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Showing posts with label alice notley. Show all posts
Showing posts with label alice notley. Show all posts

Sunday, July 13, 2014

Countdown: A Series of Divorcing (Beginnings & Endings)

I started keeping a journal shortly after my husband of 10 years moved out in February of 2013. I wanted him to go, was surprised he agreed to leave, and knew as he had so often threatened me that the backlash would be nearly fatal to me. I thought if I can survive this, if I can be here in the moments and process this as it is happening, maybe I can emerge whole. These are the things we tell ourselves when there is nothing but unknown and fear.

Here is how it begins on March 17, 2013: 

"I don't want to feel anymore today
and prefer the symbolic world. 
I have been living poems for so long I'm only
a figure and I'm glad. "    -Alice Notley, Culture of One


I would like to think poetry brought us together, that it was something we did well like making three amazing human beings. But I think too, we hid there. We imagined because of it, we were something else. We lived in words and not in the space between us. When we talked, we talked too much about too many things and never just sat with feeling. I wonder too, if the erratic, unstable behavior I see more clearly in the last year separated from him is the stuff I chalked up to being eccentric, to being a poet. I mean, when you are at home with the kids and he doesn't show up till 4am drunk after a reading. That's normal right? That's what poets do. When the control and passion blind everything, financial sense and responsibilities, well that's just him being a poet. But I was a poet too, and I was never afforded the same generosity. His poetry allowed him to be irresponsible, flighty, crazy, and undependable. My poetry allowed me to pick up the pieces, to hold it together, to steal time to write in between pregnancies and babies. His writing was a given, from the largest room in the house that was his "office and library" to the second floor porch where I was not to disturb him to his late night bar hopping where he talked poetry till the wee hours with other poets, mostly single, males who didn't have 3 children and a wife at home.

 March 17, 2013: 

There's no way to tell a stone it's a stone, to tell water to be less. A woman too can only be so much in world always at war against her. There's fighting and then there's fighting for your life. 

 March 19, 2013:
... the breaking I will admit to, I said to someone: this life is overwhelming and all the emotions. handle what you can handle. make and make and poetry. always the poetry. these lines that draw and draw us.


I met Dave at the Faulkner Literary Festival in 2000. He was married and I was in a relationship with someone. He came to a reading I gave and shortly after I attended a workshop he held in poetry with the New Orleans School for Imagination. I remember the first time I went to his house and saw his extensive library. I thought I could spend my life with someone who had this many books because I would never run out of things to read. I knew nothing about love or marriage. I barely knew myself. I was 23.

Being married to a poet made me a better poet especially in the beginning. Dave was supportive, he was enthusiastic, he knew who I was talking about, who I should read and why. He knew tons of poets and taught me how to host readings, how to put on events, how to make broadsides, how to make magazines, how to read deeply, how to write harder. I was bought and sold on the mystery of what it was to be a poetry couple. In 2001, Dave handed me Bernadette Mayer's unpublished MS Ethics of Sleep and said you are going to publish this. It took nearly ten years later, but I did. I told him I wanted to publish books and he opened the door to that. I did the work though; I laid out that manuscript while the baby played at my feet. Just like I got a MFA while taking care of 2 kids and rebuilding after Katrina. I always did the work, but it always felt like so much of the work was Dave's work. The patriarchal standards that divide the world were just as sharp in the poetry world. Dave was ten years older, so I could never catch up. And the gap became a widening point of contention as the shine of him being the teacher wore off and I wanted to just be a poet in the world. Not a poet-partner, not a wife-poet, not a student- poet, not the person who fulfilled the ideas and made the practical happen.

March 23, 2013: 

I found completing most things impossible. how to be better plugged in, how to not war ourselves to death, after the fact--we were still addicted to the wreckage. 

In May of 2013, Dave petitioned to gain sole custody of our children. He told the courts I was an unfit mother who endangered the children's lives. For as long as I live, I don't know if I will ever be able to forgive this. I remember the day the children were supposed to come home. I hadn't seen them in 3 days and Dave texted me to tell me he had decided I couldn't see them. He wouldn't let me see or talk to them for 5 days until the judge saw us and decided to grant me supervised visitation pending an evaluation. I had to prove I wasn't the lies that he had made up. And as usual, he didn't have to do anything. The kind of man or husband or father he was was never put on trial. Being a woman means you are already guilty, in the face of money and privilege, you have to prove you are a fit mother even if you have always been one, based simply on the word of a man.

