What is left after nothing is left

Summit

Small towns. A few houses and a general store.
The map might show only one road going through,
but if you keep driving around long enough,
you begin to understand how they’re connected.
There are back roads running in all directions.
You just have to get out and look for them.

People living out there have known each other
for a long time. They still have family reunions
in late August, on plank tables under the trees.
Places with names like Hadley, and Springtown,
and Coatesville. Most of them manage to keep
a grain elevator going, maybe a post office.

I’m a real-estate appraiser. These days
I spend a lot of time out looking at farms.
I’ve got a bunch of good maps in my car;
old ones, too. You don’t want to come back
to town and admit you couldn’t even find
the place you were looking for. Or got lost.

One day last September I was driving along
a gravel road between Clayton and Hadley, using
an old county map. Up ahead was a little town
called Summit, that had been a flag stop once,
on a spur slanting off from the main line
to Terre Haute. That spur’s been gone for years.

Summit was gone, too. But I found it, after a while,
figured out exactly where it had been,
right at the top of a long rise you could see
stretching for miles across the countryside.
Nothing out there now but lots of beans and corn,
blue sky and clouds. Not even fence rows anymore.

You could almost imagine the train heading west,
up that long grade, pouring on the coal, making
for high ground. When it finally pulled in,
and the telegraph man came out for the mail,
there would be a couple of little kids sitting
on the baggage wagon, waving to the engineer.

I walked up to the only place it could have been.
Right there, at the crest of the hill. Somebody
had kept it mowed. There was a strong wind blowing.
I searched around in the grass for a long time,
but I couldn’t find anything. Not a trace.
Only the land itself, and the way it still rose up.

Jared Carter

John Allan Wyeth, Ezra Pound and the random particularity of war

 Before the Clangor of the Gun:  The First World War Poetry of John Allan Wyeth, by BJ Omanson.  (Monongahela Books, 2019). Illustrated, 120 pp. 

Excerpt:

       "More than any other English-language poet of the war, Wyeth’s language is stripped clean of 19th-century tonalities and devices. A contributing factor to Wyeth’s modernist style might have been that, during the years immediately prior to the publication of This Man’s Army, when he was almost certainly composing his sonnets, Wyeth resided in the American colony in Rapallo, Italy, where he was known to be friends with Ezra Pound (see “Notes on Wyeth’s Years in Rapallo,” p. 99).

       While it is impossible to know the nature, or extent, of Pound’s influence on Wyeth, there is no denying that Wyeth’s stringently honed descriptions—where every word contributes to the presentation and every image is distilled to its essentials—accord closely to the Imagist principles which Pound espoused in the years before the war. Even the Imagist stricture that the rhythm of a poem should possess the fluidity of a musical phrase rather than the beat of a metronome, is not violated by Wyeth’s sonnets, which display an unprecedented metrical freedom within the general constraint of the form.

       Whether Wyeth developed his acute descriptive powers under the influence of Pound, or from earlier influences, is a matter of conjecture. It is at least as plausible that the minutely observed and needle-sharp descriptions of Henry James provided the primary influence on Wyeth’s technique. According to Edmund Wilson, only he and Wyeth—of their literary circle at Princeton—read James seriously while they were there, and it was Wyeth who led Wilson to a full appreciation of James’ technique.

            Wyeth’s reliance on chance, on working with whatever objects circumstance might provide, even when they serve no apparent thematic or metaphoric purpose, has a basic affinity with a precept of another major theorist of Imagism, T.E. Hulme, who was a direct influence on Pound. Hulme’s contention was that it is not the object itself that matters, but only its description. Any object will do as well as any other, including random objects served up by chance.

       The idea of employing randomness as a compositional principle may have been unusual in literary theory in those years, but in the visual arts the notion of the objet trouvé (“found object”) had been in the air since well before the war, from Picasso’s Still-life with Chair Caning, to Duchamp’s “ready-mades,” to Dada’s reliance on whatever the artist happened to pick up in the street.  It is certainly no stretch to assume that Wyeth, with his years spent in New York, London and Paris, and his lifelong interest in contemporary movements in art, would have keep well abreast of such developments.

