tag:blogger.com,1999:blog-2372118266916796372024-03-17T02:25:49.322-07:00Frank StylesKevin McNeilly on Poetry, Music, Improvisation and Other ThingsKevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.comBlogger161125tag:blogger.com,1999:blog-237211826691679637.post-92101249665230788302023-12-05T09:08:00.000-08:002023-12-05T09:08:02.550-08:00320.95694 (Poem)<p> </p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">I’m recuperating from surgery after a broken hip and, along with catching up </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">on teaching and grading, I’ve been working on sets of short lyrics, some of </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">which have been roughed out pretty quickly. I’m aiming to engage—as with </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">many of the other poems I’ve self-published here on this blog—with what </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">Walter Benjamin called a politicizing of the aesthetic. I recognize the artifice </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">of my own language (that’s what lyric writing pretty much is for me), but also </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">a demand to connect that might even overwrite that artifice, cross it up and </span></p><p dir="ltr" style="line-height: 1.7999999999999998; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: black; font-family: 'Times New Roman',serif; font-size: 13.999999999999998pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">fracture it.</span></p><div class="separator" style="clear: both; text-align: center;"><span id="docs-internal-guid-d399a15f-7fff-9df4-cbb3-e0a9ec53e029"><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><span class="Apple-tab-span" style="text-wrap: nowrap;"> </span></span><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Here’s a piece written in an hour or two—so closer to a briefly attenuated improvisation—about</span><a href="https://lithub.com/gazas-main-public-library-has-been-destroyed/" style="text-decoration-line: none;"><span style="color: black; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span style="color: #0563c1; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space-collapse: preserve;">some media reports</span></a><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> of bombed public libraries in Gaza. I’m also thinking about the poetry of</span><a href="https://www.poetryfoundation.org/poets/mosab-toha" style="text-decoration-line: none;"><span style="color: black; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span style="color: #0563c1; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space-collapse: preserve;">Mosab Abu Toha</span></a><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">, and</span><a href="https://cmes.fas.harvard.edu/event/rescued-rubble-founding-edward-said-public-library-gaza" style="text-decoration-line: none;"><span style="color: black; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span><span style="color: #0563c1; font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space-collapse: preserve;">his work on libraries</span></a><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">, although I hope I have been mindful not to appropriate his poetics here. (In fact, that distancing might be my point.)</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">320.95694</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">You get to see reports</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">about bombed out public</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">libraries, wire photos</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">that document rubble—</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">more slaughtered rows of books</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">dumped from stress-buckled shelves,</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">like some collapsed brick wall</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">at an abandoned dig;</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">torn spines, cloth covers caked</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">with pulverized concrete;</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">discarded ordinance, non-</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">fiction heaped in makeshift</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">mass graves. Dewey cutters</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">glibly obliterate</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">intractable conflict:</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">peace by bibliocide.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">You can’t hope to erase</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">what you can’t hope to read.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: "Times New Roman", serif; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> </span></p><div style="text-align: left;"><br /></div></span></div><p><br /></p>Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-6586978322375269632022-07-05T13:48:00.022-07:002022-07-05T21:03:32.298-07:00Asymptotes, Voicings: Amirtha Kidambi, Julia Úlehla, and Darius Jones at Ironworks, 3 July 2022<div class="separator" style="clear: both; text-align: left;"><span id="docs-internal-guid-885c9299-7fff-4e35-c874-1cb525308d48"><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Asymptotes, Voicings: Amirtha Kidambi, Julia Úlehla, and Darius Jones</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">at Ironworks, 3 July 2022</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 216pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">For there is a musicke where-ever there is a harmony, order or proportion; and thus farre we may maintain the musick of the spheares; for those well ordered motions, and regular paces, though they give no sound unto the eare, yet to the understanding they strike a note most full of harmony. Whatsoever is harmonically composed, delights in harmony.