My Way_ Speeches and Poems - Charles Bernstein

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STEIN'S IDENTITY 143 Of course anyone choosing to avert their identity is immediately subject to the suspicion that they have something to hide or that they suffer from self-hatred, as if skepticism is the same as rejection. Such a writing beyond identity is utopian. But then only someone who has felt trapped needs to imagine freedom. Human mind represents for Stein a freedom from history for which one well might have longed in Europe in 1935. But Stein's is not an escape from determinants of self nor the self-consciousness of personality. The play is dialectical. She do the identify in voices, to turn a phrase of T. S. Eliot's. "What is the use of being a little boy if you are to grow up to be a man."4 Eliot's escape from personality is toward a Christian universalism. Stein's could never be that, nor did she aspire to it. Stein did not identify as a Jew she didn't have to; perhaps there was enough of that being done for her ("May I see your Identity Card, please?"). She takes her place in that line of what Isaac Deutscher calls "non-Jewish Jews", going back at least to Spinoza, and, in this, her most immediate company in American poetry includes Louis Zukofsky (who incorporates Spinoza and Stein into "A") and Laura Riding (her onetime protege). (This heterodox tradition of Jewish writings is charted in Jerome Rothenberg's A Big Jewish Book.) Those Jewish -American modernists, like Stein, who turned away from Yiddish or other overt markers of ethnicity did not necessarily adopt an assimilationist cultural program, since the language of assimilation is never neutral, not an arena of "human mind" but of the name/nature-inf(l)ected language of the ascendant culture. Stein never bought into this assimilation, moving entirely in the other direction. In this sense her triple marginalization provided an ontological grounding for her radical forms of nonidentification, just as her affluence and education provided a space to perform them. Stein is one of the least assimilationist of American modernist writers and in this one of the most American if, following Stanley Cavell's reading of Emerson, we take America to be a movement away from given identities and toward something new, unapproachable, unrepresentable, and unattainable.5 "But we we in America are not displaced by a dog oh no no not at all not at all at all displaced by a dog."6 4. "Identity A Poem", p. 593; Geographical History, p. 58. 5. See Stanley Cavell, This New yet Unapproachable America (Albuquerque, Living Batch, 1989). 6. "Identity A Poem", p. 591.
144 STEIN'S IDENTITY In our current poetic landscape, identity is something the poet asserts the better to celebrate. Stein celebrates her suspension of identity, this holding off naming to see what otherwise emerges. Her writing becomes a state of willing, of willed, unknowingness. The question may well be art versus culture not art as culture. "So then the play has be like this."7 7. The same, p. 589.
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Speeches and Poems [~aTles hmstein
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for Felix
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[ontents Hi Preface A Defense of Po
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hef ace I'm incorrect: the learned
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~ ~efence of ~oetr~ for Brian McHal
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l~e ~euenge of t~e ~oet-[ritic. or
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REVENGE OF THE POET-CRITIC 5 often
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REVENGE OF THE POET-CRITIC 7 its pa
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REVENGE OF THE POET-CRITIC 9 invest
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REVENGE OF THE POET-CRITIC 11 inter
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REVENGE OF THE POET-CRITIC 13 The q
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REVENGE OF THE POET-CRITIC 15 on po
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REVENGE OF THE POET-CRITIC 17 Dista
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THELONIOUS MONK 19 Nonetheless, I'v
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THELONIOUS MONK 21 To perform a poe
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THE LON IOU 5 M 0 N K 23 acting, wh
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~n Interuiellllllit~ manuel ~rito M
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AN INTERVIEW WITH MANUEL BRITO 27 w
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A N IN T E RV lEW WIT H MAN U E L B
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AN INTERVIEW WITH MANUEL BRITO 31 a
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~oli~arit~ Is t~e ~ame me ~iue to m
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SOL I DAR I T Y 1ST HEN A M E 35 po
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WHAT'S ART GOT TO DO WITH IT? 37 co
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WHAT'S ART GOT TO DO WITH IT? 39 nu