       Wyeth’s reliance on circumstantial subject matter might tempt a less well-informed critic to dismiss Wyeth’s sonnets as mere documentary reportage, but if that were all his sonnets amounted to, they would lie flat and lifeless on the page.  What we find instead is a body of work where the unsettled randomness of actual events infuses each sonnet with an élan vital, a vital spark. Far from being the equivalent of old newspapers fit only for wrapping fish, Wyeth’s sonnets are living vignettes, rich in chaos, chlorine, and all the random particularity of war."

BJ Omanson

~~~~~

The following trio of linked sonnets are from This Man's Army: A War in Fifty-odd Sonnets by John Allan Wyeth.  (University of South Carolina Press, 2008-- reprint of the 1928 Harold Vinal edition).  Part of the "Joseph M. Bruccoli Great War Series" (Series Editor, Matthew J. Bruccoli). Introduction by Dana Gioia; historical annotations by BJ Omanson. 

THE TRAIN FROM BREST

A haze of dusk behind low roofs of thatch
and sloping moors and barren gouty trees--
dim roads and earth-walled fields-- the steady flight
of blinking poles and the rhythmic sweep of wires.
Darkness outside--
                             "Hey Tommy, gimme a match--
now gimme a Lucky."
                                      "You're sorta hard to please--
you don't want much."
                                        --"Somebody turn off the light,
I want to sleep."
                             "Hell, with these frog flat tires?"
A stifling blackness-- sweat, and the jiggling scratch
of cloth on your neck and tickling under the knees,
and the clank of iron beating a rackety tune--
and like a secret calling in the night
waking to see the black cathedral spires
of Chartes against a low-hung lazy moon.

ON TO PARIS

Light enough now to watch the trees go by--
a sleep like sickness in the rattling train.
Men's bodies joggle on the opposite seat
and tired greasy faces half awake
stir restlessly and breathe a stagnant sigh.
The stale air thickens on the grimy pane
reeking of musty smoke and woolly feet.
Versailles-- a bridge of shadow on a lake
dawn-blue and pale, the color of the sky.
Paris at last!-- and a great joy like pain
in my heart.  We scuffle down the corridor.
"Lieutenant."
                        "Sir."
                                 "In half an hour we meet
at another station-- your orders are to take
these men by subway to the Gare du Nord."

THE BRITISH FRONT

Noon on the white cathedral of Beauvais,
a glaring brittle hull of stone and glass
long after glittering above the plain.
A halt at a junction--
                                    "Get back-- Stay where you are!"
"All out!"                  
                 "My God I'm shaving--"
                                                           "Get out of the way--"
"Jump damn you--"
                                  "Throw the bags out--"
                                                                          A breathless mass
crushing and scrambling in the moving train,
and men and packs plunge out of every car.
Another train, through green hills all day--
American troops that wave and shout as we pass
"What outfit--Hey--"
                                     Long salvage trains.  We shunt
along and stall.  And like a pumping vein, 
our eardrums jump and catch from very far
the muffled pulse of guns along the front.
                                 

A Young Girl in the Great Depression: Life on an Illinois Farm in the Early 1930s

A Young Girl in the Great Depression: The Diary of Thirteen-Year-Old Betty Appenheimer,  (Monongahela Books, 2019).  Period illustrations, photographs, newspaper articles, period advertisements, appendices, 191 pp.

From the Introduction:

"What is especially notable about this diary, written by one so young, is how outwardly directed and objective it is.  While her own activities are recorded, they receive little more attention than those of her siblings and parents, with nearly equal additional attention given to the activities of a host of relatives and neighbors. The result is an account of an extended family, and its surrounding community, which is unusually comprehensive.

On the one hand, because she is constrained by the small amount of space is allotted for each day, her entries never exceed more than a modest paragraph. She has to pack in the information, and avoid digressions of any sort. She has to stay focused on particular facts and events and, because the life around her is so rich in the number of small events which she is determined to record, she has no space to spare for description. What matters above all is what people do.

            To an historian, this is pure gold. A major obstacle in understanding rural life in earlier periods, is the lack of sources which portray what people actually did, and how they interacted, on a day-to-day basis: all the little ordinary activities and events which no one thought important enough to record. But it is exactly such details as these which historians require if they are to reconstruct rural life accurately.

Farmers and their families are not natural diarists.  They are simply too busy, and too tired at the end of the day, to keep a faithful record of everything that happens and of what everyone does. Adolescents, on the other hand, have more time, and are probably more inclined to keep diaries, but they almost invariably write about themselves to the exclusion of everything else. Such diaries rarely possess any historical value.