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 216pt; margin-top: 0pt;"><span style="font-family: "Times New Roman"; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">—Sir Thomas Browne, </span><span style="font-family: "Times New Roman"; font-size: 10pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Religio Medici</span><span style="font-family: "Times New Roman"; font-size: 10pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (1643) The second part, Sect. 9</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Give or take a weekend ago,</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">the five available planets</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">looked to align like lit crotchets</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">along the predawn ecliptic’s</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">oblique stave: zircon studs glinting</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">in that sky’s freshly pierced left ear.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Jump to last night’s one-off trio—</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">voice, voice, and alto saxophone;</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">the local cosmos witnessed you</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">concoct an ad hoc almagest,</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">extemporaneous ravel</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">threading a three-body problem,</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">weaving nascent swathes of wordless</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">repair across the world’s ripe wounds:</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">vibrant fray, orbitals, vectors</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">of what songs justice wants to make.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You urge us to attune, to hear:</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Pure music is what you must face.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There is a tide in time, of sound.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This text is an experiment around responding to improvised music in lyric form. It was written during the morning of Monday, July 4, 2022 as a reaction to a profoundly engaging performance the night before—the closing night of the TD Vancouver International Jazz Festival—at Ironworks, a venue just outside of Gastown near the entrance to the Port of Vancouver on the Downtown East Side, which annually hosts a series of experimental and innovative musicking. The festival, now returned to in-person performances in the attenuated wake of the COVID-19 pandemic, has a long history of setting up one-time improvisational meetings of Vancouver-based performers with musicians who have come to town as part of the festival programme—many of which have gestated international collaborations. The evening of July 3 featured one such meeting, of <a href="http://www.dariusjonesmusic.com/" target="_blank">Darius Jones</a>, <a href="http://www.amirthakidambi.com/" target="_blank">Amirtha Kidambi</a>, and <a href="https://www.juliaulehla.com/" target="_blank">Julia Úlehla</a>. New York-based saxophonist Darius Jones held a composer’s residency at Western Front in June-July 2019, commissioned by Coastal Jazz (under Artistic Director Rainbow Robert) and partially supported by the International Institute for Critical Studies in Improvisation (for which I am the UBC site coordinator) to create a composition that engaged with some of Vancouver’s improvisers; he premiered his <a href="https://www.coastaljazz.ca/wp-content/uploads/2022/05/Jazz-Guide_01-52_use-for-website.pdf" target="_blank">“Vancouver Suite” for strings</a> at Ironworks—after a three-year pandemic delay—employing Jesse and Joshua Zubot on violins, Peggy Lee on cello and James Meger on bass, with San Francisco-based percussionist Gerald Cleaver on drumkit and himself on alto saxophone, on Friday, June 24. (I’ll say more about this piece in a forthcoming post.) Darius Jones has currently taken up another residency at Western Front, this time to develop a duo with vocalist and composer Amirtha Kidambi around the poetry and thought of Sun Ra; later this week, they will be performing and discussing some of their emerging co-creative work. Vancouver-based vocalist Julia Úlehla has collaborated with both Darius Jones and Amirtha Kidambi almost a decade ago when she lived in the New York area, so their trio meeting—while in some sense a first—also emerges from a shared history. (Please follow the embedded links for more information on their music-making.)</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The poem responds to an extended (around 55 minute) free improvisation that these three offered that night. It’s a little hard to describe—hence, perhaps, my response in lyric form rather than denotative prose—but essentially consisted of layers of nascent texture and vestigial melodic lines. Darius Jones began by blowing breathy, whistling overtones through his saxophone, to which the two singers responded in kind, with murmurs and whispery phonemes that very gradually gained voice and thickness; collectively, they seemed to feel their way into various surges and ebbs of sound, layering lines that looped back on, crossed over, and raveled each other. At times, ghost tones and other phasing vibrations lifted up into the room, generating a resonances palpable on a listener’s skin and ears. The sound-space took on a profundity, manifesting not so much as volume but as deepening quiet, an increasing sense of presence to the music and to each other. There were no solos, but each made space for the others, attending to shifting interactions and mutually responsive discoveries. Both Amirtha Kidambi and Julia Úlehla bring sensibilities to their performances that are vibrantly rooted—at least in part—in folk traditions, and there was for me a keen sense of connection to the human planet in the ballad-like shared melody that appeared at the close of the piece, as if all three had arrived at temporary common ground. It was a deeply moving, spiritually engaging music; it was a tremendous privilege for me to have been there in those moments.