June 21, 2013 

I had to expand big enough to fill my life, it was no longer an option to be brief, to be fitted. The fatal couple is an unending/ what do they want? the world to bend & bend. I could run or I could write, either way you have to push the emotion out as Sartre says, we engage the abyss. We go under b/c we enjoy going under: the loss of self in another. How much can you take me away from this moment? 



Oct 1, 2013:

Dear Other: 
of everything written & said between us, we were never able to find the right language. 
This unique, atypical 
perfect failing 
is us. 



Sunday, November 10, 2013

Pussy & Poetry: Day 9: Found Lacking



"It's okay to want to leave.
You don't have to explain it to anyone." --Gina Myers

"Every living being...is expected to contain all others" --Claude Cahun

"I fall into their net of dust" --Megan Kaminski



"In war, we have the leisure to remember anything" --Leslie Scalapino

"her story is political, not magical" --Andrea Dworkin

"desire is always a desire of a desire" --Tracey McTague




"and we're entitled to have everything now" --Bernadette Mayer

"It's easy to use someone's body" --Farrah Field 



"I let myself fall apart" --Lee Ann Brown

"The geography of feminine pleasure is not worth listening to" --Luce Irigaray


"you have to be careful who you tell
because you tell and tell
you never stop telling" --Kathyrn Pringle

"It takes eternal war to hold the border tight" --Rachel Levitsky



"I have gone wandering but I always hear a call." --Alice Notley

"One does not always stay intact" --Judith Butler

"Hope lies in the possibility of a resistance that's based on being able to face our reality as it is."
 --bell hooks




Sometimes it's hard to hear over the noise.
 For all the women who keep speaking in the face of absurdity. 



Tuesday, December 04, 2012

Review of Michael Ford's Where We Expect to See You Soon


This review first appeared in the literary journal Entrepôt in April, 2012. 




Reviewed by Megan Burns


            Often there is a text that haunts the text you’re reading. In the case, of Michael Ford’s Where We Expect to See You Soon, the reader is pointed in the direction of one such haunting in the opening epigraphs. Alice Notley’s line: “we move back into a damaged city” both frames the context of these poems and also signals to the careful reader a subtext for this work in both rhythm and line. I say rhythm and line because I don’t think one can bring to mind Notley at the beginning of a poem sequence without being attuned to her attention to the way a poem moves both in its line and each line in its place in the world of the poem. The epigraph is the first line from a poem “City” from the unpublished collection “Benediction” in Grave of Light (Wesleyan, 2006). The word “city” in the line though immediately reminded me of another chapbook, entitled “City of” by Notley (Rain Taxi, 2005). The two are probably linked in more than language as I read Notley’s chapbook after returning to New Orleans in late 2005 with its prescient lines: “It’s a placid / earth of horror and / from it/ I begin//No nation now/ only a/ city.” Ford, also a New Orleans poet, touches on these same images in the opening poem “The New Atlantis” where we find, “The city was marked— in the atlas as lost—the map of the place.” So, here are two texts wrestling with the city, the loss of the city and the illusion of the city. Each text also is setting down lines with precise rhythmical markers that tell us how to read the line as though we were locating through sound some sense of locale in the breath. Ford’s technique is to use the dash to break up any continuity in the line and to cause the reader to stop short and then begin anew. The line breaks become not the breaks, or smaller breaks when confronted with the eye’s need to traverse the horizontal line separating the sentences. In a sense, the horizon line also holds the text together, stringing through the body of the poem like a life line thrown to the drowning person: Here, if you can follow the path of this, if you can hear the sound of my voice, they seem to signal. Ford’s line breaks as well though signal distress as repeatedly the word “city” is broken amid other words cut in two by the end of the line: “fenc/es, to/day, dig/nity, point/ing, meta/phor. o/ver.” Things are broken; the tempo of the line, if not for the break caused by the dashes, would hurl forward at a rapid pace, especially as the images of what the city is pile up. In the ways that memories of loved ones crowd forward, the city is displaced and in its stead a cacophony of oral and aural images surface to take its place.  The narrator guides us through the ruins: “We make our way by match light—conveyed—on/ light bones and feathers—wings fanned out.” And that’s just the first poem.

