:11), ‘wanting’ (5:1) ‘taking’ (3:10)and ‘getting’(6:22) the image he desires. In capturing the photo however, Mr Simpson is also captured, and though the speaker claims ‘I am to do him no harm’ (2:9), the artistic speaker increasingly comes to resemble a concentration camp guard. This is further revealed when the poem’s continual imperative tone is considered: </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Stand still get ready jump in your place</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Lie down get up don’t speak. Number? </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> (4: 3-4)</span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The representative ‘capturing’ of Mr Simpson, photographically or poetically, is presented as intrinsically the same as his incarceration by the Nazis. Mr Simpson has moved from ‘[o]ut of the blackthorn and the wired/ Perimeter into this particular/ No less imprisoned place’ (8:8-10).</span></div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The poet Paul Celan, himself previously incarcerated in the labour camps, addresses exactly this problem when he refers to art as a ’medusa’s head’.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[2]</span></span></span></a> One can become ‘imprisoned by Art’ (3:7), the very thing that tries to preserve or represent a moment turns it to stone, and kills it by removing it from the complex and unrepresentable flux of experience and events. Whatever enters into this realm of representation, like Mr Simpson, is removed from the living world. Representation is at a necessary remove, what it ‘preserves’ is just a testament to the absence of the ‘true’ event or object.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[3]</span></span></span></a> But in thinking that representations, especially perfect likenesses such as photographs, are capable of ‘capturing’ the truth, we cover over the possibility of knowing at all. As Jean Baudrillard dramatically states, the representation of the Holocaust is a more systematic extermination than the camps themselves.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[4]</span></span></span></a> By believing the representation <i>can </i>represent the truth of a situation, by believing that ‘everyone knows’ the horror of the concentration camps through experiencing televised, photographic, filmed and poetic representation, we prevent ourselves from encountering the awareness that we are ignorant of it. One now kills Jews, claims Baudrillard, through the ‘sound track and the image track’ instead of the gas chamber,<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[5]</span></span></span></a> enacting this re-extermination for a revolting aesthetic thrill of emotion. </span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">This issue comes to the fore in Graham’s poetry in this stanza:</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> And who would have it in verse but only</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Yourself too near having come in only</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> To look over my shoulder to see</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> How it is done. You are wrong. You are wrong</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Being here, but necessary. Somebody</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Else must try to see what I see. (6:16-18)</span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">This is the problem with the representation of the Holocaust: it is ‘necessary’ to remember, but representation will always be ‘wrong’. We must try to see, but this looking is necessarily destructive. Moreover, Graham shifts the guilt of the aggressive poetic-speaker on to the reader: it is the reader who would possess Mr Simpson, who would ‘have it in verse’. Seemingly passively reading, or looking over Graham’s shoulder, the reader’s implicit participation in the violent and possessive representation is made explicit in the poem, when we are asked to ‘take him’ (3:10), and told it is for ‘our sake’ (2:12) that Mr Simpson stands ‘sillily’ (2:11). So it is the ‘gentle reader’, rather than the poet, as the consumer of the poetry and thus Mr Simpson’s aestheticised suffering, who is revealed to be the ‘deadly’ (8:17) and ‘wrong’ one. </span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">And yet for all its loudly articulated achievement of capturing, and claiming to <i>know</i> the subject, Graham’s poetry is full of that which it cannot know. Never once is the ‘Holocaust’ named or even directly alluded to. Only hints such as Mr Simpson’s ‘number’ (3:10), the faded photographs of ‘gassed’ relatives (6:27), memories of sleeping in ‘Hut K’ (8:5), and the speakers <i>treatment </i>of Mr Simpson, serve to build up an idea of what the photographer/poet is trying to capture. Its two modes of address are imperatives and questions: the statements of ordered possession (‘I have him’ (8:7)) clash with the desire to know/capture him more (‘what is your category?’ (8:3)). In this way the statements claiming full possession are revealed to be false by the continued desire for further possession. The formality with which ‘Mr Simpson’ is addressed is not only ironic considering his treatment, but indicative of the lack of knowledge the speaker, and therefore the reader, actually possesses. His name is ‘unpronounceable’ (5:7), the light which illuminates him is ‘impossible’ (6:3), his gaze always ‘beyond’ (9:12) to something that the camera cannot see, the poem cannot represent. It is, paradoxically, this exact absence that the camera/poem wishes to make present: </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> This time I want your face trying</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> To not remember dear other</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Numbers you left, who did not follow </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> (5:1-3)</span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The camera wants to portray Mr Simpson’s otherness, his absence, and his loss, those things that cannot be represented – because to be represented is to be captured, known and possessed by the camera/poem and the consuming public. The tensions at work between claimed knowledge and sought knowledge, between knowing and not-knowing, between preserving and killing, between presenting and absence, create paradoxes that chase each other around the page of Graham’s work. Amid the confusion the poetic-speaker Graham turns to the reader, guilty by collusion, like a magician revealing his tricks, and claims to show us ‘how it is done’ whilst doing nothing but gesturing towards a larger paradox, a larger aporetic absence that <i>is </i>representation. </span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">One of the most resounding assessments of the aesthetic situation after the Holocaust comes from Theodor Adorno, who famously stated that ‘[t]o write poetry after Auschwitz is barbaric.’<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[6]</span></span></span></a> This statement has been taken as a dictum that states the one should not write poetry, or that poetry is now invalid,<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[7]</span></span></span></a> but engaging with the work of the philosopher reveals a far more complex position, which I shall only outline here.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[8]</span></span></span></a> Adorno sees that any artistic position that takes up an ideological standpoint against the authoritarian perspective will be buying into it.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[9]</span></span></span></a> In turning away from society, poetry is still defined via negation by the thing it seeks to escape, and thus participates in the impoverishment of its own form (AR: 200). Indeed, far from being separate, it was the culture that artistic representation is a part of that perpetrated the atrocities of Auschwitz.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[10]</span></span></span></a> It is finalised ‘meaning’ and ‘aesthetic enjoyment’ that all art aims towards, and is to claim <i>this</i> from out of the suffering of Auschwitz that is barbaric. All <i>literal </i>representation is a form of dominion (As <i>Mr Simpson </i>shows): it claims to ‘truly represent’ and in so doing <i>replaces</i>. Moreover, it removes something of the horror in just claiming that it <i>can </i>be understood (AP: 189). Instead, art after Auschwitz must grapple with its desire to find meaning, whilst recognising its inability to do so, and so continue to exist in this state of paradox. This new art is a form of <i>a-literal</i> representation, it ‘challenges signification ... by its very distance from meaning’ and in doing so ‘disrupt the whole system of rigid coordinates that governs authoritarian personalities’ (AP: 179). Poetry of this kind is ‘negative knowledge of the actual world’ (AP: 160) that has the burden of ‘wordlessly asserting’ (AP: 194) what is unable to be said in society. It exists in a state of paradox, in that it is only through acknowledging and exploring its own ‘<i>impossibility</i>’ (AR: 210) that it creates its own <i>possibility</i>, and can have its wordless say.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[11]</span></span></span></a> This is connected to Celan’s claim that poetry ‘holds its ground in its own margin’, and tends towards silence.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[12]</span></span></span></a></span></div><div class="MsoNormal" style="line-height: 150%;"><br />
</div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";">The tension at work in Graham’s poem creates an absence, or silence, revealing this absence to be representation itself. Once this absence has been created, Graham ends with what I’d like to call <i>negative apostrophic </i>language:</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Language, put us down for the last</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Time [...]</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Ah Mr Simpson, Ah Reader, Ah</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Myself, our pictures are being taken.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> We stand still.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> (10:7-12)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">Barbara Johnson describes apostrophe as a ‘turning away’ or ‘digressing from straight speech’, manipulating the direct address to something absent, usually the dead or inanimate, to make the ‘absent, dead or inanimate entity addressed ... present, animate and anthropomorphic.’<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[13]</span></span></span></a> Interestingly Graham turns this relation around and – enacting a completely direct speech and a literal representation – actually reveals the thing thus represented as dead and inanimate (turned to stone) via anti-apostrophe. The apostrophic language of such statements as ‘Ah Mr Simpson,’<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[14]</span></span></span></a> which run through the piece, ironically undercut the poem’s surface capacity to present and control Mr Simpson, and reveals that what is <i>ostensibly present</i> is actually <i>absent</i>. Interestingly, as this absence is revealed, the speaker and the reader as participants in this representation, are <i>themselves absorbed into this absence</i>, and are themselves ‘put down’ and ‘still[ed]’ by the medusa’s head of artistic representation. The desire for aesthetic pleasure, the desire for understanding, is horrifically stilled in us as Graham turns the destructive poem <i>onto us </i>with a demented grin. The poem negates meaning, and its impossibility becomes the grounding for its possibility, as Adorno described. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">W. S. Graham has revealed many of the problems inherent within the representation of the Holocaust (or anything at all), and has created, if not a solution, then a method of playing with the language that not just presents but <i>enacts </i>these problems, and shames the reader’s underlining need to <i>understand</i>. Jorie Graham furthers this enactment in her poem <i>From the New World</i>,<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[15]</span></span></a></span> <i> </i>which attempts to authentically represent the horror of the Holocaust in a non-destructive way, starting with the claim it ‘[h]as to do with the story about the girl who didn’t die/ in the gas chamber, who came back out asking’ (1-2). The word ‘story’ here takes on particular relevance considering the problems of representation revealed in the last poem: </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Can you help me in this?</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> Are you there in your stillness? Is it a real place?</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> God knows I too want the poem to continue,</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> want the silky swerve into shapeliness</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> and then the click shut</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> and then the issue of sincerity, the glossy diamond-backed</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> skin – will you buy me, will you take me home ... About the one</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> who didn’t die, her face still there on the new stalk of her body as the</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> doors open,</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> (<i>From the New World</i>:10-18) </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">The poem sincerely attempts a beginning, a ‘story’, but then halts itself within a few lines, with a direct plea for help from the reader, whose assistance is seemingly needed to continue the narrative. The poet-speaker claims that she too wants the poem – referring to the poem at hand and The Poem as a form – to be able to continue, but follows with a silence, a gap between stanzas that makes present the impossibility of that desire. The desire is further evoked as it describes the aesthetic pleasure (13), the closure (14) the supposed truthful sincerity (15) and the (getting more cynical) commercial viability (16) of the traditional poetic form. But the traditional form, the meaning giving structure, is revealed to be impossible with the caesura of the ellipsis (16), in which the possibility for the traditional poetic form ebbs away, and the poem collapses in on itself by returning to the image the poem started with (16-18). In this way the poem performs a self-negation of its own possibility to present a meaningful narrative, or evoke an aesthetic pleasure, from out of the horror of the Holocaust, and, again, <i>utilises this impossibility as the possibility of its functioning</i>.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">Alongside the constant pleas for help from the reader, the poem also contemptuously dismisses any claims of knowledge the reader might think s/he actually has. ‘[Y]ou know this’ (59, 64, 69) the speaker states whenever the narratives threaten to become clear, implying an arrogant boredom on the part of the reader. Shamed, the desire for <i>understanding</i> is frustrated, and the reader is thrown back onto the site of paradox. In this way the silences remain open, are not covered over by leaps of understanding: ‘don’t you fill in the blanks’ (60), Graham forthrightly states. The blanks, the absence/silence that we naturally want to fill in by understanding, must remain open and present. