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What is true is already so.
Owning up to it doesn’t make it worse.
Not being open about it doesn’t make it go away.
And because it’s true, it is what is there to be interacted with.
Anything untrue isn’t there to be lived.
People can stand what is true,
for they are already enduring it.

Eugene Gendlin, by way of Dave Berman

I’ve been thinking off and on for a while about objective ontology (flat ontology, post-Kantian ancestral ontology), that is, the serious undertaking of thinking about things as apart from humans. Which, since you’re probably human, is really hard to think about. Since, it seems like the way humans interact with ideas is by the medium of thought.

Reducing the self to a body - just an object - is always a strategy, one that’s usually fraught with danger since it sort of implies that you’re in a bad way, under duress, out of control. (Consider all the bullshit ultrasound laws from last year.)

I liked coming across the poem above because it puts reducing yourself to an object in a slightly more empowered light. To be sure, it does not read like a happy poem. (To me.) But that just is, I think, because of the overwhelming intellectual tradition of considering the mind and body to be separate, and therefore to consider the world as always changing, being re-constituted by the mind in whatever way. I like how the poem above seems to say that you may think that’s true, but it is not.

It’s sort of interesting that Wittgenstein’s “The world is all that is the case” is taken (by Karl Popper, at least) to be a re-citation or affirmation of Heraclitean flux, yet by reversing the terms “the case” and “world”, it becomes the opposite. Which is weird. We were told that identity ignores order.

It’s as if “the case”-ness’s being a fact, if we’re being very very honest, means that it is not discursive, not in flux, and that language does not lie. A funny assertion for a poet to make.

In which I shamefacedly ask my fake internet friends for help

So this guy whose work literally blows me away (I think I’ve fallen outta three chairs reading his book) and has received a knob-slobberingly positive review in the literal New York Times needs economic help. That’s that shit I don’t like. Something in life does not compute. Because I formerly thought Michael Robbins’s life was, unlike mine, not besieged by bill collectors and low wages and a thick-n-earthy patina of unhappiness. But it’s not. So try to help out?

michaelrobbinspoet:

I bought a car—I needed one, I was living in Mississippi, & assumed I’d continue to do so. Then I did not have the job. So money I owe on the car, or she is repossessed. And there are other bills. Bills, student loans, Christ. I am in a serious financial crisis, like the one you have read about, except on a tiny poet scale. Plus it has nothing to do with mortgage-backed securities, as far as I know.

I’ve been trying to sell the car for months, for less than I owe. It’s not a sellers’ market. No one’s even made an offer.

I’m hoping to raise $12,000, which is the bulk of what I owe on the car, by asking you to look into what passes for hearts these days. Love.

Yeah, I know. Bestselling Penguin poet, waaaaaahh. But believe me when I say I’m not making any bank off the book. I’m teaching four classes as an adjunct, & believe me when I say that is not a high-paying gig, either. I have no insurance, & my cat has been sick, so I’ve had astronomical vet bills. (I love my cat very, very much.)

There are people with real problems who deserve yr help more than I do. But I’m asking for it because I don’t know what else to do. If you can, please donate something by clicking on the PayPal button over there on the left. I accept any amount of money, from $1 to $infinity.

Anyone who donates over $100 gets a signed copy of Alien vs. Predator with a little doodle of, I don’t know, probably a jellyfish dog is the only thing I know how to draw. Just leave an address in my “don’t ask me anything” box.

You know, I’m as embarrassed about this as you are. Thank you.

How to Read Ezra Pound

wwnorton:

At the poets’ panel,
after an hour of poets debating Ezra Pound,
Abe the Lincoln veteran,
remembering
the Spanish Civil War,
raised his hand and said:
If I knew that
a fascist
was a great poet,
I’d shoot him
anyway.

-Martín Espada, from The Trouble Ball

I’d shoot him / anyway.

housing works zach baron choire sicha sara marcus kristin hersh michael robbins

Hey y’all. On this past Wednesday there was a cool event at Housing Works hosted by Zach Baron to celebrate Michael Robbins’ first book of poetry, Alien vs. Predator, and it was really fun and a bunch of cool people read and attended. The reading itself was cool, but like most readings it was kind of hard to follow the thread of thought sometimes in the wake of great performances. Anyway, that was fun, and I wanted to encourage you to buy Robbins book, which I really like. And if you don’t know if you will like it or not, here is my favorite poem, I think, from it. Even though I’ve never played Dig Dug except really drunk one night at Barcade.

“Dig Dug”

In these United Arab States, Muslims
are elected wearing roller skates.
Erectile dysfunction in the nation’s pets
is just the sort of grievance we petition
to redress. I give my skinny prick
a shake, to ask if there is some mistake.

Hold me closer, tiny reindeer. They saw
Oliver Stone distribute juice boxes.
he counts the headlights on the highway:
one if by reptile, two if by foxes.
Slash is both sad and happy for Axl.
The nation’s pets are high on Paxil.

Memory is the bended grass where deer have lain.
It’s hard to hold a candle to the cold November rain.

Now, it doesn’t take a genius to understand that Dave Berman is my favorite lyricist in all of music. And it might not take one to realize, though I could be wrong, that his poetry is really more emotional but a lot less pleasant than his lyrics. I like Robbins’s poetry because it is very pleasant, and also sometimes emotional or argumentative (in the mode of trying to prove or demonstrate something logically, not in the yelling-at-you mode).

This is a great poem because it lobs a few cognition grenades across the porches of your ears. The “Hold me closer, tiny reindeer” line is exquisite, and never fails to make me laugh. The conceit of pet ownership as a luxury and that of prescription medication reach a sublime confluence of pop-paroxysm with the final four lines. That “Memory is the bended grass where deer have lain” was, I was almost sure, a Silver Jews quotation or at least allusion. But it may be an allusion to a Dave Berman poem, of all things. From “Governors On Sominex”:

Tammy called her caseworker from a closed gas station
to relay ideas unaligned with the world we loved.

The tall grass bent in the wind like tachometer needles
and he told her to hang in there, slowly repeating
the number of the Job Info Line.

She hung up and glared at the Killbuck Sweet Shoppe.
The words that had been running through her head,
“employees must wash hands before returning to work,”
kept repeating and the sky looked dead.

I don’t know? Maybe not. Though you can see where that whereas Robbins’s poetry is funny and only hints at being serious, Berman’s is serious. The only trace of humor in it may be from when Serious had to eat Funny a ways back when all the food ran out. Of course, I don’t have to tell you how brilliant and funny Berman’s song lyrics are. So maybe I was really thinking of this line from “Random Rules” when I thought the bended grass line was cribbed from Berman:

“Broken and smokin’ where the infrared deer plunge in the digital snake.”

I’ve listened to “Random Rules” a million times (literally: look it up), and I still have no idea what that’s supposed to mean, especially in the context of the song. But it’s something I think about pretty (somewhat) frequently.

So anyway, this is a rather quotation-heavy way of saying that I think Robbins’s poetry captures the spirit (though using a different method) of Berman’s lyrics. And they may not have that deeply emotional counterweight that seems to be always weighing Berman down (and which he lets really weigh him down when he’s writing “real verse”), but that’s ok because poetry should be fun and easy to read. Like, seriously. Fuck me sideways with a spiked dick if I have to ever reread “The Prelude”, “Patterson”, or even Eliot’s Four Quartets.

Life is literally too short to slog through unappealing, pedantic bullshit.