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WHAT'S ART GOT TO DO WITH IT? 41 si
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WHAT'S ART GOT TO DOW I T HIT? 43 t
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W HAT' 5 ART GOT TO DOW I T HIT? 45
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WHAT'S ART GOT TO DO WITH IT? 47 jo
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W HAT'S ART GOT TO DOW I T HIT? 49
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WHAT'S ART GOT TO DO WITH IT? 51 en
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How about strain, does it mean a se
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A TEST OF POETRY 55 the echoes of M
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THE BOO K A S ARC HIT E C T U R E 5
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all those express trains hurtling t
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that, but philosophyhave you read m
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~n InteruielU lUit~ ~anna~ moc~el-~
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A N I N T E R V lEW WIT H HAN N A H
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AN INTERVIEW WITH HANNAH MOCKEl-RIE
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I ~on't la~e ~oi[e mail The Object
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I DON'T TAKE VOICE MAll 75 often di
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I DON'T TAKE VOICE MAIL 77 systems
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I DON'T TAKE VOICE MAIL 79 screen o
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Every day. Day by day. The hours ha
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[laiTe-jn-t~e- ~ui l~ing There is n
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C l A IRE· IN· THE· B U I l DIN
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AGAIN EIGNER 87 that is not dissimi
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"slicks" "shakes" "hums" "simmers"
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FRAME LOCK 91 ory, prophylactically
Page 106 and 107: FRAME LOCK 93 compelling, while the
Page 108 and 109: F RAM E L 0 C K 95 ence is not sati
Page 110 and 111: F RAM E L 0 C K 97 with another and
Page 112 and 113: FRAME LOCK 99 Is criticism condemne
Page 114 and 115: "PASSED BY EXAMINATION" 101 break o
Page 116 and 117: "PASSED BY EXAMINATION" 103 Here is
Page 118 and 119: THE V A L U E 0 F 5 U L FUR 105 tra
Page 120 and 121: THE V A L U E 0 F S U L FUR 107 poe
Page 122 and 123: ~ertru~e an~ lU~UJif s ~ogus ~~uent
Page 124 and 125: INTROJECTIVE VERSE 111 one the poem
Page 126 and 127: oetics of t~e ~meTicas Speaking in
Page 128 and 129: POETICS OF THE AMERICAS 115 zines p
Page 130 and 131: POETICS OF THE AMERICAS 117 cupied
Page 132 and 133: POETICS OF THE AMERICAS 119 defines
Page 134 and 135: POETICS OF THE AMERICAS 121 and dia
Page 136 and 137: POE TIC S OFT H E AM E RIC A S 123
Page 138 and 139: POE TIC S 0 F THE AM E RIC A S 125
Page 140 and 141: POETICS OF THE AMERICAS 127 and McK
Page 144 and 145: POETICS OF THE AMERICAS 131 grow ti
Page 146 and 147: POETICS OF THE AMERICAS 133 also th
Page 148 and 149: POE TIC S 0 F THE AM E RIC A s 135
Page 152 and 153: UN ZIP B LEE D 139 texture of truth
Page 154 and 155: ~tein' s Identit~ What is identity
Page 158 and 159: ~rouisionallnstitutions Alternative
Page 160 and 161: PROVISIONAL INSTITUTIONS 147 At the
Page 162 and 163: PRO V I S ION A LIN S TI T U TI 0 N
Page 164 and 165: PROVISIONAL INSTITUTIONS 151 out to
Page 166 and 167: PROVISIONAL INSTITUTIONS 153 articu
Page 168 and 169: ~oun~ an~ t~e ~oetr~ of 1 o~a~ What
Page 170 and 171: P 0 U N DAN D THE POE TRY 0 F T 0 D
Page 174 and 175: POUND AND THE POETRY OF TODAY 161 t
Page 176 and 177: POUND AND THE POETRY OF TODAY 163 g
Page 180 and 181: INAPPROPRIATE TOUCHING 167 as eyeli
Page 182 and 183: ROBIN ON HIS OWN 169 'mother may It
Page 184 and 185: ROB I NON HIS 0 W N 171 to mean in
Page 186 and 187: ROB I NON HIS 0 W N 173 poetic comp
Page 188 and 189: Water Ima~es of "'e HeUJ forier May
Page 190 and 191: WATER IMAGES OF THE NEW YORKER 177
Page 192 and 193: THE RESPONSE AS SUCH 179 way of say
Page 194 and 195: THE RESPONSE AS SUCH 181 tribution
Page 196 and 197: THE RESPONSE AS SUCH 183 Howe has g
Page 198 and 199: THE RES P 0 N SEA S S U C H t 85 au
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Page 204 and 205: fHplicit ~ersion ~umber ~equired Ye
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HINGE PICTURE 193 Which is to say t
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Generations to a Sunday that holds
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~e2ni~off S ~earness 1. Charles Rez
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REZNIKOFF'S NEARNESS 199 "the pithy
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REZNIKOFF'S NEARNESS 201 reviewed b
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R E Z N I K 0 F F' S N EAR N E S S
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R E Z N I K 0 F F 's N EAR N E S S
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R E Z N I K 0 F F 's N EAR N E S S