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">Otten, in his essay on the silences within Jorie Graham’s poetry, defines them as ‘a way of giving shape and solidity to an ethical dilemma ... the question of whether aesthetic objectification is a morally salutary response to annihilation.’<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[16]</span></span></span></a> This is a similar dilemma to the one being presented in W. S. Graham, as well as Adorno, and Otten is no doubt correct. But this interpretation of the silence at work only touches on the surface of this absence. The poem not only finds itself merely, as Otten claims, ‘out of place’ in representing the Holocaust - it finds itself <i>incapable </i>of rendering the very thing it attempts to narratise. The absence it presents is created by self failure, only a part of which is ethical dilemma, and is <i>the only authentic way to represent the annihilation of the Holocaust</i>:</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> At the point where she comes back out something begins, yes.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> something new, something completely</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> new, but what – there underneath the screaming – what?</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: "Cambria","serif";"> <i>Like </i>what, I wonder [...]</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: "Cambria","serif";"> <i>Like what</i>, I whisper, </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: "Cambria","serif";"> (103-108)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">This passage occurs at the end of the poem, where the poetic speaker makes one last attempt to combine the narratives she has failed to present, to reach an ending. But all that is achieved is ‘screaming’. Underneath the screaming is a silence. This silence is incapable of being represented – comparisons, understandings of what it is <i>like</i>, are useless. The magnitude of the atrocity in question defies the human capacity for understanding.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[17]</span></span></span></a> Similar to Kant’s idea of the sublime, this enormous silence is the <i>opposite </i>of aesthetic pleasure: a displeasure, as the inadequacy of the aesthetic imagination is revealed when presented by something of such magnitude that it cannot understand it rationally. It cannot be represented to reason or imagination.<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[18]</span></span></span></a> The Holocaust, and the experience of the victims, is not <i>like </i>anything, it just <i>is</i> – something ‘new’ and particular, and to suggest it is understandable in terms of anything else, in terms of representation, is to do a disservice to those who experienced it. More than a moral impossibility, Graham also enacts a rational one.</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">Rosalind Krauss, the American art historian, has presented a theory stating that the meaning attempted within much contemporary art is <i>indexical, </i>defining indexes as the ‘marks or traces of a particular cause, and that cause is the thing to which they refer, the object they signify.’<a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[19]</span></span></span></a> Opposed to <i>iconic </i>signs, which are motivated by similarity (by the ‘<i>like</i>’ – the photo of W.S. Graham’s piece), and symbolic signs, which are motivated by societal convention, the indexical signifier is motivated by contiguity. Smoke, for example, is the index of fire.<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 115%;">[20]</span></span></a></span> With this in mind, a better grasp of the a-logical representation at work in the poem can be reached:</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div style="line-height: 150%; margin: 0cm 0cm 0.0001pt;"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 150%;"> one form at a time stepping in as if to stay clean,</span></div><div style="line-height: 150%; margin: 0cm 0cm 0.0001pt;"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 150%;"> stepping over something to get into here,</span></div><div style="line-height: 150%; margin: 0cm 0cm 0.0001pt;"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 150%;"> something there on the floor now dissolving</span></div><div style="line-height: 150%; margin: 0cm 0cm 0.0001pt;"><span style="font-family: "Cambria","serif"; font-size: 11pt; line-height: 150%;"> not looking down but stepping up to clear it</span></div><div class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Cambria","serif";"> (42-46)</span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">The remove to the aesthetic representation – presented here as a place one can step into – is a move to clearness, a closure (‘the click shut’), and thus a move of avoidance. By entering into this area one has to ‘step over’ what one is avoiding. But Graham’s poem perpetually attempts to enter this clarifying representative area, and then reveals its (moral, rational, literary) failure to do so. This continual self-negation means the poem has to ‘step over’ the absence it is avoiding again and again, without directly looking at it. A similar effect is shown when the speaker locks herself in the bathroom, distinctly ‘not looking up at all’ (30) into the mirror, <i>distinctly not seeing </i>the ‘coiling and uncoiling/billions’ (34-35) of the dead within it. By stepping in an out of the representative field, the shape of the thing being avoided begins to present itself in a negative way. This thing, this un-representable thing, is ‘dissolving’, but the traces of it, the very absence and silence of it, appears as a presence within the poetry. This can be understood as a strange kind of <i>negative indexical signification</i>: the repeated failure and impossibly of the poem, the poet’s avoidance of ‘looking’, or representing, is in itself acting as a trace that begins to reveal the shape of what is absent. Rather than literal ‘looking’ – the photographic representation that W.S. Graham reveals to be destructive, Jorie Graham attempts an a-literal representation: the equivalent of looking from out of the very corner of your eye. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";">These are just two potential examples of the negative signification that Adorno has called for: what I have tentatively called <i>apostrophic </i>and <i>indexical</i>. Both revolve around deliberately revealed absence created through self negation, an absence that is in itself a more authentic mode of representation in the aftermath of Auschwitz. Though the two poems looked at here are visibly concerned with the representations of the Holocaust, Adorno’s concern was not primarily with the poetry <i>of </i>Auschwitz, but poetry <i>after </i>it. The problems of representation that have been brought to the fore after it, only some of which are examined here, are applicable to every form of representation and every subject. In this way, poetry after Auschwitz tends towards silence. </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><span style="font-family: "Cambria","serif";"> </span></div><div class="MsoNormal" style="line-height: 150%; margin-bottom: 0.0001pt;"><b><span style="font-family: "Cambria","serif";"></span></b></div><div><hr align="left" size="1" width="33%" /><div id="ftn1"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[1]</span></span></span></a> W. S. Graham, <i>Collected Poems: 1942-1977 </i>(203-208). In the following references, the first parenthesised number refers to the section, the second to the line number within this section.</div></div><div id="ftn2"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[2]</span></span></span></a> Or Celan presents Buchner presenting Lenz, See Trotter(1984:219) and Celan (1960: 158).</div></div><div id="ftn3"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[3]</span></span></span></a> See Webster Goodwin and Bronfen (1993) and Derrida (1967): ‘All graphemes are of a testamentary essence. And the original absence of the subject of writing is also the absence of the thing or referent’ (69).</div></div><div id="ftn4"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[4]</span></span></span></a> See Baudrillard (1981:49).</div></div><div id="ftn5"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[5]</span></span></span></a> Ibid. See also Kertész (1998), who argues that survivors themselves have their memories over-written by the phony consumer language employed by the media (268).</div></div><div id="ftn6"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[6]</span></span></span></a> <i>The Adorno Reader</i> (AR) (210).</div></div><div id="ftn7"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[7]</span></span></span></a> See, as just one example, Guber (2003:240).</div></div><div id="ftn8"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[8]</span></span></span></a> For a chronological description of Adorno’s comments about poetry after Auschwitz, see Caygill (2006: 69-71), and for an examination of the various attempts at interpretation see Jarvis (1998: 140-147).</div></div><div id="ftn9"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[9]</span></span></span></a> <i>Aesthetics and Politics</i> (AP) (179)</div></div><div id="ftn10"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[10]</span></span></span></a> As Steiner (1970: xi) states: ‘a man can read Goethe and Rilke in the evening ... and go to his days work at Auschwitz in the morning’.</div></div><div id="ftn11"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[11]</span></span></span></a> See Caygill (2006: 71) for elaboration.</div></div><div id="ftn12"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[12]</span></span></span></a> Celan (1960:163-164)</div></div><div id="ftn13"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[13]</span></span></span></a> Johnson (1987:185).</div></div><div id="ftn14"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[14]</span></span></span></a> The refrain resonates with Melville’s famous ending apostrophe ‘Ah, Bartleby! Ah, humanity!’ (Melville,1853:49). See also Cohen (1994:165-167), for more on the apostrophe and it’s ‘anti-mimetic’ uses.</div></div><div id="ftn15"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[15]</span></span></span></a><i>Dreams of a Unified Field</i>:106-109. Parenthesised numbers refer to line numbers.</div></div><div id="ftn16"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[16]</span></span></span></a> Otten (2004: 246).</div></div><div id="ftn17"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[17]</span></span></span></a> See Am<span style="color: black;">éry (1966</span>), who describes his experience as an intellectual in Auschwitz, and how philosophical or artistic sensibilities were useless even at the time (15).</div></div><div id="ftn18"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[18]</span></span></span></a> Kant, primarily concerned with the sublime in nature, allows an element of pleasure in this experience also, though this is exactly what these poets are trying to avoid( Kant, 1790: 106).</div></div><div id="ftn19"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[19]</span></span></span></a> Krauss (1986:198).</div></div><div id="ftn20"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-edit.g?blogID=8637423620307521684&postID=793959075033579992#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[20]</span></span></span></a> An example used by Alphen (1993: 31-32).</div><div class="MsoFootnoteText"><br />
</div><div class="MsoIntenseQuote" style="line-height: 150%; margin: 10pt 0cm 14pt;"><b><span style="font-family: "Cambria","serif";">Bibliography</span></b></div><div class="MsoListParagraphCxSpFirst" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Adorno, Thodor. ‘Reconciliation Under Duress’ and ‘Commitment’ in <i>Aesthetics and Politics</i>. (London, New York: Verso, 1988)</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Adorno, Theodor, <i>The Adorno Reader </i>Brian O’Conner (ed) (Oxford, Malden: Blackwell Publishing, 2000)</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Alphen, Ernst van. ‘Touching Death’ in <i>Death and Representation.</i> </span><span style="font-family: "Cambria","serif";">Sarah Webster Goodwin and Elizabeth</span><i><span style="font-family: "Cambria","serif";"> </span></i><span style="font-family: "Cambria","serif";">Bronfen (eds)(Baltimore, London: John Hopkins University Press, 1993) (29-50).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="color: black; font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Am</span><span style="color: black; font-family: "Cambria","serif";">éry, Jean (1966). <i>At the Mind’s Limits: Contemplations by a survivor on Auschwitz and it’s Realities.</i> Trans. Sidney Rosenfeld and Stella P. Rosenfeld (Bloomington: Indiana University Press, 1980).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Baudrillard, Jean (1981). ‘Holocaust’ in <i>Simulacra and Simulation. </i>Trans. Sheila Faria Glaser (U.S.A: University of Michigan Press,2000) (49-52).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Caygill, Howard. ‘Lyric Poetry Before Auschwitz’ in <i>Adorno and Literature</i>. David Cunningham and Nigel Mapp (eds) (London, New York: Continuum, 2006) (69-83).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Celan, Paul (1960). ‘The Meridian’ In <i>Paul Celan: Selections</i>. Pierre Joris (ed) (Los Angeles, London: University of California Press, 2005) (156-169).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Cohen, Tom. <i>Anti-Mimesis, From Plato to Hitchcock</i> (Cambridge and New York: Cambridge University Press, 1994).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Derrida, Jacques (1967). <i>Of Grammatology</i>. Trans. Gayatri Chakravorty Spivak (Baltimore: John Hopkins University Press, 1974)</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Graham, Jorie. <i>The Dream of the Unified Field</i>: <i>Selected Poems 1974-1994</i> (Manchester: Carcanet, 1996).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Graham, W.S. <i>Collected Poems: 1942-1977 </i>(London, Boston: Faber and Faber, 1979).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Gubar, Susan. <i>Poetry after Auschwitz: Remembering what one never knew</i> (Indinapolis: Indiana University Press, 2003).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Jarvis, Simon <i>Adorno: A Critical Introduction</i> (New York: Routledge, 1998).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Johnson, Barbara. ‘Apostrophe, Animation and Abortion’ in <i>A World of Difference</i> (Baltimore: John Hopkins University Press, 1987) (184-199).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Kant, Immanuel (1790). <i>Critique of Judgement</i> (Oxford, Oxford University Press, 1964).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Kertész, Imre (1998).‘Who Owns Auschwitz’ in <i>The Yale Journal of Criticism </i>(vol. 14, no.1, 2001) (267-272).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Krauss, Rosalind (1986). ‘Notes on the Index: Part 1’ and ‘Notes on the Index: Part 2’ in <i>The Originality of the Avant-Garde and Other Modernist Myths</i> (Cambridge: MIT Press, 1999) (196-209 and 210-220).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Melville, Herman (1853). <i>Bartleby, The Scrivener: A Story of Wall-Street</i>. (New York, London: HarperCollins, 2009).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Otten, Thomas. ‘Jorie Graham’s <u> </u>s’ in <i>PMLA </i>(vol. 118, No.2, Jan 2004) (239-253).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Steiner, George. <i>Language and Silence: Essays on Language, Literature and the Inhuman</i> (London: Yale University Press, 1970).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Trotter, David ‘Playing Havoc’ in <i>The Making of the Reader: Language and Subjectivity in Modern American, English and Irish Poetry </i>(London: Macmillian,1984) (196-230).</span></div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; text-indent: -18pt;"><span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Cambria","serif";">Webster Goodwin, Sarah and Bronfen, Elizabeth. ‘Introduction’ in <i>Death and Representation</i> (Baltimore, London: John Hopkins University Press, 1993) (3-29).</span></div><div class="MsoFootnoteText"><br />
