My Way_ Speeches and Poems - Charles Bernstein

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RID I N G '5 REA SON 267 important thing is not to be persuaded by their arguments but to respond to them. The Jacksons stake out a powerful, often eloquent, often deliciously barbed, often achingly arched argument against the relativism of the modern age-one that goes much further in its critique than such antimodern modernists as T. S. Eliot (as the authors are careful to note). I suspect it is an argument that, ultimately, will take a place of honor in the history of human thought. This book settles nothing for me; it leaves me with questions that echo in my mind and on my tongue. Poetry-can it be?-a striving not for truthfulness but for truth? And what if all we do as poets--our forms, our structures, our love of sounds and patterns-moves us yet further from this singular truth? What if, that is, words have unitary meanings, call them rational meanings, and what if our poetry, our philosophy, our linguists, our dictionaries, lead us away from this grounded rationality of wordstoward some evasive play of relative worth? Laura (Riding) and Schuyler Jackson call us back not to some truth external to ourselves but to a truth available to all, a truth that is in every word we use, a "truth [that] requires language for its making" (364). They call us back to our rootedness in language, which is our human house, our destined home.
n~ose ~e ~iddin~ 'What is irony?/I said the jesting pilot & then stayed around to field questions. /II don't make jokes I test planes./I Well, so do we all. Yet to have an idea of multivalence, ambivolence in Steve McCaffery's ever apter word, isn't to put off, much less, pull off anything. Antony Easthope in his substantially probious Poetry as Discourse says sarcasm is the most extreme, maybe most emblematic, form of irony in its lBO-degree difference & manifest contempt, as opposed to milder forms of irony that veer off zero-degree separation anxiety less steeply. Tell it to my mother: /ISo glad you called (pause) this year./I She's not saying the opposite. Irony is bourgeois, anyway, reconciliatory; sarcasm (& the comic ploys related to it) is dialectical, fomenting contra-diction. Of course not. Depends on. If I prefer to speak of the comic rather than the ironic it's because the nature of literary irony can be taken (Kierkegaard didn't) as an especially, even uniquely, contextdependent form of discourse, as if there was some other discourse that was context-independent-the words just meaning what they say, no interpretation (interruption) necessary. (Whose on first?) That may be okay for a working hypothesis for rocket makers, but it ain't cut no m
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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
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FRAME LOCK 93 compelling, while the
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F RAM E L 0 C K 95 ence is not sati
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F RAM E L 0 C K 97 with another and
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FRAME LOCK 99 Is criticism condemne
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"PASSED BY EXAMINATION" 101 break o
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"PASSED BY EXAMINATION" 103 Here is
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THE V A L U E 0 F 5 U L FUR 105 tra
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THE V A L U E 0 F S U L FUR 107 poe
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~ertru~e an~ lU~UJif s ~ogus ~~uent
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INTROJECTIVE VERSE 111 one the poem
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oetics of t~e ~meTicas Speaking in
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POETICS OF THE AMERICAS 115 zines p
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POETICS OF THE AMERICAS 117 cupied
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POETICS OF THE AMERICAS 119 defines
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POETICS OF THE AMERICAS 121 and dia
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POE TIC S OFT H E AM E RIC A S 123
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POE TIC S 0 F THE AM E RIC A S 125
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POETICS OF THE AMERICAS 127 and McK
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POETICS OF THE AMERICAS 131 grow ti
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POETICS OF THE AMERICAS 133 also th
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POE TIC S 0 F THE AM E RIC A s 135
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UN ZIP B LEE D 139 texture of truth
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~tein' s Identit~ What is identity
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STEIN'S IDENTITY 143 Of course anyo
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~rouisionallnstitutions Alternative
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PROVISIONAL INSTITUTIONS 147 At the
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PRO V I S ION A LIN S TI T U TI 0 N
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PROVISIONAL INSTITUTIONS 151 out to
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PROVISIONAL INSTITUTIONS 153 articu
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~oun~ an~ t~e ~oetr~ of 1 o~a~ What
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P 0 U N DAN D THE POE TRY 0 F T 0 D
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POUND AND THE POETRY OF TODAY 161 t
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POUND AND THE POETRY OF TODAY 163 g
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INAPPROPRIATE TOUCHING 167 as eyeli
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ROBIN ON HIS OWN 169 'mother may It
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ROB I NON HIS 0 W N 171 to mean in
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ROB I NON HIS 0 W N 173 poetic comp
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Water Ima~es of "'e HeUJ forier May
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WATER IMAGES OF THE NEW YORKER 177
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THE RESPONSE AS SUCH 179 way of say
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THE RESPONSE AS SUCH 181 tribution
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THE RESPONSE AS SUCH 183 Howe has g
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THE RES P 0 N SEA S S U C H t 85 au
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FRO MAN 0 N G 0 I N G I NT E R V lE
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FRO MAN 0 N G 0 I N G I NT E R V lE
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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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Page 244 and 245: AN AUTOBIOGRAPHICAL INTERVIEW 231 t
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Page 252 and 253: A N AUT 0 B lOG RAP H I CAL I NT E
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Page 266 and 267: ~e~on~ fmaciation Hemmed in by ocea
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Page 272 and 273: RIDING'S REASON 259 truthfulness /
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Page 294 and 295: C LOS ELI S TEN I N G 281 Goffman's
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Page 298 and 299: C LOS EllS TEN I N G 285 mensurate.
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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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