Ford tells us in a note at the back of the book that all of the poems are written in a form he calls “89,” where the syllable count in the lines as well as the lines in each stanza adhere to a loose structure based on 8 and 9. This brings us to the second epigraph from Shakespeare: “And in fresh numbers number all your graces.” This isn’t the first time that Ford has used a number constraint to create his poems. The success lies in the all but invisible deployment of the method. Far more obvious than the number form on the poems is Ford’s use of the dash to break up his lines and his use of space to cut the line cleanly and control his rhythm. Take the poem “Lizzie Borden, What’s all the Fuss About?” which begins with the line “This will be my murder ballad—” and then precedes to deliver a poem mimicing both Williams’ variable foot as well as subject matter, only to break off in the next line stating: “These fucking numbers are on every-/ thing.” In light of the author’s note, the double meaning behind such a line is even richer. More interesting to me is always Ford’s deft handling of the movement of the poem, here at once he is able to slow the line down to a crawl like William’s cat foot creeping about and then pick it back up to toss it around.  Ford also has the poet’s eye of taking a seemingly innocuous statement and placing it down amid a sea of chaos, so it suddenly resounds loudly. Take the line: “The river is deep because/ there is so much water in it.” Alone we might find this statement quaint, but in Ford’s hands this is the poem “10 Most Dangerous Places in Space” and we have been led here with this reminder: “We will never meet—in quiet/—in footprints on another globe—We/ will never meet again.” Another connection between Ford and Notley for me is that their poems often chill me to the core, and yet I can’t let go of them. Ford presents us with the familiar just enough out of place so that we can never get comfortable; his poems envelope the terror —root in the “terra incognita.”

Wednesday, April 04, 2012

Day 4 Prompt: Rivered




   


The Mississippi River and its floodplain are home to a diverse population of living things:

At least 260 species of fish, 25% of all fish species in North America;
Forty percent of the nation's migratory waterfowl use the river corridor during their Spring and Fall migration;
Sixty percent of all North American birds (326 species) use the Mississippi River Basin as their migratory flyway;
From Cairo, IL upstream to Lake Itasca there are 38 documented species of mussel. On the Lower Mississippi, there may be as many as 60 separate species of mussel;
The Upper Mississippi is host to more than 50 mammal species;
At least 145 species of amphibians and reptiles inhabit the Upper Mississippi River environs.






"Rivers are controlled at their mouths..."  
-Lawrence Powell, The Accidental City








Sunday, May 23, 2010

Biggie smalls - juicy and Alice Notley-Supa Juicy

I watched the Notorious bio on biggie smalls last week. A few days later Dave was watching a bio. on Abe Lincoln on the History channel. The announcer made some comment as to Abe's belief that a person could be anything they want to be. And I told Dave that I got the exact same impression from Biggie: "Sky's the Limit." Who knew those two had so much in common. Thanks to Dorothea Lasky who reminded me on her FB page that Friday would have been Biggie's 38th B-day.

And I have this little fantasy that Alice Notley really likes her some Biggie Smalls. It's lines like this that facilitate this fantastic notion: "The womb a vibrant/ pocketbook with a clasp to lock you in" from Dancing in the Dark (read it in your very own copy of Muthafucka 2).

Tuesday, May 18, 2010

Support small press


Here's a good way to spend your money.






Muthafucka Issue 2





Sam King, John Niekrasz,Angel Escobar,Kristin Dykstra,Mohammed Khair-Eddine,Pierre Joris,Alice Notley,Dot Devota,Phil Cordelli,Norma Cole,Quinn Latimer,Matthew Klane,Hoa Nguyen,Lucas Farrell and more








100 copies, side-stapled w/ two-layer transparency/vellum coverEdited by Mitch Taylor, mitchmailer AT yahoo DOT com
Designed by Cannibal Books, flesheatingpoems AT gmail.com



Cannibal Books makes really beautiful hand sewn chapbooks. Support them as well.