Showing posts with label janet holmes. Show all posts
Showing posts with label janet holmes. Show all posts

Sunday, August 16, 2009

Janet Holmes: The Ms of My Kin

The Ms of My Kin, Janet Holmes (Shearsman, 2009)

I’d begun to get intimations that Ronald Johnson’s technique in erasing swatches of Paradise Lost to make his own Radi Os was, 30 years on, beginning to get picked up as a viable, repeatable compositional technique, rather than a one-off tour de force. But Holmes’s Ms of My Kin, an “erasure” of 2 years’-worth of The Poems of Emily Dickinson, is the 1st full-length volume of such work, post-Johnson, I’ve encountered.

Holmes gives the technique a twist: where Johnson’s erasure of Milton, much like Zukofsky’s earlier slice-up in “A”-14, ends up producing a series of highly disjunctive, vividly fragmentary poems that fit snugly within Johnson’s already established obsessions with light, the eye, natural processes, etc., Holme’s provides a final note linking her own Dickinson excavations (pointedly, from poems composed over the first two years of the Civil War) with the World Trade Center attacks, the invasion of Afghanistan, & the debacle in Iraq – IEDs, Abu Graib, Guantanamo, the whole blood-boltered business.

The project, then, becomes a series of dramatic monologues spoken by various figures of the last 8 years, from Al Qaeda terrorists to American torturers to Bush himself, & by a voice one might identify with the poet herself – alternatively angry, bewildered, & despairing at the Republic’s mad wrong turnings. There’s a tension here that sits uneasily with me: where Radi Os was composed (like Blake’s illuminated books or Tom Phillips’s Humument) on the level of the page, the page as icon, as it were, Holmes tends to run her discourse from page to page, at the same time preserving the line positions of the often solitary remaining words. It feels, at times, as though Dickinson has become a resource within which the words for preĆ«xisting statements have been found, rather than a text within which new & unexpected poems have been discovered.

Perhaps that’s just a function of my saturation in Johnson; probably, I need to live with Holmes's book a bit longer to get used to her particular take on the poetics of erasure. But at any rate, I can say right now that the poems of The Ms of My Kin are powerful, sometimes funny, & often very moving.

[82/100]

Sunday, April 26, 2009

Janet Holmes: Humanophone

So we're back from a wedding at of all places Orange, Virginia, midway between Fredricksburg & Charlottesville. Old stomping grounds, in part. Lovely country, rolling hills & farms & horses & kine. A visit to Montpelier, home of James & Dolley (with an "e") Madison, recently renovated from some DuPont's hideous "upgrade" back to its early 19th-c. state. An elegant formal garden, endless hiking trails back into the woods. My calves ache. Surprisingly, my head doesn't, given the endless potations at the wedding last night. The dog's nose – one of Basil Bunting's favorite drinks: beer + gin – is a wonderful thing, but probably too dangerous for extended bouts.

I don't like bed & breakfasts. Something creepy about that "welcome to our house" business, when I'd frankly prefer the anonymity of a hotel, the more aseptic & non-Victorian the better: give me Swisshotel any day.
***
Humanophone, Janet Holmes (U of Notre Dame P, 2001)

Various poems in various forms here: a number of quite personal lyrics (some very moving); some confrontations with literary texts (Dante, Keats); meditations on place. The centerpieces are 3 sequences on musical material: "Celebration on the Planet Mars," which explores the life & work of jazzman Raymond Scott; "Humanophone," on Charles Ives's father George, a Civil War bandleader & as much a visionary as his more famous son; & "Partch Stations," on the incomparable composer & instrument-maker Harry Partch – all three men who heard music that no one before had ever imagined, & sought new instruments to make it real.

I'm reminded in these 3 sequences of one of the modes of John Matthias (& Matthias's student Bob Archambeau): a poetic hearkening back to certains strains of the high modernist, in which the poet's goal is to hold up & display the shiny, odd byways of cultural history. Poems like these, at their best, stand alone – but they always seize the reader by the shirt: here's something you might not know, might never have heard of, but it could change your life, were you to follow this trace – read these books, listen these recordings, look at these pictures! Something fundamentally generous there.

[71/100]