Thursday, September 13, 2018

IN COMPANY: AN ANTHOLOGY OF NEW MEXICO POETS AFTER 1960 edited by LEE BARTLETT, V.B. PRICE and DIANNE EDENFIELD EDWARDS

JIM LEFTWICH Engages


IN COMPANY: AN ANTHOLOGY OF NEW MEXICO POETS AFTER1960 edited by Lee Bartlett, V.B. Price and Dianne Edenfield Edwards
(University of New Mexico Press, Albuquerque, 2004)

After a few practice sessions of nomadic reading I have decided upon a strategy for writing about this hoard and horde of poetical facets, faceted facades, crenelated lineations iterated as crimes against Plato's Republic, with each other through the through-stems, to each other in flight and fight. I read an earlier review and marked it on my mind's map as a territory to be studiously avoided. Thus, having given up on the elephants, which rhyme with the sea, I have decided to begin on page 107, with Larry Goodell's poem entitled "Human Non-Sequitur".

Since the line-break device (that exact sequence of decisions) insists that we focus if only for a moment on the last word of each line, I will extract those words from "Human Non-Sequitur" and use them as a guide to a reading as a writing of IN COMPANY: AN ANTHOLOGY OF NEW MEXICO POETS AFTER 1960, edited by Lee Bartlett, V. B. Price and Dianne Edenfield Edwards (University of New Mexico Press, 2004).

"Human Non-Sequitur" is a sonnet in form, but most of its verse lines are longer than a single printed line. In this particular lexeography I will be using all of the words at the ends of lines on the printed page, even when a single verse line extends to more than one printed line. My choice of how to use the printed page gives me 24 words to work with, rather than 14. This isn't arbitrary. It's simply a way of giving myself permission to include more than 14 poets in this irreview.

Line one of "Human Non-Sequitur" ends with the word "other". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'o'.

Deanna Ortiz, page 510.
From "Ladders"
"One October night the clear green eyes came to me."

From "Again"
"But wild or wrong arrived in the shotglass everytime,
your green eyes alive as the sea,
a body, and seven hundred miles of waste."


Line two of "Human Non-Sequitur" ends with the word "the". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 't'.

Jennifer Timoner, page 498.
From "The Eye Occupation"
"Can you name ten corpses that begin with the letter O"

From the Abstract for Romanticizing Bataille: Subject-Object Relations and the "Extreme Limit" of Knowledge in Blake, Coleridge, and Shelley, by Jennifer Alla Timoner
Dissertation, The University of New Mexico (2001).

This work begins with the premise that the English romantic poets believed in and valued the subject's unsatisfiable desire to know the objective world, rather than a static knowledge of the object. I show further that the work of Georges Bataille provides a valuable perspective from which to analyze romantic epistemology. Looking at texts that have a long history of epistemological criticism---William Blake's Book of Thel and Visions of the Daughters of Albion, Samuel Taylor Coleridge's The Rime of the Ancient Mariner, and Percy Bysshe Shelley's Alastor---I propose radically different interpretations of the poems based on Bataille's ideas concerning the violent annihilation of subject and object, as well as the sacrifice of meaning represented by poetic language. In part, then, this study contributes to an understanding of romantic poetry as the heterogeneous communication of the anguished, isolate subject.


Line three of "Human Non-Sequitur" ends with the word "stems". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 's'.

James (Jim) Stewart, page 480.
From "On Speed, Or How We Murdered Nostalgia"
"crystal meth is a machine, a tool"
[...]
"I could hear Cassady's voice, and understood how little
his motor-spell-chant-talk really had to do with some magic door"


Line four of "Human Non-Sequitur" ends with the word "&". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'a'.

Elizabeth Abbott, page 305.
From "Awakening"
"There were no magic words.
'Love is built,' they told her.


Line five of "Human Non-Sequitur" ends with the word "discharge". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'd'.

Mary Dougherty, page 312
From "Only Death"
"I am pushed to sea
the boat is in flames."

