My Way_ Speeches and Poems - Charles Bernstein

R E Z N I K 0 F F 's N EAR N E S S 205
local particularities gains primacy, in contrast to the rhetorical depth of
narrative closure that is aimed for in such "epic" montage formats as The
Waste Land and certain of the Cantos (not to mention more conventional
poetry). Reznikoff's network of stoppages is anti-epic. It enacts an economy
of perambulation and coincidence, of loss rather than accumulation
(a general rather than a restricted economy in Bataille's terms).
Scrap of paper
blown about the street,
you would like to be cherished, I suppose,
like a bank-note. 19
Pound's disinterest in Reznikoff is foundational.
6. Parataxis is a manner of transition. Elements are threaded together like
links on a chain, periodically rather than hierarchically ordered and without
the subordination of part to whole. The OED defines parataxis as "the
placing of propositions or clauses one after another, without indicating
by connecting words the relation (of coordination or subordination)
between them."
Parataxis is a grammatical state of adjacency, of being next to or side
by side. Besideness. As the mind lies next to its object, or one finds oneself
a neighbor in conversation, or in reflection one thought follows the
next. A nonlinear network of interconnections.
7. As a term of art, adjacency is distinguished from adjoining or abutting,
as land that is adjacent to a common square, but nowhere touches.
Reznikoff's is an art of adjacency, each frame carefully articulated and
set beside the next.
8. Reznikoff's cuba-seriality is modular and multidirectional, marking a series
of sites available to rearrangement in ever new constellations of occurrence.
(Reznikoff's own refiguring of his lifework at the 1974 Poetry
Center reading is a model for this potential for reconfiguration.) Resembling
the long walks through the city he took every morning, Reznikoff's
poems move from site to site without destination, each site inscribing an
inhabitation, every dwelling temporary-contingent but sufficient.
Those of us without house and ground
who leave tomorrow
must keep our baggage light:
a psalm, perhaps a dialogue ... 20
19. Inscriptions. #24, 2:76.
20. Ibid., #23. The final stanza of this three-stanza poem is quoted immediately below.