</div></div></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-10718132040602053402011-04-16T13:58:00.000-07:002011-04-16T13:58:04.772-07:00Two Reviews - Anna Woodford's 'Birdhouse' and Kenneth Fields' 'Classic Rough News'<b>Anna Woodford - Birdhouse (Salt, 2010)</b> <br />
<br />
What is immediately striking about Anna Wooford’s <i>Birdhouse</i> is that it manages to pull off the difficult trick of managing to be both sexy and sweet. An undercurrent of tension runs through many of the poems in this collection, tugging the lyric in new and exciting ways, but its restrained in an cocoon of delicate intimacy. In the title poem, Woodford starts with: <br />
<br />
You fiddle with the catch<br />
between my legs until my mouth<br />
springs open and I am<br />
crowing like an everyday bird that has<br />
entered the heights of an aviary.<br />
<br />
This is of course a poem proclaiming not too subtly that the characters are having s-e-x. But the expertly-enjambed first line break turns what could be merely an engaging mundanity into a captivating image, while the poem’s climax of “my next cry / rests on the tip of your tongue” leaves the poem bridging the gap between intimacy and intensity, fragility and strength.<br />
<br />
A lot of the poems in the collection are infused with a fragile lyricism while maintaining an engagingly chatty tone in its free verse. For example, the opening two lines of ‘Taking in the Washing’: “Next to your boxers, my bra / is undone, how vividly” are both lyrical in the best sense of the word, distilling the excess of lust and seduction into a perfectly-placed image, while still retaining a sense of looseness, of freedom with language and form. <br />
<br />
Many of the poems in <i>Birdhouse</i> operate like this - beginning with an image of the familiar (but still rendered startling) domestic, before transcending them with colourful imagery and fanciful metaphor. A washing line becomes a timeline, diamonds become a memory box, while time itself is undone in ‘Looking Back’ where the narrator wishes:<br />
<br />
If there was a master tape<br />
of our night<br />
I’d get my hands on a copy<br />
and set it to rewind,<br />
so I could watch our bodies<br />
unmaking love <br />
<br />
Here Woodford is playing with time, with the essence of being. Yet rather than boring us with ontological navel-gazing, she instead launches us on flights of fancy with thematic seriousness and linguistic playfulness - “unmaking love” being one of the best examples of this invention. It’s a fantastic line; cold, hard and tersely conveying so much while saying so little.<br />
<br />
This then is a collection which operates within the boundaries of the lyric and is respectful of them, while seeking to go beyond them, teasing the gaps and fractures in the verse. If some of Woodford’s less ambitious pieces fall flat because of their failure to escape the everyday, her linguistic play and the elegies to her grandparents reveal an understated, intelligent and genuine poetry. Woodford has achieved the unthinkable - a collection about sex and death which makes you feel warm and fuzzy inside.<br />
<br />
<b>Kenneth Fields - Classic Rough News (University of Chicago Press, 2005)</b> <br />
<br />
There is much to admire about Kenneth Fields’ <i>Classic Rough News</i> - the construction of an intelligent, sceptical and resolutely cosmopolitan poetic presence, an interior dialogue which manages to resist navel-gazing, and a finely-crafted verse. A collection of sonnets and sonnet-like lyrics, <i>Classic Rough News</i> makes it immediately clear that Fields is a polished writer, adept at the technicalities of writing - although this does seem less impressive when you consider that Fields has spent 40 years as a Creative Writing professor.<br />
<br />
Still, these are well-crafted lyric poems Professor. Fields’ clear and concise language allows us to immerse ourselves in a world of memory, reflection and doubt, juxtaposed with the delights and the strains of the everyday. Fields also has a nice line in snappy epigrams: “The melancholy man laughs last, / Not necessarily, no, not necessarily best” - the surface effortlessness of Fields’ language combining well with the abstracted melancholy of the verse.<br />
<br />
Fields’ collection seems wholly unconcerned with giving impressions, and, given the prevalence of ‘impressionistic’ pieces in the mainstream poetry scene, this could be considered a good thing. And it would be, if the alternative vision which <i>Classic Rough News</i> offers wasn’t so bloody boring.<br />
<br />
Fields has then written a collection which is easy to admire but hard to love. He is obviously a master of the sonnet form, and there are times when his perfectly-enjambed lines create a dance with the narrative imagination while giving sensory pleasure, a sense of things unfolding. Witness these lines from ‘Before Sleep‘:<br />
<br />
“This room goes on forever. The dark hush<br />
Glows like departing love that will not go.<br />
There are no edges; here everything is rounded<br />
By light and its companion. As if dazed,”<br />
<br />
Unfortunately intimate moments like these are few and far between in the collection. Too often Fields resorts to the knowing and the arch, which, when contained in a sonnet form so naturally predisposed to the delicate and the personal comes across as jarring and forced. There seems then an unfortunate disparity between Fields’ content and his form. <br />
<br />
Many of the poems take the form of fictions, and the same characters often crop up from poem to poem. However, the rigidity of the sonnet form does not allow time for Fields to develop his fictions or his characters and so we are instead left with snatches of a poetry that feels incomplete. This sense of there being something lacking, rather than being tantalising and suggestive, becomes, due to the flatness of Fields’ language, frustrating and in the end quite dull.<br />
<br />
<i>Classic Rough News</i> is then a rough draft of a poetry that could be much better executed. If Fields abandoned the sonnet form which does not allow space for his ideas to develop and showed more of the humour promised by the blurb, then he could have a great collection on his hands. Unfortunately, as it stands, it is neither classic, nor news. <br />
--<br />
by <b>Robert Van Egghen</b>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-2132202575323063772011-03-17T14:52:00.000-07:002011-03-17T14:52:14.094-07:00Iain Britton - One Poem<pre><strong>hydrangea translucency</strong>
hunched converts
barricade the only road out
they huff ‘n puff into groups -
with long-stemmed bazookas
tucked under fierce thoughts
all walks of life front up uniformed/ and ready
to take sides
choose colours / mascots / a sponsored drink
***
the blue hydrangeas hang heavy now
***
mine enemies
have chosen the ghettos to play in/have infiltrated the ranks/
intermarried/mongreled-up their relationships
and encouraged a squashed-in/each-to-themselves
failed mentality
I’ve chosen to be
where forests of tower blocks
peer down from penthouse heights where sacrificial lambs
breed randomly
oblivious of the promised slaughter
***
once cut
the blue hydrangeas stoop to conquer
***
with you the day’s heat
has a lot to do with people’s actions – it’s a question
of summing up a scene – charging at the logo’d
firebrands – splitting asunder the cordons
of do not enter this estate – a question of how to proceed
to the piled-up resistance further on is considered
a strange translucency makes the going clearer
we’re set on blowing the hostiles
straight up the chorusing chimneys
you show me
a gap in the horizon’s wall
and ‘mates rates’ for a holiday
free of book-banging rages
you display mug shots
in favour of John the Baptist
***
I smell meat loaves cooking
cooling
being sliced
for human consumption
the house I built
floats on a red sea of dyed grass
--</pre><br />
<strong><a href="http://www.iainbritton.co.nz/">Iain Britton</a></strong> has published poetry internationally in magazines such as Agenda, Stand, The Reader, Warwick Review, Wolf Magazine, Nth Position, Blackbox Manifold, Jacket, and Harvard Review. Oystercatcher Press published his third collection in 2009, and his fourth is available now from Kilmog Press. You can read a recent ebook of his here: issuu.com/theredceilings/docs/ten_poemsJoshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-73346583452759798392011-03-11T08:19:00.000-08:002011-03-11T08:22:19.447-08:00Featured Poet #6 - Jon Stone<strong>Lara</strong><br />
<br />
Lara, it is your deaths that make me marvel.<br />
Not the pistols that stud your chafed-up hips,<br />
alexandrite earrings of your bottom<br />
<br />
but the way you swallow-dive, boots locked,<br />
onto a stint of sandstone and crumple and<br />
not your plait’s strop, dosed in jeweller’s rouge<br />
<br />
but the boulder massaging your hapless spine<br />
that straightens the metals of my eye and<br />
not the oil slick of you in your wetsuit<br />
<br />
but how you buck hard enough to break<br />
as you drown in a deep sea grotto and<br />
not your strut or your small, hard ‘t’s<br />
<br />
but how, set alight, you still do ‘demure’,<br />
gasp and expire in a sponge of moss and<br />
not the sheer vastness of your swimming pool<br />
<br />
but live wires caressing you in the kitchen<br />
of a slowly capsizing icebreaker and<br />
not the calibre of your voice actresses<br />
<br />
but the wolves who worry your jetstream<br />
legs to uneven kebab-shanks and<br />
not to be your butler or obstacle course<br />
<br />
but the Arctic waters tenderly biting<br />
through your Parka’s scruff sealmeat and<br />
not be the boat you climb into in Venice<br />
<br />
but the spear sprung by a pressure pad that<br />
tastes your knee, that you fall around and<br />
Lara, don’t bend to pull up your sports socks<br />
<br />
but fluff the jump again for me, would you.<br />
<br />
<br />
<strong>Near Extremes 4</strong><br />
<br />
<br />
Where I come from it’s the other way round:<br />
Seroquel’s slipped by the fistful into<br />
ministers’ snifters, curing them (fingers x’d)<br />
of such spells where they intuit war things<br />
are squirreled beneath every unturned stone,<br />
<br />
and when shell-shocked or down-on-their-luck<br />
ex-squaddies mistake the knifeplay of light<br />
for a gun barrel’s flinting we all hit the dirt<br />
because after all, the odds are they’re right –<br />
in the streets: hajjis. Hajjis everywhere we look.<br />
<br />
<br />
<strong>Three Celan Poems</strong><br />
<br />
<pre>I.
THAT ANGER’S BROKEN HER EAR.
Mid-day Monday, undone, counting
foreign brutes.
Drink
out, my almond.
II.
I CURE HER, THE AXE HAS GOT BLUNT.
I cure her, the artists nick timber.
I cure her, desperate that sin and silt
hail down or hang ten.
Desperate assembly throwback.
I cure her, see lemongrass leaping,
the antsy kazoo-flux.
III.
THE GNATS HAVE STOPPERED THE WELL.
Frederick’s aghast
the way sometimes words are alarming.
Hera gets switched on. The mower
and the iron wander, hawk-legged.
</pre>--<br />
<br />
<strong><a href="http://www.drfulminare.com/jon.html">Jon Stone</a></strong> was born in Derby and currently lives in Whitechapel, where he co-produces both <a href="http://drfulminare.com/publications.html">Sidekick Books</a>, a publisher of collaborative poetry books, and arts magazine <a href="http://www.fuselit.co.uk/">Fuselit</a>. He was highly commended in the National Poetry Competition 2009 in the same month his debut pamphlet, <em>Scarecrows</em>, was released by Scottish press Happenstance. He has also released a co-authored pamphlet, <em>No, Robot, No!,</em> through Forest Publications with Kirsten Irving and a full collection, <em>School of Forgery</em>, is due from Salt in 2012.<br />
<br />
<br />
[<em>eds. note</em>: 'Three Celan Poems' look different due to the fact Blogspot wanted to make the capitalised lines way too big, so I had to use my nonexistent HTML skills.]Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-53576117352637376472011-02-25T05:03:00.000-08:002011-02-25T05:03:30.672-08:00Two stories - Bobby Parker<strong>Singing in German</strong><br />
<strong></strong><br />
<br />
Karl tried to cross the street but his dog wasn’t having it. The skinny mutt quivered on the pavement, tail between its legs. <br />
<br />
Karl gently tugged the leash a few times, encouraging the dog to follow him with a soft voice, ‘C’mon, what’s wrong with you?’<br />
<br />
Passers-by were stopping to watch. Cars slowed down, the grim lunchtime sky reflected in their windows like repressed memories of grandma’s broken glass sandwiches. <br />
<br />
It was raining inside every house. People came out into the street for shelter. Karl had a silent audience, their eyes crawled over him like a mad doctor’s fingertips. Under their gaze he felt hot hatred for the dog. <br />
<br />
But the dog wouldn’t budge from the pavement. Karl tried dragging the dog but the mutt whimpered and made Karl look bad in front of the staring crowd. <br />
<br />
He tried stroking the dog. He made promises to the dog. The dog just quivered and did a piss. <br />
<br />
‘C’mon dad, people are watching us!’ hissed Karl. The dog looked up at him, trembling so violently that its fur fell out and it began to look like a frail old man. A little girl across the street was singing in German. <br />
<br />
Karl collapsed beside the dog, shaking his head and weeping. <br />
<br />
‘Please,’ said the dog. ‘Don’t cry son. I just can’t face the park right now. I want to go home. Can we go home?’. <br />
<br />
A fat woman with tall white hair swaying above her head walked over to them. She towered over Karl and his dog, and they quivered in her shadow. <br />
<br />
‘What are you doing sat in the street? People are watching you! Can’t you see all these people watching you?’ But Karl and his dog just sat there, staring at each other, until one by one the people started talking. <br />
<br />
<br />
<strong>Wet Meat</strong><br />
<br />
<br />
Karl opened the shop just after ten. He put the digital scales in the glass display case in the front window, shoved the float into the till and turned on all the lights. <br />
<br />
Out the back, his boss had left him a scribbled message: <br />
<br />
<em>Why do you keep unlocking the door to the top floor and leaving it open?</em> PLEASE KEEP THE DOOR SHUT AND LOCKED. <br />
<br />
This disturbed Karl. He hated going upstairs, and would only risk it if he needed a screaming shit in the broken toilet on the second floor. <br />
<br />
There is no way he is the one unlocking the door to the top floor, and there is no one else there to do it. He works alone. <br />
<br />
The shop is so ancient that Karl is terrified the ceiling will fall on him if he slams a door too hard or coughs too loudly. <br />
<br />
When it rains, brown water runs down the walls, and a strange, foul stench moves around the building like a restless dog. <br />
<br />
Yes, that door to the third floor is strange. You can lock it, bolt it, stack boxes against it, but every morning it is wide open again. <br />