Adolescents are naturally self-centered, and I do not mean this as criticism. Both their outward and inward lives are changing so rapidly that they can barely keep track of the daily stresses, traumas and transformations. The diary of a typical thirteen-year-old is almost entirely subjective. Everything that happens is taken personally. It is simply in the nature of being an adolescent. Their world is changing by the day, and it is a full-time job just to keep track of one’s inner turmoil. There is no time left over to follow everyone else’s activities.

Yet in Betty’s diary the degree of self-centeredness is almost nil. She is more interested in what happen to others than in what happens to herself. She possesses a natural empathy which keeps her outwardly focused. She is pleased when others do well, and sympathetic when they suffer. She writes about those around her in a plain, straightforward manner with no hint of fault-finding. She gives everyone the benefit of the doubt. And as hard as her life obviously is at times, it never occurs to her to complain.

As history, the most valuable documents of rural life are often business records kept by the farmers themselves. Regarding Al Appenheimer’s farm, we are fortunate to possess highly detailed records of the farm’s operation which cover every year from the late 1920s to the early 1970s. But for all their historical significance, such records tell us very little of what individual family members actually did on a day-to-day basis.

Another primary source for understanding the daily life of rural families are letters, but letter writers almost always concentrate on important events such as weddings, births, illnesses and deaths.  What they omit, not surprisingly, are the small occurrences and activities which comprise an ordinary working day. Letters are relatively infrequent, so that events tend to be summarized, and condensed.  They convey little of the daily rhythm of rural life.

It is this aspect of Betty Appenheimer’s diary—the faithful recording of all the little things that she and her family and neighbors do, day in and day out, through three years of changing seasons—which makes her diary such an historical treasure trove."

BJ Omanson

Dana Gioia on classic literary histories and Jack Foley's renegade masterpiece

 

 Jack Foley's Unmanageable Masterpiece: California Literary Time Line 1940-2005 , by Dana Gioia & Peter Whitfield.  (Monongahela Books, 2019). Illustrated, bibliography, 109 pp.

From the Introduction:

"Jack Foley has been such an active figure in California letters over the past forty years that it would seem impossible to make sense of West Coast poetry without reference to him. Yet most critics do exactly that. Foley has published on the margins of official literary life. Conventional critics don’t know his work. Time will correct the oversight, but there is no harm in speeding up the process by offering a few observations on his prolific career. There are singular aspects of his work that deserve attention, especially his experimental poetry written for and performed by multiple voices. But poetic innovation is what one expects from a Bay Area Beat. What astonishes the reader is Foley’s critical prose. No one expects a Beat poet to write a major work of literary history or to develop a radically new and revelatory approach to the genre.

Literary history is an academic enterprise, something done on a Mellon grant in a research library by a tenured professor with a book contract from Oxford. On my shelf I see thick volumes with titles such as The Columbia History of American Literature or Oxford History of English Literature. There is good reason that publishers name such books after universities. The genre seems inherently institutional. The volumes resemble collectively compiled reference works more than expressions of personal critical engagement. Literature is an affair of individual sensibility—both in its creation and criticism. Literary history, however, requires the author to reconcile personal opinions with the broader external consensus. That is one reason why such books date quickly; collective opinions change as intellectual fashions change.

There are a few glorious exceptions—literary histories that combine scholarship and personality, virtues that give them considerable longevity. George Saintsbury’s three-volume History of English Prosody (1906) is one conspicuous example—a study that still feels alive more than a century after its publication. The reader may disagree with Saintsbury on a particular point, but the author remains a vital and provocative presence. Likewise René Wellek’s monumental eight-volume History of Modern Criticism: 1750-1950 (published from 1955 to 1986) presents formidable scholarship with a gentle human touch. As polyglot Professor Wellek surveys two hundred years of Western intellectual history, he never forgets that the students in his imaginary seminar are a bit embarrassed at not having done all the assigned reading. Such erudite but engaging books prove not merely useful but invaluable. They provide comprehensive accounts of complex subjects in which the authors communicate their passions, puzzlements, and prejudices.