From "Spring In Placitas"
"I'm electric tonight, everything
I touch begins to spark."

From "The Burning of Margaret Moone"
"Flowers of fire grow in my legs.
I lean to the faggots
and flame redeems me."


Line six of "Human Non-Sequitur" ends with the word "fight". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'f'.

Phillip Foss, page 453.
From "Anascesis and Wreckage"
"these divisions are only for the purpose of knowing: they have no meaning"
[...]
"the chosen poverty rekneading the body into another dirt * perhaps
mircaceous or igneous * fog
you must pass out of these
structures
into a kind of sound in which you cannot recognize your self"
[...]
"what light does sound make?"


Reading, nomadically again, among the results of a google search on the word "anascesis", I come upon The Literary Essays of Thomas Merton, directed specifically to his paper on Pasternak, in which I find the following:

It is therefore instructive to study the scattered allusions in these letters which, added together, provide us with a strikingly coherent formula, a kind of ascesis for survival under totalism. In this, Pasternak falls into a long traditional line of sapiential thought which goes all the way back to the court literature of ancient Egypt, is reflected in such  books of the Old Testament as Proverbs and Ecclesiastes, and echoes other wisdoms in India and China.

It is an ascesis of honesty, of work, of loyalty to one's friends, to one's task, and to oneself. It is above all an ascesis of fidelity to life itself and to the human measure. Therefore an ascesis not of rigor and restraint but of openness and response: not of solipsism but of self-forgetfulness, celebration, and love.


Line seven of "Human Non-Sequitur" ends with the word "take". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the second poet whose name begins with the letter 't'.

John Tritica, page 448.
From "Approaching The Equinox"
"To warrant semantic excess
but to define or extend
beyond the bleachers."
[...]
"If you want a poem
find a blank page."
[...]
"To read poetry is to write the world."


coreopsisˌ noun: a plant of the daisy family, cultivated for its rayed, typically yellow, flowers.
Origin
modern Latin, from Greek koris ‘bug’ + opsis ‘appearance’ (because of the shape of the seed).

penstemon, noun, another term for beardtongue.
Origin
modern Latin, formed irregularly from penta- ‘five’ + Greek stēmōn ‘warp,’ used to mean ‘stamen.’

beardtongue, noun, a North American plant of the figwort family with showy, five-lobed flowers. Each blossom has a tuft of hair on one of its stamens.


Line eight of "Human Non-Sequitur" ends with the word "initiative". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the 'i'.

Mark Ivey, page 513.
From "Golden, New Mexico"
"Gravestones, cut from soft rock, tilt,
their letters become dark mumbles."


Line nine of "Human Non-Sequitur" ends with the word "of". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the second poet whose name begins with the letter 'o'.

Simon Ortiz, page 113.
From "My Mother and My Sisters"

"My oldest sister wears thick glasses
because she can't see very well.
She makes beautifully formed pottery.
That's the thing about making dhyuuni;
it has more to do with a sense of touching
than with seeing because fingers
have to know the texture of clay
and how the pottery is formed from lines
of shale strata and earth movements.
The pottery she makes is thinwalled
and has a fragile but definite balance.
In other words, her pottery has a true ring
when it is tapped with a finger knuckle.

Here, you try it;
you'll know what I mean."

From  "The State's claim that it seeks in no way to deprive Indians of their rightful share of water, but only to define that share, falls on deaf ears."

The cosmos is measured by American-made satellites, the land is being razed by Kennecott Copper and Anaconda Corporation monstrosities, and our land has been defined by the RIGHT OF WAY secured by American RAILROADS, ELECTRIC LINES, GAS LINES, HIGHWAYS, PHONE COMPANIES, CABLE TV.


Line ten of "Human Non-Sequitur" ends with the word "communicate". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'c'.

Denise Clegg, page 508.
From "Five Senses"
"between
cotton and skin
I am young and old
and wholly present"


Line eleven of "Human Non-Sequitur" ends with the word "to". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the third poet whose name begins with the letter 't'.

