Monday, November 22, 2010

On coherence (for your fridge)

I wonder whether Arendt was right that Hiroshima changed everything oh could that have changed poetry maybe duh could that have led to some extreme elegies to grammar and syntax and diction oh maybe duh maybe a duh in silt and slippage oh why not sapphics and Alex Pope are you saying the mimetic fallacy is right and that an age of horror demands an accelerated dissonant face Oh Lord could it be yes yes yes no The last minutes of Leclisse why an eclipse and Hiroshima Mon Amour couldn't it be more lucid coherent and sweet Uh duh hunh and what are all these paratactical strategies God give me the strength to read Baudelaire without disgust God give me the strength to understand parataxis and disgust God give me the strangeness of going to and from Cythere at once Oh Lord I can connect nothing to nothing in such a positive mood Oh Lord thou expunges the connects thou splits apart the scratches Oh Lord when the mode of the music changes can't we all just calm down like the Lack of Criteria and think about good poems from 1912 particularly those that came before the war came Another mimetic phallacy Does Shapiro really think the mass murders of 1939-45 break apart the very seams of poetry Oh yes There must be poetry after Adorno but it will be different too There must be music after Berg but it will be a new and strange music There must be poetry split apart There might be poetry in of the dark Dis Just plunge this into the bottom of the poetry of Paul Celan and as you are freezing in ashes ask the same question Will Paul make a different music poetry and will his wife a different drawing after after after so wrought that the very word after begins to be clear

-- David Shapiro