Yet how seldom is literary history done well. Years of fastidious scholarship and editorial toil often deaden the author who must diligently push the project to its contractual end, even though passion died in chapter three. Academic conventions also weigh upon the style and structure. Critical fashions mire it in short-term concerns. The genre’s problems have increased in recent years, as more surveys have been written not by individuals but committees of experts. Hefty official histories now appear without any unifying narrative line or organizing principle. Written by different authors, each chapter exists in intellectual and stylistic isolation. Pursuing their individual interests, scholars leave gaps in the historical record omitting major writers and subjects. If the genre isn’t dead yet, we can hear the carpenter sawing boards for the coffin.

~ ~ ~

It will seem supremely odd to any academic that Jack Foley, an Oakland poet without any institutional support or university connection, has written the most comprehensive history of post-war California poetry—a study that not only surveys the lives and work of hundreds of literary figures but also cogently addresses the contradictory impulses in the state’s creative psyche. Moreover Foley has fashioned his chronicle in an innovative way that is both engaging and unabashedly experimental."

Dana Gioia

The Regionalism of Jared Carter

The following is excerpted from the introduction to Jared Carter's The Land Itself.

 "That Jared Carter, among living writers, is one of America’s premier regionalist poets is a claim few who know his work well would dispute. Yet describing any writer as regionalist in the second decade of the 21st century is in some ways problematic. The last high-water mark of American regionalism, the 1930s, was already on the wane by the time Jared Carter was born, and regionalism’s death knell was already being sounded by such critics as Lowry Charles Wimberly – who saw in the spread of national brands and national standards the inexorable homogenization of America’s regions. At the same time, John Crowe Ransom and the Agrarians were analyzing the slow death of Southern regionalism due to the spread of industrialism, the migration from rural areas into the cities, and a host of inter-related cultural trends.

After the end of World War II, the homogenization of America’s hinterlands, due to the spread of the interstate highway system and television, received a quantum boost, with its effects becoming more far-reaching and virulent with each passing decade until, by the digital revolution of 1990s, it had come to seem as though regionalism could only legitimately be spoken of in the past tense.

And yet it was through these same decades, when so much of what was most distinctive about America’s heartland was vanishing, that Carter was turning out poem after poem, portraying characters, situations and locations as singular and sharply defined as any in literature, and he was doing so with a honed plainness of style that left no doubt as to their veracity and authenticity.

Beginning with Carter’s first book, Work, For the Night is Coming (1981), readers were introduced to a region which was at once literal and mythical: “Mississinewa County,” somewhere “east of Spoon River, west of Winesburg, and slightly north of Raintree County,” as Carter himself has explained.  It is a fictional county named for an actual river (the Mississinewa, a tributary of the Wabash) which, like the fictional town “Spoon River” (also named for an actual river), Faulkner’s “Yoknapatawpha County,” Frost’s rural New England,  Robinson’s “Tilbury Town” and a long list of other literary regions, is rooted equally in the American continent and the American psyche. Mississinewa County is a multifaceted, multidimensional “place” of such symbolic and allegorical richness that its hinterlands and far boundaries – despite several decades of appreciative commentary – remain largely unexplored. Altogether, Carter’s books contain much of what one has come to expect in a regionalist body of literature from the American Midwest: pool halls and funeral parlors, dilapidated barns and covered bridges, barbershops and taverns, and miles of highways, telephone poles and open country inhabited by farmers, druggists, drifters, drunkards, undertakers and real estate appraisers. Turning to any of the early and late poems in the current collection, one is struck once again by the assurance and authority in the poet’s voice. Carter’s descriptions are rendered with a pitch-perfect precision that can only come from long familiarity with his subject. He is a plein-air poet, portraying his region with a sharpness of focus and an eye for inconspicuous but telling detail that cannot be achieved at second-hand.

The answer, then, to the question of whether a genuinely regional literature is still possible in the 21st century, when America’s regions have been all but homogenized, suburbanized, industrialized and digitized out of existence, is to be found in the pages of any of Carter’s books, where the poems, like palpable artifacts plucked from field or creekbed, constitute clear evidence of a region still very much alive. Precisely how America’s regions have survived a century of destructive “progress” – at what cost, and in what fashion – are complex questions beyond the scope of this essay. But one index and proof of their survival is to be found in the literature they produce, and Carter’s books are as strong a piece of evidence as one might hope for."

BJ Omanson