Victoria Tester, page 422.
From "First Horses, 1519"
"They breathed into our nostrils until our spirits mingled,
and we gave them our speed and flesh
in exchange for their language
of wind."

From "Broken Glass"
"I wonder of she went to California, on
one of those wagonloads of the insane."


Line twelve of "Human Non-Sequitur" ends with the word "other". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the third poet whose name begins with the letter 'o'. I find that there is no third poet whose name begins with the letter 'o', so I move on to the next line in Larry Goodell's poem.


Line thirteen of "Human Non-Sequitur" ends with the word "they're". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the fourth poet whose name begins with the letter 't'.

Toadhouse, page 298.
Allan Graham [aka Toadhouse] in Conversation with John Yau
Brooklyn Rail December 14, 2007
"Well, when we finished this studio, this house, and were moving back in, it had been almost three years since I had done anything. Before that, I had done the collage pieces as well as monochrome shaped-pieces at the same time. So there were works with words and works that were purely visual, and they would be in the studio at the same time—I’d be working on both, and somehow it made sense to me. But when I started back in here and I walked into this brand-new studio in the mountains, I thought, “You know, what I want to deal with is the Toadhouse thing,” which was a joke I shared with a poet friend. Toadhouse was the name I gave an underground kiva because Spadefoot toads used to jump in it, and that’s where I started writing these notes to myself. The room was twelve feet across and ten feet underground. And I liked that state of mind; there was some kind of a connection with simple words that seemed to take on greater meaning than I could ever imagine. But if I’d say them to you, they’d end up having a singular meaning or sound like a corny joke. I wanted to stay in that state of mind and didn’t know what I was going to do with it. I took red rosin paper we’d been using in the construction of the house, and, because we had an outhouse out here, I started writing “dung” over and over, and made a combination of Chinese landscapes, soft mountains, and a sitting figure. I just went from there to where a word cluster looked slightly like a UFO, and I thought, “I can’t do this, not living in New Mexico.” (laughs) “This is sure death.” That lasted about three or four minutes and then I thought, “Oh well, whatever you do, you do it. Nobody has to see it.” So I started doing drawings that had a cluster of one word that looked like a UFO moving through a field of other words. That’s the first real breakthrough to where I started working with words and my own words in that sense, and they were small, and they were very time-consuming."


kiva, noun: a chamber, built wholly or partly underground, used by male Pueblo Indians for religious rites.


Line fourteen of "Human Non-Sequitur" ends with the word "half". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'h'.

Douglas Kent Hall, page 428.
From "New Mexico"
"The same old Anglo crooks
Who once advanced cash for crops
Then in bad years took the farms
Now wait in the wings
To buy up the mortgages
Of tribal casino losers."


Line fifteen of "Human Non-Sequitur" ends with the word "discovery". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the second poet whose name begins with the letter 'd'.  I find that there is no second poet whose name begins with the letter 'd', so I move on to the next line in Larry Goodell's poem.


Line sixteen of "Human Non-Sequitur" ends with the word "equal". I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'e'.

Dianne Edenfield Edwards, page 266.
From "Not Having"
"Killing is having.
You have, I have not.
Are we in war or
are we in town?
Not having is
not the end
or the beginning
of greed."


Line seventeen Non-Sequitur" ends with the word "men I turn to the table of contents, begin with the last page in that table, and read upwards until I find a poet whose name begins with the letter 'm'.

Robert Masterson, page 518.
From "The Chinese Stripper"
"and the best part is that she isn't Chinese at all, really;
it's a trick they do with make-up and wigs, with gesture and music.
and it's a really great trick. really."


Line eighteen of "Human Non-Sequitur" ends with the word "talk". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the fifth poet whose name begins with the letter 't'.

Luci Tapahonso, page 249.
From "The Warp Is Even: Taut Vertical Loops Between Our Father And The Earth"
""The soft tamping of her batten comb echoed in the small house."
From "Old Salt Woman"
"Old Salt Woman held the baby, then put a bit of ashi-ih / Into her mouth"
[...]
"Then the baby offered ashi-i-h, / A box of Cracker Jacks and some fruit."
[...]
"Thus we learned that we cannot live without ahshii."