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R E Z N I K 0 FF '5 N EAR N E 5 5 2
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REZNIKOFF'S NEARNESS 211 and unassu
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REZNIKOFF'S NEARNESS 213 everywhere
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REZNIKOFF'S NEARNESS 215 23. Hanukk
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REZNIKOFF'S NEARNESS 217 tributed t
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REZNIKOFF'S NEARNESS 219 34. It's a
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R E Z N I K 0 F F 's N EAR N E S s
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REZNIKOFF'S NEARNESS 223 themes in
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R E Z N I K OFF' 5 N EAR N E 5 5 22
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R E Z N I K 0 F F' S N EAR N E S S
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~n ~uto~iograp~icallnteruieUJ Loss
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AN AUTOBIOGRAPHICAL INTERVIEW 231 t
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AN AUTOBIOGRAPHICAL INTERVIEW 233 p
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AN AUTOBIOGRAPHICAL INTERVIEW 235 f
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AN AUTOBIOGRAPHICAL INTERVIEW 237 e
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A N AUT 0 B lOG RAP H I CAL I NT E
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A N AUT a B lOG RAP H I CAL I N T E
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A N AUT 0 B lOG RAP H I CAL I N T E
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A N AUT 0 B I 0 C RAP HIe A LIN T E
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AN AUTOBIOGRAPHICAL INTERVIEW 247 s
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A N AUT 0 B lOG RAP H I CAL I NT E
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AN AUTOBIOGRAPHICAL INTERVIEW 251 o
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~e~on~ fmaciation Hemmed in by ocea
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~idin~' s ~eason That He another da
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RID I N G 's REA SON 257 she lived,
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RIDING'S REASON 259 truthfulness /
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RIDING'S REASON 261 the concept of
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RID I N G 's REA SON 263 configurat
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RID I N G 's REA SON 265 More natur
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RID I N G '5 REA SON 267 important
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WHO S E H E KID DIN G 269 water in
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UNREPRESENTATIVE VERSE 271 only in
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~oetr~ and lffiale11 ~eH I don't kn
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POETRY AND [MALE?] SEX 275 forms of
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POE TRY AND [M ALE? 1 SEX 277 post
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~lose listening Poetry and the Perf
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C LOS ELI S TEN I N G 281 Goffman's
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C LOS EllS TEN I N G 283 Gospel cal
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C LOS EllS TEN I N G 285 mensurate.
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C LOS ELI S TEN I N G 287 reading.
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C LOS ELI S TEN I N G 289 What is t
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CLOSE LISTENING 291 to Giorgio Agam
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C LOS ELlS TEN I N G 293 slippage a
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C LOS ELI S TEN I N G 295 around th
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C LOS ELI S TEN I N G 297 speaks; h
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C LOS EllS TEN I N G 299 bases of r
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CLOSE LISTENING 301 country, and in
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TAP S [I N M EM 0 R I A MER I C MOT
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WAR N I N G - POE TRY ARE A 305 not
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WAR N I N G - POE TRY ARE A 307 whe
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WAR N I N G - POE TRY ARE A 309 lin
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WARNING-POETRY AREA 311 of technolo
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THE REPUBLIC OF REALITY 313 of a de
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THE REPUBLIC OF REALITY 315 to be p
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~otes and ~dnoUJledgments First pub
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Claire-in-the-Building. Mirage #4/P
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NOT E SAN D A C K NOW LED G MEN T S
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My Way_ Speeches and Poems - Charles Bernstein

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