<br />
The second floor has a grim bathroom at the far end, it has a bath full of toilet roll tubes and a mirror full of howling faces. The rest of the space is used for storing stock such as bongs and growing equipment. <br />
<br />
Dead plants whisper to each other on the peeling windowsills. <br />
<br />
But the top floor is a mystery. The lad who worked at the shop before Karl told him it was probably full of old junk or something. Or maybe the boss is secretly growing a bit of skunk.<br />
<br />
Why his boss thinks Karl would want to go up there is beyond him. Curiosity is not something that bothers Karl. He is a man who frowns a lot – a confused outsider who instigates perplexity. <br />
<br />
Just after twelve a girl came into the shop looking for a grinder. Karl smiled his best smile at her and she balanced her cool blue eyes on the twisty ends of his moustache. <br />
<br />
‘Have you got an internet connection here?’ she asked. <br />
<br />
‘Yeah, my computer is out the back if you want to…’<br />
<br />
She followed him into the dimly lit back room. Karl wiggled his freakishly long fingers in the direction of the computer. She sat down and started clicking and typing. <br />
<br />
He looked at her: long dirty yellow hair tucked into a hippy hat, bottom lip pierced, clothes all dark greens, gentle smell of cannabis and candles. <br />
<br />
‘Thanks for that, I needed to send some information to my dead father. Shit, sorry if I sound a bit weird… it’s a long story. Do you smoke?’ she patted her pockets and probed the lip piercing with her bright pink tongue. <br />
<br />
‘No, I gave up a few months ago and…’ he checked to make sure there were no other customers lingering in the shop. ‘Hey, would you do me a favour?’ <br />
<br />
‘Erm… Sure. What’s up?’ <br />
<br />
‘I left my satchel on the top floor and it’s got my medicine in it.’ he lied. ‘Could you run up there and grab it for me? I would go up there, but I’ve got a bad leg and the stairs are pretty steep.’ <br />
<br />
She took off her green army jacket and draped it over the computer chair. Karl grinned and wiggled his freakishly long fingers in the direction of the dark doorway to the higher floors behind the till. <br />
<br />
She giggled and disappeared into the gloom. <br />
<br />
Karl paced the shop while he waited, his brow tightly wrinkled in concentration. He didn’t know what he expected to happen to the girl. Sometimes he just enjoys doing things to see what will happen. <br />
<br />
Two minutes passed on the novelty cannabis leaf clock. Five minutes. Ten minutes. <em>Thump!</em> <br />
<br />
His skin felt like a flickering light bulb dusted in sparkling frost. <br />
<br />
Another customer came in, a man in his forties who wanted to know if they sold crack pipes. Karl recommended a thick glass one in the display cabinet. <br />
<br />
<em>Thump!</em><br />
<br />
‘Hmm, glass… I just get so wrecked I end up d-d-dropping them, and then I t-t-tread on them and get g-g-glass in my f-f-feet’ the man stammered. <br />
<br />
<em>Thump!</em><br />
<br />
‘What’s that n-n-noise?’ asked the crack head. <br />
<br />
‘I’m not sure, it’s been freaking me out. I tell you what, if you run upstairs and check it out for me, I’ll give you a pipe for free. A crazy cat probably got in and decided to trash the place.’ <br />
<br />
Karl wiggled his freakishly long fingers in the direction of the dark doorway behind the till. <br />
<br />
‘And you’ll give me a pipe for free?’ <br />
<br />
‘Yep, any one you want.’ <br />
<br />
‘Will you throw in a pack of gauze as well?’ <br />
<br />
‘You got it!’ <br />
<br />
The man staggered into the doorway and made his way up the stairs. <br />
<br />
‘Hello?’ he bellowed as he approached the door to the second floor. <br />
<br />
Karl leaned over the till, stretching his ears out with his fingers so they picked up every sound. ‘Hello?’ he heard the crack head say, slightly quieter this time, as he climbed the stairs to the third floor. <br />
<br />
Then silence. <br />
<br />
Karl could hear his own heart beating like a size thirteen shoe rolling down a hill. <br />
<br />
<em>Thump!</em><br />
<br />
More silence. <br />
<br />
The phone rang and Karl almost fell over the till. He ran into the back room and picked it up, ‘Hello, Stoner’s Paradise. How may I help you?’<br />
<br />
‘Karl!’ spat his boss on the crackling line. ‘Did you get my message?’<br />
<br />
‘I got the message, sir.’ <br />
<br />
‘Good, because… because… huh? What? Hold on, my wife is having a fit…’ Karl heard the receiver drop onto the floor and the sound of wet meat being slapped over and over again. <br />
<br />
While he waited he picked up the girl’s green army jacket from the back of the computer chair and buried his face into the dirty collar<br />
--<br />
<br />
<strong>Bobby Parker</strong> was born 1982 in Kidderminster, England. He was selected as Purple Patch Small Press Poet of the Year in 2008, and his work has been published in various magazines in print and on-line. Bobby crawled his way through nightmares and freakshows to bring you poems and stories that have so far been collected in his new book <em>Digging for Toys</em> (Indigo Dreams Publishing) which will be available very soon.Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-81072198895308596082011-02-22T03:33:00.000-08:002011-02-23T05:26:21.627-08:00Some Reviews<div style="text-align: justify;"></div><div style="text-align: justify;">Jonty Tiplady </div><div style="text-align: justify;"></div><div style="text-align: justify;"><em>Zam Bonk Dip</em></div><div style="text-align: justify;">Salt Publishing, 2009</div><div style="text-align: justify;">reviewed by Andy Spragg</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Choosing to engage with excess has long stood as a hallmark of a kind of poetry that tends to be labelled – sometimes pejoratively – as 'experimental'. As poetic strategy it is often embedded within a particular slipstream of theory; an acknowledgement that the poem's frame is one that inevitably works to exclude a variety of dialogues in favour of developing some form of narrative or epiphany-driven coherence. At its worse this exclusion creates a totality anchored in the tediously domestic, a sort of complicit agreement between reader and writer that asserts an absence of linguistic or thematic challenge. If such an approach defines itself by its ability to disregard the incongruities that hover beneath the surface of language then Jonty Tiplady's book forms its refreshing antithesis. He is all about excess, both linguistically and thematically. As a poet he evokes JH Prynne's <em>'Nearly too much</em> / is, well, nowhere near enough' from <em>Down Where Changed</em>, an desire to engage with such a vast and eclectic range of stimuli that the poem's frame strains to contain it all. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><em>Zam Bonk Dip</em> collects together a number of Tiplady's chapbooks, and serves as an excellent showcase of his distinctive approach. The writing is defined by a technique that manages to be doggedly consistent without losing its innately compelling edge, a style that takes its cues from the saturated language of both the media and the internet. It's playful, funny and highlights the hyper-speed tenacity with which our vocabulary currently evolves. This is no more apparent than in the third section of the title poem, where Tiplady exclaims '{...}anoint the/blobject beckoning on the Olympic Stadium.' ('Zam Bonk Dip') He could well have pulled the whole thing out of a Guardian article on Stratford's latest folly, or from a comment posted under a Youtube clip, or found it amongst the quagmire of writing that populates blogspot – he may well invented it himself – and in that fact lies the most engaging aspect of Tiplady's work. It is full of such moments, and yet it manages to be tender as well: 'It's always time to sing again/careless soul.' ('Zam Bonk Dip') Here's Whitman's contained multitudes, albeit shot through with a twitter-feed attention span. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Tiplady is not the first of his contemporaries to make gestures towards an inclusive meshing together of high and low culture by any means. In fact, case could be made that it is an overly familiar strategy, even amongst the more 'mainstream' poets of the day. Luke Kennard (with whom Tiplady shares Salt as publisher) demonstrated an ambitious scope in source material throughout <em>The Harbour Beyond the Movie</em>, however his usage conceded to a certain authorial flourish, a sense of the writer signposting his own reading list. With Tiplady it feels like a natural extension of the language, the mode of expression itself, rather than a contrivance or device. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Another thing that distingushes Tiplady is his comparative fearlessness when it comes to the 'low' culture component in his writing. It's hard to imagine Kennard writing, 'I met this girl the other day, she had a nice ass. I wanted to tit-fuck that ass.' ('Dear World And Everyone In It') Taking such a line out of context is unfair as it strips away that which frames it; it does, however, highlight the intrinsic value judgements that usually deflate a poet's decision to engage with excess, that they tend to be guided by an unconscious aesthetic conservatism. For Tiplady no such reservation exists, or if it does then it plays out beneath the surface; his usage of such difficult concepts draws attention to the dialogues that infiltrate deep into culture. There is a curious double logic at play. Internet pornography's popularity embeds certain linguistic codes into the cultural strata, regardless of where the individual may stand morally; likewise when Tiplady exclaims 'LEAVE BRITNEY ALONE' ('OOV'), it is impossible to not know who he is referring to. There is an affirmation (a word that Tiplady charges with particular significance in 'Dear World and Everyone in it'): here are the dialogues, now what shall we do with them?</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">For all its heteroglossic intensity, Tiplady's work manages to describe patterns of love and human relationships in a novel and emotionally striking way. The poems that demonstrate real success are the ones that manage to contain elements of genuine tenderness in the narrative voice; no mean feat when you consider some of the aggressively chauvinistic language Tiplady's chosen to incorporate. Lines such as, 'and I love you, through to/pieces of heaven{...} give me my conker back' ('Manic Milk') are demonstrative of Tiplady's desire to communicate something of love, something of communication itself, through his fractal language games. It's the striking tension between these two that sustains <em>Zam Bonk Dip</em> throughout, a want for clarity amongst an excess of signification. Tiplady's success lies in his ability to make this a compelling exercise; one that acknowledges its own inevitable failure, but is no worse a read for it.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Sandra Tappenden</div><br />
<em>Speed</em><br />
Salt Publishing, 2007<br />
reviewed by Joshua Jones<br />
<br />
1.<br />
<br />
<div style="text-align: justify;">Sandra Tappenden’s second collection is a wilfully idiosyncratic, forcefully contemporary and strangely confessional work of fractured lyric and prose poetry, riddled with absurdism and wreathed in irony. It is for all of these reasons that it, initially, is a compelling read, but upon closer inspection reveals itself to ultimately be lacking in force. While she has a seemingly inexhaustible supply of striking imagery, her phrasing is always cocooned in a rather banal safety net of irony, and while she is evidently aware of the difficulties of using language, particularly in light of the philosophy of the 20th Century and poetry since the Language movement, she seems content to merely present an awareness of this, an acknowledgment of its difficulty{1}, the – “constantly uncapturable” (5) – before retreating from the danger of meaning into the supposed prevention of criticism that is blank irony; or, more irritatingly, into <em>Bridget Jones</em>-esque domestic singledom. In ‘Blame’, following on from the above quotation:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Tenuous moral concepts depend upon </div><div style="text-align: justify;">where anyone stands. It’s easier</div><div style="text-align: justify;">to lay down, groovy-single,</div><div style="text-align: justify;">playing the same track</div><div style="text-align: justify;">over and over.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">True. But surely the role of poetry is to resist the easy option? Of course, the poem from which this is taken can also be read as ‘giving in’ ironically – earlier in it the speaker makes reference to her “compromised heart”. But where does that get us? For a collection entitled <em>Speed</em>, Tappenden really is often a quite lazy writer, happy to rehash postmodern poetics, sprinkle in a bit of self-conscious idiosyncrasy” (“I’ve found it helps to carry an egg in pocket” [1]) and trite, ironised confessionalism, and voila, we have a book of poems happy to sit there not really doing anything much other than chasing circles around itself. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Which is not to say the book is without merit. On the contrary – her imagery at the very least creates the illusion of singing with movement and vitality. So why not apply the same exuberance to content? In a characteristic line, again from ‘Blame’:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Naivete is forgivable when both parties </div><div style="text-align: justify;">are unaware they’re innocent.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
2.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><em>The story now has gaps where once I knew all the lyrics.</em></div><div style="text-align: justify;"><em>[...]</em></div><div style="text-align: justify;"><em>There are clues here in a lyric full of holes.</em></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">(‘St Swithin’s Day’, p. 16)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In a long sequence – ‘Matthew Arnold Refuses To Exit the Building’ – Tappenden somehow manages to create what I can only describe as a pastiche of pastiche{2} . The second in the sequence (‘To behave repeatedly like an idiot does not mean I am an idiot’):</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">All I can think to say is that if I had a hammer</div><div style="text-align: justify;">there’d be one less cat in the world or I’m sorry</div><div style="text-align: justify;">I seem to have confused you with my dad.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">But it’s not really a shop, it’s a mist-ridden 7 a.m.</div><div style="text-align: justify;">Sunday boot fayre where you rush up in red or dead</div><div style="text-align: justify;">hangover shades with a fiver for a something lovely.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">It takes moments to realise crucial pieces are missing</div><div style="text-align: justify;">but hey you say it’s all part of a long game</div><div style="text-align: justify;">a bit like bridge or that other one called crevasse.</div><div style="text-align: justify;">(25)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">To which all I can muster is a yawn. Throughout the sequence, cats and arrows and other deliberately blank signifiers appear, their sole purpose being to relate with one another to produce the implication of a possible meaning, one that clearly isn’t there; but even this isn’t done with a purpose, with a political or philosophical aim the way the Language poets consistently did. Instead it is simply being ironic for the sake of being ironic, behaving like an idiot for the sake of behaving like an idiot. This is a poetry which seems terrified of even the possibility of having to engage with anything beyond banality and pointless circularity. More than that, she seems to actively have little faith in her own medium. References to poets and poetry abound:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Where does anyone live nowadays?</div><div style="text-align: justify;">Certainty is a product like anything else</div><div style="text-align: justify;">and poets are not much use are they</div><div style="text-align: justify;">I often think I overhear someone say.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">(‘People who are drawn to take free stress tests’, 42)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">If I tell you the sunset is salmon topped with grey... </div><div style="text-align: justify;">[<em>a long breathless assault of imagery follows which is actually pretty decent</em>]{3} </div><div style="text-align: justify;">call me a liar will you</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">(‘Mastery’, 4)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I should like to be rigorous without seeming pedantic.</div><div style="text-align: justify;">I should like to drink the Indian and the Atlantic.</div><div style="text-align: justify;">I should hope. I do, but I’m howyousay? compromised, so.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">(‘There must be something in the water’, 55)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Once upon a time being a poet meant more</div><div style="text-align: justify;"><br />