Navajo Rug Weaver
How to Weave a Rug: The Loom
5. The loom is prepared and the vertically-oriented warp (the fine-spun yarn that is the foundation of the textile) is tightly wound.
6. Weaving is done by threading the wefts (less finely spun yarn, usually colored) horizontally over and under the warp yarns.
Using different colored wefts allows the weaver to create various designs and patterns. A long stick called a "batten" is used to hold open the warp temporarily while wefts are put into place. A weaving comb is used to tightly pack the wefts after they have been placed.


From NAVAJO CEREMONIAL SONGS BASED ON THE CREATION MYTH, which I discovered while searching for information on "ahshii":

SONG OF THE LADDER

The ladder, the ladder, the ladder, the ladder
The ladder, the ladder, the ladder, the ladder.

From down in the Emergence Pit—the ladder, the ladder
The Talking God moves with me up the black ladder—the ladder, the ladder
He moves with the rainbow—the ladder, the ladder
To the edge of the Emergence Pit—the ladder, the ladder;
Blue-bird is humming before me—the ladder, the ladder
Corn-beetle is humming behind me—the ladder, the ladder
I, I am Sahanahray Bekayhozhon—the ladder, the ladder
Before me all is beautiful—the ladder, the ladder
Behind me all is beautiful—the ladder, the ladder.

The ladder, the ladder, the ladder, the ladder.

From down in the Emergence Pit—the ladder, the ladder
The House God moves with me up the blue ladder—the ladder, the ladder
He moves with the lightning—the ladder, the ladder
To the edge of the Emergence Pit—the ladder, the ladder;
Corn-beetle is humming behind me—the ladder, the ladder
Blue-bird is humming before me—the ladder, the ladder
I, I am Sahanahray Bekayhozhon—the ladder, the ladder
Behind me all is beautiful—the ladder, the ladder
Before me all is beautiful—the ladder, the ladder.

The ladder, the ladder, the ladder, the ladder
The ladder, the ladder, the ladder, the ladder.


Line nineteen of "Human Non-Sequitur" ends with the word "the". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the sixth poet whose name begins with the letter 't'.

Phyllis Hoge Thompson, page 216.

celadon, noun, a willow-green color.
a gray-green glaze used on pottery, especially that from China.
pottery made with celadon glaze.
Origin
mid 18th century: from French céladon, a color named after the hero in d'Urfé's pastoral romance L'Astrée (1607–27).

vetch, noun: a widely distributed scrambling herbaceous plant of the pea family that is cultivated as a silage or fodder crop.
Origin
Middle English: from Anglo-Norman French veche, from Latin vicia .

spirea, noun: a shrub of the rose family, with clusters of small white or pink flowers. Found throughout the northern hemisphere, it is widely cultivated as a garden ornamental.
Origin
modern Latin, from Greek speiraia, from speira ‘a coil.’


Line twenty of "Human Non-Sequitur" ends with the word "talk". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the seventh poet whose name begins with the letter 't'.

Nathaniel Tarn, page 96.
From "Before The Snake"
"​marvelous to be so alone, the two of us, in this
garden desert. Forgotten, but remembering
ourselves as no one will ever remember us.​"​

From "The Great Odor of Summer"
"When we sit down to talk of values
    and start where most men end
neglecting the simple beginnings
    we make an end of the Academy
I am interested in those who begin at the beginning
philosophers in caves    playing with light and shadow
taking the explanations of others who sit in caves
               and welding them together into one answer
                         Look     do you know
that 99% of mankind is syncretistic
               that isms are a luxury of the rich
and that we​​
              with our eyes of ice
              our eyes of petal and flame
              our eyelids like the wings of summer flies
                  in the great light of total opposition
are poor   and rightly poor    and rightly    rightly    poor?"


