Along a Fence
One week “off” a few years “back”—spent up north in some kind of swim-sustain’d dalliance, beery and unclutter’d—I truck’d along a copy of Emmanuel Hocquard’s Conditions de lumière (P.O.L., 2007), thinking I’d try my hand at turning its tiny memos into some kind of American speech. And diligently rough’d out about a half of it, penciling it down into a pint-sized stenographer’s pad. A way of both “exercising” my quasi-execrable French, and of reading Hocquard. Minor hint of “doing something” with my versions: I did put a couple “up” here and here and here, f.w.i.w.-ing it like a syntagmatick. (Or a skank.) And shortly learn’d of an effort underway by Jean-Jacques Poucel and Cole Swensen’s La Presse to “do” the whole book. Out now: Conditions of Light (La Presse / Fence Books, 2010). A sleeker, more expert thing, I’d warrant. Hocquard’s book consists of twenty-one number’d parts, each containing five tiny “memos” (my word—snapshots, ideogrammes)—identically-shaped phrase-arrangements. Here’s one (Poucel):
The twenty-one parts (I-XXI): each is call’d “Conditions of Light.” Each “memo” anchors a single page: lots of white space. A final piece (with “Notes”) is call’d “Dans une coupe en verre” (Poucel, dodging “coupe”—with its punnery of cup, of cutting—translates it as “In Glass”). I read it as a kind of statement of poetics:These flowers are in the middle of their making I think of you The noise of laundry Inventing tools and rivers
Solid white of names
Echoes of the put together “abbreviated pictures” / “luminous details” of Poundian imagism / Sillimanesque New Sentence-ry (“Propositions are independent Between them relations take place”). Something of Duncan’s “law of the ‘the’”—how grammar itself serves to narrow the possibility of saying (“The only subject there is is grammatical”). Something of Spinoza’s “The more any image has reference to many things, the more frequent it is, the more often it flourishes, and the more it occupies the mind.” Or, of Zukovsky’s (out of A Test of Poetry):Propositions are independent Between them relations take place So propositions follow or attract or repel one another or sound an echo The narrative unfolds in these encounters Should they come to falter (aporia) a story falls short
Words are the characters in the grammatical fable You can only restate You recite when you speak a language You can’t hear it any further You hear only its recitation I remember words I recognize them When you say the sky is blue the entirety of language is contained
Elegy is not in words of lament It is in the repetition of the words of a language It is this repetition Language in its entirety is elegy
One never speaks of oneself Never has there been a speaking subject The only subject there is is grammatical There is no beginning There is no first formulation There is but recollection In a glass bowl
Simple statements no longer exist Every statement is legion Even an isolated word resounds It’s the Theater of language The staging of belief in Of making believe that To dream or make dream that a first statement is possible Such a statement would be unheard and thus inaudible It remains that this inaudible is secretly sought after in what is said or heard or written The singular surprise is revealed in repetition We called it littéralité Littéralité dazzles
Even if one does not quite understand what has come to be an unlatching has occurred A difference in intonation and speed
The intonation of the recitation is neutral Its speed constant An interval or an exit space has taken place For entering never was the question In speaking or writing or reading or translating one seeks the exit To escape
Writing is this opening
The less poetry is concerned with the everyday existence and the rhythmic talents of a people, the less readable that poetry is likely to be. But the forms of particular communication—which are necessary enough for a varied life—may never, in any society, be absorbed as automatically as air.Or Robert Hass’s “All the new thinking is about loss” line out of “Meditation at Lagunitas”: “word is elegy to what it signifies” (“Language in its entirety is elegy”). Or Italo Calvino’s line somewhere about “this world dense with writing that surrounds us on all sides.” Here’s the initial sequence of five pieces:
In Jean-Jacques Poucel’s version:Jusqu’à ce que le corps embrassés aient atteint la même température Solution des gestes et des vitesses
Ce qui est visé
Il n’y a pas de souvenirs Odeur d’un feu de roseaux dans les années 40 en descendant les marches ce dimanche matin
Photographies symétriques
Ouvrir sans préposition Le regard échappe au corps Tourne une porte d’air La chaleur est l’événement
Rouge te va bien
Nuits d’il y a Aimer par définitions Les mots dans un ordre quelconque Penser à sépare
S’abandonner à la perte
Une image est captivante Tu sais Montrer Donner à voir Escalier dont les degrés ne se suivent pas
Expose ta couleur
And in my version:Until the interlaced bodies reach the same temperature Solution of gestures and speeds
What is being aimed
There are no memories The smell of burning reeds in the 40s that Sunday going down the stairs
Symmetrical photographs
Opening without preposition The gaze escapes the body Revolves a door of air The heat is the event
Red suits you well
Nights of ago To love by definitions Words in any given order Thinking of separates
To surrender to loss
An image is captivating You know To show Lay bare Stairs whose steps don’t follow
Expose your color
Out of Hocquard: “These flowers are in the middle of their making.” And: “The representation of the same is just right.” And “Meaning imposes its fiction.” I keep turning back to Conditions of Light. A late memo reads:Up to where the clutching bodies have attained the same temperature Combination of movements and speeds
The thing aimed for
No memories The smell of burning reeds in the ’forties on coming down the steps Sunday morning
Symmetrical photographs
Begin without preposition The look escapes the body Makes a door in the air Heat is the event
Red becomes you
Night of there is To love by definitions Words in any order whatsoever Thinking separates
Abandon yourself to the loss
A picture seduces You know To show To make seen A stairway whose steps don’t line up
Put forth your color
A light brought back Objects settle in for the long run within the frame Fragment of characters laid out
Read and arrange