(‘The unexamined life is not worth living’, 65)</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">And so on. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Tappenden knows how to write appealing, infectious, bouncy, exuberant images and how to play with enjambment and to deadpan &c&c. The problem is her poetry takes failure as failure, and despite all its energy it seems to me it has little faith in the concept of movement{4}. I’d recommend not bothering with this collection. Kennard’s nailed contemporary absurdist, ironic and distinctly English poetry that is actually doing something and believes in itself; Speed, on the other hand, is fluff.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><u>Notes</u><br />
<br />
1. "<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">to state the difficulty, to state the difficulty of stating, is not yet to surmount it – quite the contrary" - <a href="http://etceterart.blogspot.com/2011/01/notes-1-derridas-writing-and-difference.html">Jacques Derrida</a></span><br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></div><br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">2. I picture Fredric Jameson hitting himself over the head with his own book.</span><br />
<br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">3. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The parenthesis is, in case it’s not apparent, mine. (I also happen to think it would, if developed, make a far superior poem to the one that is actually there. But hey, that’s just me, right?)</span></span><br />
<br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">4. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">For a nice summary of what I mean by movement see Neil Williams’ essay <a href="http://etceterart.blogspot.com/2010/12/one-essay-neil-williams.html">here</a>. It is of particular interest in its situating its discussion of movement in Plato’s philosophy, which serves to reinforce and further explicate notions of movement familiar to readers of Heidegger and Derrida.</span></span></span><br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">--</span></span></span><br />
<br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Jim Goar - <em>Seoul Bus Poems </em>and David Gewanter - <em>The Sleep of Reason</em></span></span></span><br />
by Rovert Van Egghen<br />
<br />
<br />
<span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Urgh, I thought, when presented with <em>Seoul Bus Poems</em> by Jim Goar. A collection of poems, most of which, according to the blurb, “began on a bus, [one] began in Bangkok, and others in rooms in rooms between Yonsei University and Bongwon-sa”. No doubt there will be a lot of gap yah anecdotes and half-baked political pieties in a bubble-wrap of self-righteousness. Fortunately, proving that old adage about books and covers true, I was wrong, very, very wrong.</span></span></span><br />
<br />
<em>Seoul Bus Poems</em> is a subtle collection, and indeed at first reading it can seem rather flat and uninspiring. Opening with “I don’t want to write / about leaves. The change in / seasons. my love”, almost begs the response of well, good for you. It also does not help that <em>Seoul Bus Poems</em> contains some absolute clunkers: my favourite being “Just do me a favour, my suicidal rose / And get of the ledge / You’ll kill the dirt if you fall”. Emo angst has never been done so well. Yet it would be too easy to dismiss Goar’s collection as the kind of poetry the ‘experimental’ kid reads at your local Open Mic.<br />
<br />
The key to appreciating <em>Seoul Bus Poems</em> instead lies in appreciating the sounds of the words on the page, the dances with language which Goar undertakes. Lines like “breaking little rakes akimbo” and “blocks of western migration / lemon rubbed teeth of cicadas” roll around the tongue, and sound fantastic when read aloud. What Goar is doing then is creating a sensation of sound, a Cageian clangour of percussion in a most wonderful impression of the noise of a bustling Seoul. What does “lemon rubbed teeth of cicadas” mean? Who cares? What matters is how it sounds, the way the sound of a city rises from Goar’s words.<br />
<br />
These poems appear then like little sketches of an environment, fleetingly viewed from a bus window as the landscape passes by, already gone before it can be comprehended. It is this transparency which gives Goar’s poem their curious lightness, There is a fluid lucidity to them, as images are revealed with all the vividness of rememberance. Witness:<br />
<br />
Opera of Korea<br />
<br />
fish in the store window<br />
<br />
<br />
red lights<br />
<br />
and around more<br />
<br />
red lights<br />
<br />
Simultaneously a capturing of the fish viewed, the baffling uniformity of a city at night, and the sense of journeying through a city at night, Goar is able to create a challenging urban perspective through his masterful formatting and economy with words.<br />
<br />
Goar’s collection then is one which promises little but delivers lots. Its loose fluidity means <em>Seoul Bus Poems</em> is unlikely to stay in the mind days after reading, but it does provide food for thought, evoking a landscape which is slipping away as it is being seen. It is, as Goar puts it, “a map under glass remembering”.<br />
<br />
If only the same could be said for David Gewanter’s <em>The Sleep of Reason</em>. Again proving that old adage, <em>The Sleep of Reason</em> sounds great, promising “alternately delightful and startling poems” where “allegory comes alive” and “Gewanter’s delicate musicality and keen sense of humour sparkle”. Instead the only sound to come out of the collection is one big cumulative yawn. By the end of the collection, I felt like a cheerleader who had snagged a date with the star quarterback, only to find out he cried when we made love.<br />
<br />
Not to say that our star quarterback does not have some good qualities; his hair is nice. And the concepts behind a lot of Gewanter’s poems are promising. ‘Gag’ is about a comedian who eviscerates his family for laughs, which could, indeed should, be fantastic but Gewanter does not so much press the moral of the poem as slam it in our faces, ending with “Should we call it art / just because real people / get hurt”.<br />
<br />
This also occurs with the last poem in the collection 'Hocus Pocus' which begins with a quote from Mariah Carey. However, apparently Mariah is not enough name-dropping, as soon Cassius Clay, Adam Ant, Mr Graham and, inevitably, Oscar Wilde appear - none of them adding anything to the poem, other than giving it an air of burlesque comedy which jars with Gewanter’s moral about mortality and “the Angel / hustles back to the girl’s bed”.<br />
<br />
The poems in the collection which are more focused, such as 'Cobbler’s Children and Divorce' and 'Mr. Circe', work better as instead of seeking to entertain, confuse and lecture us all at the same time, Gewanter demonstrates an effective tone. However, there is something flat about much of Gewanter’s writing - a lack of energy which means that what might be “an offbeat satire for an off-kilter age” is actually bloody boring.<br />
<br />
Gewanter seems to possess neither an ear for the musicality of language, nor a mastery of form. Most of the poems in this collection take a vague free verse form, and on the rare occasion that there is a bit of variety, One-Page Novel for example, it seems tacked on and redundant.<br />
<br />
<em>The Sleep of Reason</em> then is a disappointing collection. It sounded brilliant on the blurb. A poem about 100 rabbits with herpes?! Bet that’s brilliant, funny, quirky and off-beat. Well it’s not, not even a little bit.<br />
<div style="text-align: justify;"></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com1tag:blogger.com,1999:blog-8637423620307521684.post-68837787218283875872011-02-17T04:18:00.000-08:002011-02-17T04:18:08.132-08:00Two Stories - John Osborne<span class="yiv1593365659yiv1462325835Apple-style-span" style="color: #414141; font-family: verdana; font-size: 10px; line-height: 16px;"><b>The Japanese Restaurant</b><br />
<br />
On my lunchbreak I walked past a Japanese restaurant and saw my friends at a table by the window. They were laughing, drinking; I had never seen them so happy. The same time the next week they were there again, the same eight, my closest friends in the world who I loved spending time with. The next week they were there again, this time I went inside and out of sight of their table I talked to a waiter.<br />
'How long have those people by the window been coming here?' I asked.<br />
'Well I've worked here for a year and they were regulars when I started' he told me, folding a serviette into a swan.<br />
'Always the same eight people?'<br />
'Always the same eight people' he said and asked me to leave.<br />
<br />
The next week I arrived as the restaurant was opening.<br />
'I have a favour to ask' I said to the same waiter, who was hoovering the foyer. 'When that table of eight eat here later will you eavesdrop, write down everything you hear and I will come tonight and you can tell me.'<br />
'No' the waiter said, wrapping the flex around the handle of the vacuum cleaner.<br />
'Please' I begged, and watered the plants as he polished the knives and forks.<br />
'What were they talking about?' I asked that night. The waiter and I were sharing a cab home after realising we lived on the same road.<br />
'I cannot tell you' the waiter told me.<br />
'I need to know' I said but he shook his head and remained quiet for the rest of the journey.<br />
<br />
'I'm desperate to know!' I said the next day.<br />
'To be honest I didn't hear much. It was hard with the sound of laughter and popping of Champagne.'<br />
'Okay' I said, and his wife handed me a towel and I thanked them for the use of their swimming pool.<br />
'But here's what I think' the waiter told me. 'This isn't about anything I heard, but it's how I feel sometimes around people I know. Maybe you take your friends for granted. Maybe you are happy to take their compliments and invitations and advice but reluctant to give anything back. Maybe life is easier for them without you. Maybe you aren't generous enough.'<br />
<br />
So I invited them round to my house, all eight. I bought Champagne and port and cheeses. I cooked Japanese food and watched as they prtended to struggle with their chopsticks.<br />
<br />
<br />
<br />
<b>They couldn't stop tickling each other</b><br />
<br />
<span class="yiv1593365659yiv1462325835Apple-style-span" style="font-size: 10px; line-height: 16px;"></span><br />
They went to restaurants because they hated doing the washing up. They always followed the same rule: they would never order for themselves. At first they would just pick for each other from the menu. When the novelty of this wore off, they would ask strangers to chose for them. One time they invited another couple to join them at their table and they all ordered for each other.<br />
<br />
They had one favourite restaurant, where the waitresses knew not even to give them the menu. In the kitchen, the chef would be told of their arrival, and he would prepare their secret, special dishes. They told him to create whatever he wanted, neither had peanut allergies and both quite liked seafood.<br />
<br />
Soon the restaurant got rid of the menus completely, every guest followed the same rule, the chef decided the dish they would eat. Every single plate was returned to the kitchen empty.<br />
<br />
They always read the same book at the same time. Next to each other on the settee they will turn the pages as one. They have a four poster bed. Once they had a pillow fight, and rose petals fluttered over the bed instead of feathers. When they ran the bath, champagne came from the taps, despite being connected only to a water tank. The plumber was baffled.<br />
--<br />
<br />
<span class="yiv1593365659yiv1462325835Apple-style-span" style="color: #414141; font-family: verdana; font-size: 10px; line-height: 16px;"><b>John Osborne</b> has had two non-fiction books published by Simon&Schuster. The first, <i>Radio Head</i>, was broadcast as Radio 4's Book of the Week in 2009. The second, <i>The Newsagent's Window</i> was published earlier this year. He has had poetry published in The Guardian, The Rialto and The Spectator, and his first pamphlet, <i>What if men burst in wearing balaclavas</i> was released earlier this year, published by Nasty Little Press<i>.</i></span> <br />
<br />
</span>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-62553705118700041942011-02-09T10:22:00.000-08:002011-02-12T05:53:52.043-08:00Four Poems - Joe Dresner<div class="ecxMsoNormal"><b><span lang="EN-GB">Cecile</span></b></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">I feel as though your name should have an accent</span></div><div class="ecxMsoNormal"><span lang="EN-GB">hovering over one of the letters like a little hat.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">The pair of sharp droll consonants are tempered</span></div><div class="ecxMsoNormal"><span lang="EN-GB">by the cool clipped vowels as strawberries are tempered in cream.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">My memories of last night are as fragile</span></div><div class="ecxMsoNormal"><span lang="EN-GB">and unreal as fingerprints.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">I hold the memory of last night as you’d hold</span></div><div class="ecxMsoNormal"><span lang="EN-GB">an egg in a spoon.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">The buildings flank me like soldiers.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Everyone is jealous of me and you.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Cecile, I have become reckless,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">buying wine, sandwiches, clothes,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">I am reckless at pedestrian crossings,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">narrowly missing a car. I’m oblivious,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">as if I were engrossed in a good book,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">a book called <i>Cecile</i>.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><br />