Line twenty-one of "Human Non-Sequitur" ends with the word "talking". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the eighth poet whose name begins with the letter 't'.

Charles Tomlinson, page 50.
​From "The Matachines"
"whatever we
do we mean
as praise"


From Sylvia Rodriguez, The Matachines Dance, Ritual Symbolism and Interethnic Relations in the Upper Río Grande Valley, Chapter 4.​ ​Published by The University of New Mexico Press, 1996. 

Although the general sequence of choreographic units seems fairly stable, there is nevertheless marked variation in some aspects of the musical sequence. For example, I observed and recorded three distinct end patterns during three different performances on Christmas Day in 1987. In one performance there were fourteen tune changes in the sequence ABACACACABDCEF. In another, the sequence ended with CBF, and tune E, similar but not identical to B, was not used. Yet despite this musical variation the choreography was the same in both cases. In the final dance, culminating with the Maypole, the sequence was ABACACACACAG.2 The fourteen tune changes in the first performance were tape-recorded as follows.

I. Tune A (slow). The dancers face forward (toward the musicians) and perform alternating kick steps while Monarca, Malinche, and the Abuela move abreast, up and down between the two lines.
2. Tune B (fast). The dancers stamp up and down, twirling and whirling around in place, facing forward and then to the right and left, swinging their palmas and rattles in front. The Abuela accompanies Malinche, who is led by Monarca up and down between the rows. As they retreat, each set (or cross-pair) of dancers kneels (genuflect position).
3. Tune A. All dancers kneel while Malinche, led by the Abuela, moves between the rows with her right arm extended toward Monarca, who sits at the far end, extending his palma in his right hand. The Abuela, on the Malinche's left, mimics this motion with her chicote (whip).
4. Tune C.(fast) Malinche and Abuela rotate in one direction and then the other and curtsy after Malinche takes Monarca's rattle in her right hand. The two then weave along one side (his right) of the dancers, toward the musicians. They face the musicians, rotate, and curtsy.
5. Tune A. Accompanied by the Abuela, the Malinche again proceeds toward Monarca, this time with her left hand extended while she holds the rattle close to her waist. Monarca extends his palma with his left hand, by an outer prong, handle toward Malinche. Their left arms rotate around each other, twice clockwise and twice counterclockwise. She takes the palma and then curtsies, with the Abuela, who is now on her right.
6. Tune C. Malinche, between the Abuelos and holding the palma by the handle, weaves along Monarca's lefthand side of the genuflecting dancers, advancing toward the musicians' end, where she stops and again spins and curtsies.
7. Tune A. Malinche and the Abuelos then move back toward Monarca, she extending the rattle with her right hand, he taking it in his right hand.
8. Tune C. Malinche and Abuelos spin around, curtsy, and then proceed to weave around each dancer, this time between the two rows.
9. Tune A. At the end of the dance area where the musicians sit, the Abuelos and Malinche spin around, curtsy, and then return toward Monarca, Malinche extending the palma in her left hand, by a prong. Their arms again rotate around each other. (One bar of tune C: Monarca takes the palma, Malinche spins and curtsies, and Monarca stands.)
10. Tune B. The two rows of kneeling dancers face inward, their palmas extended downward, touching the ground. Monarca dances between the rows, pirouetting over the palmas. As he passes each pair, the dancers move away from the center and face toward the front. On his return, as he passes each pair of dancers and spins, they rise, spin, and exchange positions across the lines, going from kneeling to standing position. They then take three steps in place and stop. Malinche follows behind Monarca, with the Abuelos.
​1​1. Tune D (fast). Monarca is seated; Malinche takes the rattle and palma. The two columns of dancers spin around in place. Then, as Malinche and the Abuelos move between the rows toward the far end, the dancers cross back to their original places, one in front of the trio, the other behind. The party of three then proceeds back toward Monarca, palma and rattle extended. Malinche hands them back and he stands and moves to dance between the rows while she retreats to the sidelines. Looping around each dancer, Monarca then initiates diagonal crossovers between the two columns, leading the front left dancer to the right rear position and vice versa, down the line.
12. Tune C. Malinche and the Toro face each other from opposite ends of the dance lines and then move toward each other. The Abuela trails Malinche, and the Abuelo follows the Toro. Malinche dances a semi-circle around the Toro and waves her paflo at him as they pass. She goes to the sidelines. Next the Monarca dances around the Toro in similar fashion, touching his left hand with palma to the Toro's left shoulder as they pass. He is followed in turn by the dancers, who in meeting the bull all cross over, diagonally from front to back, reversing the crossovers made in the last movement, each returning to his original place. The Abuelos then dance the Toro to the sidelines.
13. Tune F fast). The dancers, joined by Monarca, Malinche, and Abuelos, form moving perpendicular columns which go from an L shape to the shape of a cross.
14. Tune F fast). Monarca, Malinche, and the Abuela dance abreast between the two rows, advancing and then retreating, much as in the first dance. The dancers stamp lightly and do a kick step.