</div><span lang="EN-GB"></span><br />
<div class="ecxMsoNormal"><b><span lang="EN-GB">Swagger: A Portrait of a Cavalier</span></b></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">Leather. Sexy. <i>Chiffon.</i></span></div><div class="ecxMsoNormal"><span lang="EN-GB">Some serious Carolinian <i>bling</i>.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">First the doublet, a <i>justacorp</i>, silk sashes, pink on white,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">a lesson in studied negligence, it fits so clumsily</span></div><div class="ecxMsoNormal"><span lang="EN-GB">it looks as if it could collapse at any moment</span></div><div class="ecxMsoNormal"><span lang="EN-GB">like a poorly pitched tent. The ruff, declining over </span></div><div class="ecxMsoNormal"><span lang="EN-GB">the neck and shoulder is made of lace so fine</span></div><div class="ecxMsoNormal"><span lang="EN-GB">it would fall through your fingers like water.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">Silk. Pearl . <i>Crepe-de-chine</i>.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">His beard is as trim as a magician’s trick,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">the hair tousled, neck length. The <i>lovelock</i>, a single strand</span></div><div class="ecxMsoNormal"><span lang="EN-GB">left to grow down the back, is Rapunzel's wet dream.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Now the hat, a cocked <i>capotain</i>, is as wide as a shield,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">topped with some ostrich pluck,</span></div><div class="ecxMsoNormal"><span lang="EN-GB">the sort of hat you could bury your head in.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><i><span lang="EN-GB">Cambric</span></i><span lang="EN-GB">. Fuck me. <i>Taffeta</i>.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">Satin black breeches, skin-tight, set off his thighs.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Then a pair of bright hosed boots, gay and expendable as soldiers.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Each boot has a buckle fit to bind a giant’s belt.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">Each boot has a ribbon rosette like an exotic sponge.</span></div><div class="ecxMsoNormal"><span lang="EN-GB">The spurs look as soft as gold.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><i><span lang="EN-GB">Charmeuse</span></i><span lang="EN-GB">. <i>Camblet</i>. Kiss-me-quick.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">But he is eighteen, perhaps twenty, and his pale blue eyes</span></div><div class="ecxMsoNormal"><span lang="EN-GB">leave it open as to whether such a discernable swagger</span></div><div class="ecxMsoNormal"><span lang="EN-GB">was on account of a conviction or a doubt.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><br />
</div><span lang="EN-GB"></span><br />
<div class="ecxMsoNormal"><b><span lang="EN-GB">The End of the Affair</span></b></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><span lang="EN-GB">I remember that in the Capital</span></div><div class="ecxMsoNormal"><span lang="EN-GB"> they have trees along the side of the road</span></div><div class="ecxMsoNormal"><span lang="EN-GB">with perfect right-angle corners cut</span></div><div class="ecxMsoNormal"><span lang="EN-GB"> in to the leafy dome their branches form</span></div><div class="ecxMsoNormal"><span lang="EN-GB">so that when double deckers go by</span></div><div class="ecxMsoNormal"><span lang="EN-GB"> the tips of the trees’ outmost twigs avoid</span></div><div class="ecxMsoNormal"><span lang="EN-GB">the sides of the buses so neatly</span></div><div class="ecxMsoNormal"><span lang="EN-GB"> it is as if they were breathing in to let them past.</span></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal"><br />
</div><span lang="EN-GB"><div class="ecxMsoNormal"><b><span lang="EN-GB">Bio</span></b></div><div class="ecxMsoNormal"><br />
</div><div class="ecxMsoNormal" style="text-align: justify;"><span lang="EN-GB">Being both vain and deeply insecure she would hijack every Christmas by hiding in bed all day strapped into her defibrillator, conspicuous in her absence. I remember a silver platter at the centre of the dining room table holding the remains of a denuded turkey. Bits of glistening skin like pads of makeup, the rich bones like knuckles of lipstick, cartilage thin and feathery as mascara sticks. “Kiss your sister goodbye”, she reminded me once, “you were close when you were little, you shared the toilet together, both sitting on one half of the bowl.” Even now the smell of filter coffee and perfume stalls in department stores will remind me of her cheap glamour, the aroma overcoming me as tears will overcome mascara and compose the powder into ink. Regrets become apparent. Debts make themselves known. “You will need your family one day” she warned me, before offering me a pan as I left for University. As if I might use it to sift for something in my father’s final words on the matter: as she was carried out in her coffin, her lungs finally done in, he whispered “she’s not in there”, which I have taken as figurative rather than merely literal.</span><br />
<span lang="EN-GB"> --</span><br />
<span lang="EN-GB"> </span><br />
<span lang="EN-GB"><b>Joe Dresner</b> </span>is a 23 year old poet from Sunderland. He works at the Royal Academy of Arts as an administrator in their retail department. His work has been published in magazines like <i>South</i> and <i>Fuselit </i>and online at <i>Cadaverine</i> and <i>Pomegranate</i>.<span lang="EN-GB"></span></div></span>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-84348405679090091612011-02-04T09:28:00.000-08:002011-02-04T09:28:30.363-08:00Two Poems - A.W. Singerman<strong>My My</strong><br />
<br />
<br />
My my has been held<br />
up if you could please<br />
yourself at least one<br />
time of us would not<br />
stand shaking. Still<br />
who can resist a lie<br />
spread so flat it is<br />
truly impressive?<br />
<br />
<br />
<strong>More Like It</strong><br />
<br />
<br />
Start then<br />
I mean now<br />
I mean I do not mean<br />
I mean - come on<br />
<br />
listen close<br />
the door is shut<br />
<br />
the wind rhymes<br />
with tighten<br />
if you just<br />
<br />
start now<br />
now start<br />
--<br />
<br />
<strong>Alex Willie Singerman</strong> is a poet and songwriter based in London. His work has featured in publications including <i>Streetcake, Anything Anymore Anywhere </i>and<i> Erbacce. </i>A collection of his poetry, entitled <i>May<span style="font-style: normal;">, was published earlier this year (<a href="http://www.lulu.com/product/paperback/may/11474926" rel="nofollow" target="_blank">http://www.lulu.com/product/paperback/may/11474926</a>) and his new mini-album, </span>Some Songs In Green Pen<span style="font-style: normal;">, will soon be available on <a href="http://williesingerman.bandcamp.com/" rel="nofollow" target="_blank">http://williesingerman.bandcamp.com/</a> </span></i>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-51736368328428890842011-01-28T09:11:00.000-08:002011-01-28T09:11:51.698-08:00UEA Writers #5 - Andy Spragg w/illustration by Natalie Orme<strong><em>lois scélérates</em></strong><br />
<br />
<br />
The first to be heard<br />
is scattering coins<br />
before the pipes and plaster <br />
give way.<br />
<br />
<br />
Our braves are caught in the foundry gaze, <br />
an irradiated fat quench of things - <br />
as foot-notes go it's all<br />
prepped papers,<br />
and faultline economics <br />
and an absence of trust.<br />
<br />
<br />
Beleaguering, the yelp does not get tied<br />
down in specifics – the day doubles,<br />
then stretches beyond remand.<br />
<br />
<br />
In the past a mistake was made,<br />
there are over a hundred <br />
ways to clarify butter.<br />
<br />
<br />
<strong>Running down on under-privilege</strong><br />
<br />
<br />
an ill judge of statues, he stands to one side and tries to measure <br />
the space by sight alone. Where would alabaster best serve his<br />
composing eye? In the alcove there is a leaden shade, brush it<br />
out - a fill of scraps, an acquirement of novel depths, the sum of<br />
his diagram. Meanwhile, a chorus is shrinking from the foreground,<br />
a few muffled expressions, musical tongues forward to find a<br />
mooring in amongst the clutter.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaOxBWN5VQ1kfUVktwJjhyMUiQTs2mUIFk8JT-W1zJycrLsNp7G8fadCrw9w4Es3a5Uvftvfu3gICXRRTjsaxuQl8nJRTnKeJA8GRuTfgwom9cRzzdNwGW5ANlhzpab5FzEdbKSY_cYE/s1600/Andy+Spragg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" s5="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaOxBWN5VQ1kfUVktwJjhyMUiQTs2mUIFk8JT-W1zJycrLsNp7G8fadCrw9w4Es3a5Uvftvfu3gICXRRTjsaxuQl8nJRTnKeJA8GRuTfgwom9cRzzdNwGW5ANlhzpab5FzEdbKSY_cYE/s640/Andy+Spragg.jpg" width="441" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><strong>Taking in edges</strong></div><br />
<br />
The shape is an uproar of angles – there<br />
is a spit-shine rise in its proportions <br />
alleviating one acoustic shape after<br />
another. Ducking monuments and<br />
a matter – those shades in granite<br />
are strict or serious relief.<br />
--<br />
<br />
<strong>Andrew Spragg</strong> is a poet, performer and critic. He has a blog at http://www.brokenloop.blogspot.com/ He is a founding member of the Norwich Poetry Choir and writes regularly for Rhythm Circus and Bonafide Magazine. In recent months he has completed the script for <em>SHOEBOX</em>, a performance piece staged by The Effort in 2010. He was Literature Coordinator for this year’s Norwich Fringe Festival. <br />
<br />
<br />
He is currently working with flautist Julie Groves as performance group 'Between Soundings'. <br />
<br />
He studied at UEA and obtained a BA in American Literature and Creative Writing. He remembers Norwich fondly. <br />
<br />
<br />
Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0tag:blogger.com,1999:blog-8637423620307521684.post-28211371371979309572011-01-18T11:09:00.000-08:002011-01-18T11:09:34.198-08:00Notes #1 -- Derrida's Writing and Difference in-the-world<strong><span style="font-size: large;">Unveiling Deconstruction, and Working-Towards</span></strong><br />
<br />
It is evident from the beginning of <em>Writing and Difference</em> that the misinterpretations of Derrida’s work that still absurdly and doggedly remain in place, framed by the frankly moronic utterances of certain “philosophers, as well as literary critics” who believe it conveys the notion that “just anything is possible”, that Derridean philosophy is “a license for arbitrary freeplay in flagrant disregard of all established rules of...the interpretative communities”[1] are founded on nothing but misreading, wilful or not. As Derrida himself has clearly stated, “A written sign, in the usual sense of the word, is a mark which remains...in a given <em>context</em>” [my italics][2] – <em>context</em>, not <em>text</em>, as many have claimed, including Derrida’s former teacher, Michel Foucault, who, frustrated by the flaws he perceived in Derrida’s essay ‘Cogito and the History of Madness’ in relation to his (Foucault’s) own work, reinforced this misconception, dismissing deconstruction as a “historically well-determined little pedagogy...which teaches the student that there is nothing outside the text”[3]. Not only is this a patent fallacy, as the short reading of it I will offer should show, one that is exposed as so by even the most cursory close reading, but Derrida himself contradicts many of the accusations which have been flung his way in the first essay of the collection. After arguing that “to dream of reducing it [in this case structuralism, but essentially anything that can be read as a ‘text’] to a sign of the times is to dream of violence”[4], he writes:<br />
<br />
<div style="text-align: center;">By keeping to the legitimate intention of protecting the <em>internal</em> truth and meaning of the work from historicism, biographism or psychologism...one risks losing any attentiveness to the internal historicity of the work itself, in its relationship to a subjective origin that is not simply psychological or mental...one risks overlooking another history, more difficult to conceive: the history of the meaning of the work itself, its <em>operation</em>. (WD, 15) </div><br />
<br />
This is not stating that the only way of reading a text is by <em>reading the text</em>, ignoring its historical context; it is opening up the deconstruction of the absolutism of a historicist (or <em>any</em> ideological) approach to interpretation. Simply, history (or whichever discourse from which one works) is discourse, not fact. It is text, and subject to the same rules as any other text. His philosophy is not <em>anti-history</em>, it is against the blind assumption of a priori truth. Evidence for this appears throughout <em>Writing and Difference</em>, not least in the essay Foucault took offence to, in which it is explicitly stated that one can <em>never</em> escape historicity – “one can protest it [the logocentric view of history and Reason] only from within it”(WD, 42).<br />
<br />
The early essays in the collection situate Derrida’s thought very much within historical discourse, I would say irrefutably so, before shifting their attention towards a deconstructive approach to reading and meaning. Also from the above quoted essay: “Philosophy is perhaps the reassurance given against the anguish of being mad at the point of greatest proximity to madness”(WD, 72). Madness, in <em>Writing and Difference</em>, stands for what a logocentric system, transdiscourse, has refused to confront “by virtue of the historical enunciation” through which’s absolutist lens “philosophy tranquilises itself and excludes madness [and] also betrays itself...enters into a crisis and a forgetting of itself that are an essential and necessary period of its movement”. Derrida’s philosophy refuses to tranquilise itself, refuses to be put off by the “<em>other</em> light” of ‘madness’, from a logocentric viewpoint seemingly “black and hardly natural”; it (in both senses of the word) admits play, deferral (<em>differance</em>) and shows it to be the truest position from which to think, to be: “I philosophise only in <em>terror</em>, but in the <em>confessed</em> terror of going mad”(WD, 75-6).<br />
<br />
The key essay is, of course, the much-anthologised ‘Structure, Sign and Play in the Discourse of the Human Sciences’, in which, via a masterful reading of Levi-Strauss, Derrida outlines the ‘two interpretations of interpretation’:<br />
<br />
1) The first interpretation seeks to decipher, “dreams of deciphering a truth or an origin which escapes play and the order of the sign, and which lives the necessity of interpretation as an exile”(WD, 369).<br />
<br />
2) The other disregards the notion of <em>true</em> origin, “affirms play and tries to pass beyond man and humanism”, man being he who “has dreamed of full presence, the reassuring foundation, the origin and end of play”(WD, 370).<br />
<br />
Why the need for to look at interpretation rather than simply interpreting? Because, much as pre-Heidegger the notion of Being was always <em>simply assumed</em>, and “the question of the meaning of Being” was held “to be superfluous”[5] due to the assumed obviousness of the ‘answer’, interpretation and the act of reading, <em>what it is to derive meaning from a system of signs</em>, has been “neutralised or reduced” by its being given “a centre or [by] referring it to a point of presence, a fixed origin” – “to orient, balance and organise”. All of which served to limit the “<em>play</em> of the structure”, gave it a “total form”(WD, 352) . Derrida deconstructs this idea, drawing on the “Nietzschean critique of metaphysics [and] concepts of Being and truth”, the “Freudian critique of self-presence” and the “Heideggerian destruction [destructuring] of metaphysics, of onto-theology, of the determination of Being as presence”(WD, 354), to expose the centre as a myth, to <em>decentre</em> it, as this centre was never “anything which had somehow existed before it” was defined as the centre: merely a “process of signification which orders the displacements and substitutions for this law of central presence”, “not a fixed locus but a function, a sort of nonlocus in which an infinite number of sign-substitutions came into play” – no longer can we think of it as a “present being”(WD, 353-4) . Because in language there is no transcendental signified, because language is a system of differences and binaries, deconstruction works so effortlessly: “language bears <em>within itself</em> the necessity of its own critique” [my italics][WD, 358]. Thus, the two interpretations of interpretation.<br />
<br />
It is worth looking more closely at the two interpretations, for they are very much key to understanding what Derrida’s work is doing throughout his career. The first interpretation aims to “question systematically and rigorously the history” of discourse, to concern itself with “the founding concepts of the entire history of philosophy” – “probably the most daring way of making a step outside of philosophy” – which is “much more difficult to conceive than is generally imagined” and tends to result in being “swallowed up in metaphysics” never actually “disengaging from it”(WD, 358-9) .<br />
<br />
The second interpretation, which, beneficially, may “avoid the possibly sterilising effects of the first one” involves accepting the need but inadequacy of the discourses we have, conserving them while “here and there denouncing their limits, treating them as tools which can still be used.” We remove from them their “truth value” and are ready to “abandon them” should “other instruments appear more useful” – this “is how the language of the social sciences criticises <em>itself</em>”.<br />
<br />
Of course, Derrida never sets this up as an absolutist binary – “there is no question of any <em>choosing</em>” between the two interpretations. Instead, ideally for Derrida and, in my opinion, for <em>all discourse</em>, one accepts the enlightened pragmatism of the second interpretation as a kind of default position (while obviously not ceasing to question and deconstruct said position) while working towards and believing in the first, difficulty or even impossibility aside. This is deconstruction – not a systematic negation, wanton nihilism, but a truth-seeking tool; not an end in itself, nor <em>anything</em> in itself, but a way of seeing as clearly as one can see from an essentially postlapsarian state.<br />
<br />
So far, so explicatory. I am not interested in merely pointing out what Derrida is doing; it’s been done before, far better than I could hope to. What I <em>am</em> interested in is using deconstruction <em>authentically</em>, in both the Heideggerian sense of the term and in relation to the context (i.e. Derrida’s philosophy) from which I’ve taken it, and there is one very small part of <em>Writing and Difference</em> that offers the beginning of a framework towards doing this. It is a very simple statement from early in the book relating to the ‘silence of madness’, the neglected state <em>otherness</em> – the unknowableness of the ‘essence’ of things outside of language, away from their names – was, and still is, consigned to by an essentially logocentric society: <br />
<br />
<div style="text-align: center;">to state the difficulty, to state the difficulty of stating, is not yet to surmount it – quite the contrary. (WD, 44) </div><br />
It is not enough, especially now, to merely point out that there is no absolute, no transcendental signified, no way of accessing ‘essence’, the pre-sign; now we must do something <em>towards</em> it, we must move forwards, we must <em>approach the borders</em>, the “walls which all discourse runs up against”[6], and not simply stop. We must bang our fists against them and swell in the sound, and look for the flakes that may or may not crumble from it. This is what I want to begin to work towards in my dissertation, and what I <em>will</em> work towards in my life, be it academically or otherwise. It is this exhausted, damaging logocentric and essentially capitalistic prohibition of ‘madness’, of otherness, of whatever word you want to give it, that is the reason for the pitiful state of our society, or at least for our education system, which, improved, would stand a chance at actually making a difference in changing our society for the better. For opening up learning, and allowing it to be <em>for its own sake</em>, not simply as preparation for a job. Not simply because that’s <em>just what you do</em>: school, exams, gap year posing with little black children (photos taken on a camera the money you paid for which could probably, for a short while at least, radically improve their lives), university and light alcoholism, job marriage kids. Again, this isn’t a novel proposal, is barely different, as far as I’m aware, from what Derrida and Foucault and many others have been arguing for years. But I consider it important, valid and valuable in that it’s an area that is neglected by universities at an undergrad level. Surely we should be better teaching students to think for themselves, and exposing them to the work that can enable them to do so, that can provide them with the necessary tools. I would like to be a part of working towards this.<br />
<br />
---<br />
<br />
<strong>Notes</strong><br />
<br />
1. <span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Rodolphe Gasché, "Infrastructures and Systematicity," in <i style="mso-bidi-font-style: normal;">Deconstruction and Philosophy</i>, ed. John Sallis (Chicago: Chicago University Press, 1987), pp. 3-4</span><br />
<br />
<span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">2. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Jacques Derrida, <i style="mso-bidi-font-style: normal;">Margins of Philosophy</i>, trans. Alan Bass (Chicago: Chicago University Press, 1982), p. 317</span></span><br />
<br />
<span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">3. <span style="font-size: x-small;">Michel Foucault, <i style="mso-bidi-font-style: normal;">History of Madness</i>, <span lang="EN" style="mso-ansi-language: EN;">trans. J. Murphy and J. Khalfa (New York: Routledge, 2006), p. 573</span></span></span></span><br />
<br />
<span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"><span lang="EN" style="mso-ansi-language: EN;">4. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Jacques Derrida, <i style="mso-bidi-font-style: normal;">Writing and Difference, </i>trans. Alan Bass (Oxon: Routledge, 2008), p. 2</span></span></span></span></span><br />
<br />
<span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"><span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">5. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Martin Heidegger, <i style="mso-bidi-font-style: normal;">Being and Time</i>, </span><span style="font-family: 'Calibri','sans-serif'; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">trans.</span><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span style="font-family: 'Calibri','sans-serif'; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Joan Stambaugh, J. Glenn Gray and David Farrell Krell (London: Routledge, 2008), p. 8</span></span></span></span></span></span><br />
<br />
<span lang="EN" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"><span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 9pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">6. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">George Steiner, <i style="mso-bidi-font-style: normal;">Errata: An Examined Life</i> (London: Phoenix, 1998) p. 64</span></span></span></span></span></span></span>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com1tag:blogger.com,1999:blog-8637423620307521684.post-68520576412930484892011-01-12T10:20:00.000-08:002011-01-12T10:23:15.642-08:00One Essay - Joshua Jones<div style="text-align: justify;"><strong><span style="font-size: large;">Building an Argument Towards Being: Dwelling in and on music</span></strong> <br />
<br />
<br />
In ‘Building Dwelling Thinking’[1], Martin Heidegger formulated a model of Being around the interconnectedness of ‘building’ and ‘dwelling’. Simply put, “Building is really dwelling” and “Dwelling is the manner in which mortals are on the earth”[PLT, 146]. Building and dwelling are not separate activities: “to build is in itself already to dwell”[145]. He sources this theory through situating his meaning of the word <em>bauen</em>, to build, in the Old High German word for ‘building’, <em>buan</em>, which primarily means ‘to dwell’, and signifies ‘to remain, to stay in place’ . From this he traces the “original meaning” up to contemporary German: “<em>ich</em> <em>bin</em>, I am, <em>du</em> <em>bist</em>, you are, the imperative form <em>bis</em>, be”. Bin belongs to the old version of <em>bauen</em>; thus, “<em>ich</em> <em>bin</em>, <em>du</em> <em>bist</em> mean I dwell, you dwell. The way in which you are and I am, the manner in which we humans are on the earth, is <em>buan</em>, dwelling” . John Burnside, in <em>The</em> <em>Asylum</em> <em>Dance</em>[2], draws heavily on this concept: the idea that mortals “<em>must ever learn to dwell</em>”, that we are perennially homeless and that this homelessness is our home, a continual searching for and deferral of “the essence of dwelling”[PLT, 160-1]. Burnside incorporates this idea at and as the collection’s core, creating a poetry that is continually moving, continually finding and losing ground in time and place, seeing and letting the seen dissolve, documenting the yearning for “anything/we can use to make a dwelling in this world”[AD, 8]. The motion of deferral is the only stasis, and it is only in this never completed ‘building’ that we can truly dwell, can truly be. But how does this relate to music, and, more specifically, how does this relate to the music I would like to discuss in this essay? By looking at a selection of songs, as well as work by Roland Barthes, all the while bearing in mind the shared ontological stance of Heidegger and Burnside, I would like to show their interrelatedness; how, despite using different language (or no language at all), they are all, so to speak, playing in the same key, and when considered together coalesce into what is, for me (for what else, ultimately, <em>is</em> music, but <em>for</em> <em>me</em>?), an acceptably complete aesthetic-ontological approach to experiencing music.</div><br />
<br />
Of all the Sunset Rubdown (Spencer Krug) songs, ‘Coming to at Dawn’ features the least instrumentation. It consists solely of Krug’s vocals and piano, the two interweaving each other’s minutely varied melodies. It is precisely this minimalism that makes the song interesting to look at here. Krug is the kind of songwriter whose lyrics matter very much in terms of appreciating the music as a whole, and despite the disparity between performance and page, the poeticity of his writing is evident even on paper. Nonetheless, it is his delivery that fuels the song, and it is the way the voice wraps around the words alongside the piano’s chords and arpeggios that renders ‘Coming to at Dawn’ important. The song conveys the sense of having compressed words and music down to their most naked form, their most bodily, which is reinforced by its lack of production. There is a tone of intimacy, of confession – not ‘confessional’ in an autobiographical sense (his songwriting is more mythological than personal), but in the sense that a <em>body</em> is performing. The term ‘body’, as used by Barthes in his later works, acts as a reinscribing of ‘the subject’, in opposition to, say, the conscious Cartesian self and, as in its famous <em>cogito</em> ‘I think therefore I am’, its focus on the ‘mind’. It is the ‘something other’ than conventionally logical and logocentric modes of understanding: “there is a chance of ‘avant-garde’ when it is the body...that writes”[3]. In music, Barthes listens not for what is “articulated” but what “is at once outside of meaning and non-meaning”[4], for <em>signifiance</em> over what is signified. He listens for the ‘grain’ of the voice, for “the body in the singing voice, in the writing hand, in the performing limb”[5]. The word ‘grain’ implies physicality, bodiliness, but it also signifies, for Barthes, something unquantifiable, unknowable, something one reaches for and simultaneously experiences and constructs – in this case in the act of listening to music – but which cannot be logically proven or even adequately explained.<br />
<br />
The speaker in ‘Coming to at Dawn’ seeks to “Obliterate the memory of coming to at dawn, knowing only that the night has gone”[6], and the song itself is a performance of this act of obliteration. As the song progresses, “the night” as signifier and concept expands, becoming the passing of something both ‘natural’ (“wipe the grass stains from the cloth”) and primal:<br />
<br />
<br />
Obliterate the raspberries and the wild cherry juices<br />
That you trailed along the floor of the whore-house that you used<br />
As a store room for your fox furs[...]<br />
<br />
It becomes a site in which the conventionally ‘natural’ mingles with the underbelly of desire, the hunger of the id, and the impossibility of reclaiming a lost presence. The act of failing to remember exactly as it was <em>is</em> the obliteration. But it is not so much the specific content of the lyrics that expresses this as the phrasing. One example would be: “o-BLITerate the/MEM-ory of/COM-ing to at/ Dawn”, the way the stressed syllables slowly soften, linger on into the next stress, until there is the slightest pause before ‘dawn’, on which the piano line concludes itself and the voice sings just a note or two higher, reflecting the remove from “the night” in which “dawn” resides. Another example would be the way two different lines are elevated from the rest of the song due to the emphasised descending chords on the piano and vocal melody, each occurring once, in which an attempt to remember is made and celebrated but acknowledged as futile, before returning to the refrain of “Obliterate the memory...”. One listens as much to what is being said as how it is being said: the unconventional, impassioned lone voice, its tremors and flights around and via the sole piano track, the lack of an established self and, in its place, a body yearning to escape from the absence of a lost presence and into something else, into <em>something other</em>. All of which builds towards the song’s final assertion that <br />
<br />
There is a tower with a winding set of stairs <br />
You will descend into the absolute light. <br />
Into the absoluteness of light<br />
And become aware.<br />
<br />