Line twenty-two of "Human Non-Sequitur" ends with the word "air". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the the second poet whose name begins with the letter 'a'. 
Ward Abbott, page 301.
From "Aspen Meadows"
"The potatoes are in their skins,
mounded in sour cream.
We are in our skins,
stung by cold air."


Line twenty-three of "Human Non-Sequitur" ends with the word "while". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the a poet whose name begins with the letter 'w'.
Jay Wright, page 169.
From "Boleros #31"
"I recall my cuandero's virtue,
and the way he arranges his materia medica --
herb-laden, with creosote and Mormon tea,
lavender-starred white horse nettle, the sego lily bulb --
                                                   before our eyes,
a cloud of flowers, from which the lily bursts,
and the echo of a blessing welcomes one
who has been embraced by Remedios."

From "Boleros #21"
"We had escaped from the pagan nets
set low in the two rivers,
had struggled, and landed on the high ground
of Pueblo faith,
and there set down, where those
with drier hearts had abandoned the sun."


Line twenty-four of "Human Non-Sequitur" ends with the word "on". I turn to the table of contents, begin with the last page in that table, and read upwards until I find the fourth poet whose name begins with the letter 'o'.I find that there is no fourth poet whose name begins with the letter 'o', so I move on to the next line in Larry Goodell's poem. But there is no next line in this poem. 


Left to my own devices (by which I probably mean my memories and my tastes), I would begin reading this anthology by opening it to Robert Creeley, followed by Judson Crews and Margaret Randall, then to Larry Goodell and Gus Blaisdell, on to Nathaniel Tarn and Mei-Mei Berssenbrugge, finishing a first passing through with Joy Harjo and Mary Rising Higgins. That would be an enjoyable reading session, but I would feel a little guilty for relegating Arthur Sze, John Brandi, John Tritica, Rebecca Seiferle, N. Scott Momaday, Gene Frumkin, Charles Tomlinson and Witter Bynner to a second session. And I would have still neglected Phillip Foss and Simon Ortiz.

Larry Goodell says: "Poetry for me is making things, at least making things happen, so that a 3 dimensional poetry is possible and the ancient voices of ceremony are given voice . . . and in a time of cold-shouldering big publishers I advocate the Poet as Publisher. . .​" Approach this anthology with all of that in mind. Move through the book in many directions. Follow the poems as they guide you towards the many worlds from which they emerge​. The ceremony of your reading will be a celebration of the writing.

​september 2018​
*****


Jim Leftwich is a poet who lives in Roanoke, Virginia. Recent publications include  Volumes 1 , 2  &  3  of  Rascible & Kempt (Luna Bisonte 2016, 2017, edited by John M. and C. Mehrl Bennett), Tres tresss trisss trieesss tril trilssss: Transmutations of César Vallejo (Luna Bisonte, 2018) and Sound Rituals, collaborative poems by jim leftwich & billy bob beamer (mOnocle-Lash, 2018, edited by Olchar Lindsann).