It is a desire that echoes the Barthesian notion of the aesthetic experience of listening to the grain of the voice, and is the point the song is <em>building</em> towards, the state of “becom[ing] aware”, which recalls the Heideggerian notion of Being equalling building/dwelling. One follows the song’s moving body, its building body (again, the word ‘grain’ seems apt in relation to the physicality of building), toward its own ‘completion’, which of course it and we can never really experience: the “absoluteness of light” ends the song; it cannot be depicted <em>truly</em> in all its absoluteness. Instead it is experienced via the ending of the song, which is now no longer essential – it is no longer concerned with forgetting/obliterating what was before, and has reached the inexpressible present moment, its dwelling place, its home; and the listener’s experience replicates this: they are directed towards a state of being one can attain via art by a song that itself yearns to build a site, a <em>home</em>, in which it can dwell. And while at the end of the song one can point out that it never really arrived at the place it sought, instead stopping just before it at “the walls which all discourse runs up against”[7] , it is in experiencing the body of the music that we experience the song’s <em>building</em> – in which all the keys necessary to comprehending the song’s <em>dwelling</em> reside, and in which a listener can experience a feeling of Being despite not necessarily being able to adequately explain it.<br />
<br />
Burnside’s poetry, reaching for this same site (or non-site), echoes the song’s urging. Whenever his speaker encounters the possibility of a moment of Being, a moment of dwelling, he defers the impossibility of expressing it into talk of music and light (“head tilted to a night-sky packed with light/I waited for a music I could feel”[AD, 11]), in the process reinforcing the potential music has to situate Being. The other prominent theme in <em>The Asylum Dance</em> is childhood; or rather the absence inherent in any recollection of childhood, the remembrance retroactively altering that which is being recalled – one will never be able to remember the past <em>as it was</em>. The second song I would like to look at, Neutral Milk Hotel’s ‘King of Carrot Flowers Part One’, expands on and provides solutions to the difficulty of reconstruction. It begins with a series of whimsical non-sequiturs:<br />
<br />
When you were young you were the king of carrot flowers<br />
And how you built a tower tumbling through the trees<br />
In holy rattlesnakes that fell all round my feet[8] <br />
<br />
sung over the top of elemental chords from a lone guitar. The singer’s (Jeff Mangum’s) voice is idiosyncratic and nasal yet loud and confident, throwing itself into the lines and holding notes seemingly for the sake of it. His singing, regardless of what is being sung, contains an undefined <em>jouissance</em> at simply being sounded, a relish for the creation of sound perfectly befitting the song, which, as the rest of the band kicks in, veers into slightly more locatable images. It becomes apparent that its subject is childhood, and it dips between lucidly unclear images of innocence stretching towards experience and the spectacle of parents’ relationship coming apart. Like an Ashbery poem, tense and speaker mutate, in the process decentring any stable self one could seek to find as well as disrupting the fictive present moment in which the song is being performed. As an unannounced ‘we’ “lay and learn what each other’s bodies were for”, it is revealed that “Mom would stick a fork right into daddy’s shoulder, and Dad would spill the garbage all across the floor”. This disparity in subject matter, sung triumphantly, is embedded within a woozy music, brass and wind instruments spilling everywhere, sounding like the internal experience of a drunken child at a parade being remembered by the same euphorically intoxicated adult. The song is its march, building towards something that will not be concluded – it is the procession, the spatter of memory and the movement of the music, that matters, along with the celebration that is the voice. Childhood cannot be adequately recalled <em>as it was</em>; Mangum’s lyrics, which on paper would lose a lot of their immediate quality, link with the voice and music to create a nonlinear impressionistic version of the wholly subjective experience of remembering what has gone, and it is only <em>in</em> the music that this idea can be understood. Which is, I believe, an important point for the efficacy of music: Burnside can indicate this reconstructive act’s need to operate ‘otherly’, but can only do so by reaching language’s limit points. Krug’s and Mangum’s music goes a step further, not dissimilarly to the idea of the divide between theory and practice. Their music acts out the ideas proposed by Heidegger and Burnside, becomes ‘living’ embodiments of the striving towards Being that is building/dwelling. ‘King of Carrot Flowers Part One’ <em>creates</em> a site in which what has gone can return, less hampered by the ideological problems posed by linguistic reconstruction. Of course, these ideas are obviously not <em>inherent</em> in the music, nor am I implying that Mangum and Krug are deliberately intending to convey Heideggerian theory musically – the ideas are reconstructed in listening and interpreting and, in this case, being elucidated and narrativised by my essay, filtered through my own ideological position and my subjective experience of life and of interpreting the abstract, and they arguably lose their force in the process of being diluted into the comparative finitude of language. This is unavoidable if one is to attempt to legibly express oneself. Language is continually building, continually deferring, always has the potential to guide and house Being (which, as established, is never static); music is too, albeit with different tools. It is for this reason that I would argue music comes closer to that which comes before the sign, the lost ‘original’ presence, the <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><strike>S</strike>[9]</span>; that music can enact that which language can only point towards, even if language is very much essential to understanding music’s effects.<br />
<br />
Sigur Rós are a perfect example of this. Their lyrics are to a Western audience largely incomprehensible: they are sung in Icelandic. More interestingly, a large number of the band’s songs are sung in ‘Hopelandic’, which is not so much an invented language as a “form of gibberish vocals that fits to the music and acts as another instrument. Jónsi [lyricist and singer] likens it with what singers sometimes do when they’ve decided on the melody but haven’t written the lyrics yet”[10] . While it is by no means original to describe vocals (and lyrics)[11] as just another instrument, Sigur Rós are interesting in that they’ve become very popular in this country, entering the mainstream charts and soundtracking any number of adverts and films, and yet they are singing not only in a language most people don’t understand, but also in a non-language, and it is very difficult for any listener without a knowledge of Icelandic to tell the difference. Listening to Sigur Rós becomes, from this perspective, a strange experience – the possibility of concrete signification is taken away from the listener. One has, so to speak, no idea what they’re going on about. The listener can, of course, simply apply a meaning to the ‘tone’ of the songs and neatly cross-out any uneasiness they may otherwise feel, but that would be beside the point. Instead, one can allow one’s control of the listening experience to be taken away from them, be cast into the realm of the signifier, of <em>signifiance</em>. But, unlike that Barthesian ideal, there is no body in their music. Or rather, the music is not so much nonhuman as <em>unbodily</em>. One cannot detect “the body in the singing voice” or in the otherworldly instrumentation. Instead, the band open up the possibility of a less immediately personal understanding of music. Their songs are a womblike site. One can be submerged in them[12] , can hear the trace of a time – unremembered – in which words did not yet exist. In many ways their music is re-enacting the ultimate lost presence, that of not yet being born – something every human being has (and yet has not) experienced. The music is thus not so much subjective as intersubjective, and yet never really explicable as such. It is a building, a homeseeking, a drive towards the originary dwelling place, a place, one could argue, of <em>pure being</em>. One listens to the words purely for the tactile pleasure of their <em>signifiance</em> the same way as one listens to the music: words/music ceases to be a binary. Of course, this place of ‘pure being’ implied by the song is just that – an implication. It is not something that can be attained. Rather it is the building towards it that constitutes the possibility of it and becomes, in the process, <em>it</em>, in the only tangible way possible.<br />
<br />
So how do all of these approaches and interpretations relate to one another? And do they not simply highlight my failure to talk about music? In the case of the latter, I would argue not, and will do so in attempt to explain the former. Music, it seems, is both pre- and post-linguistic: it ‘better’ expresses the <strike>S</strike>, but at the same time can only do so in relation to language. It may offer up a <em>purer</em> (which is not necessarily what I am arguing) version of that which cannot be contained within words, but it only does so in the context of a linguistic society – we can only really understand it, or <em>express</em> it, linguistically, and it can only be purer than language if there is a language for it to be purer than. Perhaps that is not the case, though. Is not dance – the effects of music on the body – an expression of what music is doing? Of course it is, but even dancing, if it is to be discussed in a linguistic context (this essay), must be deferred into language. What the three songs I’ve discussed evidence is the way that what is arguably the purpose of existence – learning to be, building a dwelling – is so easily locatable in music, and so difficultly explained. If we listen for ‘the grain of the voice’, for the <em>body</em> of the music, we are searching for a recognition of the desire to <em>be</em> in another, for that ‘something other’ that resituates understanding. If, for example, I was to not write an essay drawing on philosophical sources and instead try and depict the same thing in a performative piece, would I not still be simply seeking to house my thought in a more fluid, less logocentric mode of understanding, trying to build a better place in which to dwell, from which to experience? That still wouldn’t bring me any closer to the music I love, nor would it bring the reader closer to it, to my subjectivity, to the possibility of an utterable intersubjectivity. Music makes this a possibility, and the songs, philosophy and poetry I have discussed enact and embody this possibility, each riffing in the same key. The movement of music and the building of dwelling echo each other, and the movement of a subject towards both is in many ways synonymous. One can sit passively and cower before “the not-pursued/each glimmer on the cusp/of touch/or loss”[AD, 18] , or one can pursue, can celebrate, as Mangum’s voice does, the moments of touch, of Being, and the moments of loss, as in Krug’s phrasing, that make possible the pursuit of Being. I don’t claim this to be any truer or falser than any other ontology of music – as stated, music is ultimately <em>for me</em>. Nonetheless, it is through language that we can come to terms with music, which is both diminished and furthered by it; and through music we can experience a <em>jouissance</em> that hints towards an experience of Being that language can only struggle to express. Understanding and articulating this is, I believe, as close to expressing <em>what music is</em>, subjectively, as is possible.<br />
<br />
<div align="justify"> </div><div align="justify"><strong>Notes</strong> </div><div align="justify"><strong></strong> </div><div align="justify">1. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Martin Heidegger, ‘Building Dwelling Thinking’ in <i style="mso-bidi-font-style: normal;">Poetry, Language, Thought</i>, trans. Albert Hofstadter (New York: Harper & Row, 1971) pp. 145-61</span> </div><div align="justify"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span> </div><div align="justify"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">2. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">John Burnside, <i style="mso-bidi-font-style: normal;">The Asylum Dance</i> (London: Jonathan Cape, 2000)</span></span> </div><div align="justify"> </div><div align="justify">3. <span style="font-family: Calibri; font-size: x-small;">Roland Barthes, <i style="mso-bidi-font-style: normal;">The Grain of the Voice: Interviews 1962-1980</i>, trans. Linda Coverdale (New York: Hill and Wang, 1985) p. 191</span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;">4. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Roland Barthes, ‘Music, Voice, Language’ in <i style="mso-bidi-font-style: normal;">Responsibility of Forms: Critical Essays on Music, Art, and Representations</i>, trans. Richard Howard (Berkeley: University of California Press, 1991) p. 284</span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">5. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Roland Barthes, ‘The Grain of the Voice’ in <i style="mso-bidi-font-style: normal;">The Responsibility of Forms: Critical Essays on Music, Art, and Representations</i>, trans. Richard Howard (Berkeley: University of California Press, 1991) p. 276</span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">6. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sunset Rubdown, ‘Coming to at Dawn’, <i style="mso-bidi-font-style: normal;">Introducing Moonface</i> (Global Symphonic, 2009)</span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">7. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">George Steiner, George Steiner, <i style="mso-bidi-font-style: normal;">Errata: An Examined Life</i> (London: Phoenix, 1998) p. 64</span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">8. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Neutral Milk Hotel, ‘King of Carrot Flowers Part One’, <i style="mso-bidi-font-style: normal;">In the Aeroplane Over the Sea</i> (Domino, 2005)</span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">9. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">See Slavoj Žižek, <i style="mso-bidi-font-style: normal;">The Plague of Fantasies</i> (London: Verso, 2008)</span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">10. <span style="font-size: x-small;">From <a href="http://sigur-ros.co.uk/band/faq.php#08">http://sigur-ros.co.uk/band/faq.php#08</a></span></span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"></span></span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;">11. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Any number of bands spring to mind, the most immediate example being My Bloody Valentine on <i style="mso-bidi-font-style: normal;">Loveless</i>.</span></span></span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span></span></span></span></span></span> </div><div align="justify"><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: x-small;"><span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">12. <span style="font-family: 'Calibri','sans-serif'; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It is not surprising that the canny Wes Anderson chose their song ‘Starálfur’ for the final underwater scene of <i style="mso-bidi-font-style: normal;">The Life Aquatic</i></span></span></span></span></span></span></span></span></span></span></div>Joshua Joneshttp://www.blogger.com/profile/03465590492959460818noreply@blogger.com0