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A few explanatory notes on the poem I hope might help. The prosody is not free, despite it being correlated to a free improvisation; the stanzas and metre are built mathematically around 3! and 4!—six- and twenty-four syllable groupings, cut across by an eight-syllable line, clustered in three (for the trio of voices) 48-syllable choruses—though the last stanza adds an irruptive extra eight. Tetrameter lines like these are often found in folk ballads. This pattern emerges retroactively from the last two (italicized, eight-syllable) lines, which are quotations from the writing of Sun Ra—in this instance lifted from <a href="https://www.poetryfoundation.org/harriet-books/2019/10/the-first-angel-of-the-future-sun-ras-heliocentric-poetics-for-after-the-end-of-the-world" target="_blank">a 2019 essay on his poetics by Harmony Holiday</a>. The quick drafting of this poem lends itself, for me, to a kind of free forming that the final pre-set lines lock back into compositional place/space. The quotation from the seventeenth-century Englishman <a href="http://penelope.uchicago.edu/relmed/relmed.html" target="_blank">Sir Thomas Browne’s autobiographical</a> </span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Religio Medici</span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> coordinates the revisionist cosomology of Johannes Kepler with the Ptolemaic music of the spheres to describe a spiritual listening beyond listening. <a href="https://en.wikipedia.org/wiki/Almagest" target="_blank">See also earlier medieval versions of</a> Ptolemy’s </span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Almagest</span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Kepler’s harmonic attunement is also the source for the Urania-inspired astronomical word-music of John Milton’s </span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Paradise Lost</span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. The three-body problem is a mathematical quandary around chaotic motion caused by the shared gravities of three celestial bodies; apparently, Kepler fudged his calculus around such quandaries in order to make the idea of harmonic planetary motion work. <a href="https://www.sciencefocus.com/news/planetary-alignment-2022/" target="_blank">An alignment of</a> Mercury, Venus, Mars, Jupiter and Saturn (Sun Ra’s planet of origin) took place on Friday, June 24, 2022, the date of the premiere of Darius Jones’s Vancouver Suite, and enacted a kind of orbital harmonics of that cosmic music. The reference to justice is an oblique gesture at the U.S. Supreme Court striking down the human rights precedents set by Roe v. Wade, which has been in the air these recent weeks, among other things. I’ve been reading Nathaniel Mackey’s </span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Double Trio</span><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> lately, too. For me, the poem counterposes Afrological and Eurological cosmologies, and wants productively, somehow, to negotiate with their cross-talk. At least, that’s the idea.</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Darius Jones playing Sun Ra in 2019:</span></p><p dir="ltr" style="line-height: 1.8; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TJ8PQ2DbvfY" width="320" youtube-src-id="TJ8PQ2DbvfY"></iframe></div><br /><span style="background-color: white; color: #202122; font-family: "Times New Roman"; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><p></p><br /></span></div>Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-32184929966427132892022-02-28T11:02:00.008-08:002022-02-28T16:13:59.756-08:00Kobzar Quatrain (Poem for the People of the Ukraine)<p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: center;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"><br /></span></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: center;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">Kobzar Quatrain<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">Bury what’s left of me near | home. What’s done needs to be done.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">Word is, to get free requires | even the meek to shoot back. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">Go soak your broken shackles | in some bogus tyrant’s blood.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">But spare those you leave behind | a last kind line, if you can.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"> </span></p><p align="right" class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: right;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">Reworked from Taras Shevchenko’s “Testament” (1845), <o:p></o:p></span></p><p align="right" class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: right;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">28 February 2022<o:p></o:p></span></p><p align="right" class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: right;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: left;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: left;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;">This four-line impromptu translates, very loosely, and expands upon some lines extracted from "Testament" (<i>Zapovit</i>), a poem by the nineteenth-century Ukrainian bard (<i>Kobzar</i>, in Ukrainian, which I don't speak or read) and artist <a href="https://en.wikipedia.org/wiki/Taras_Shevchenko" target="_blank">Taras Shevchenko</a> (1814-1861), who was born near Kyiv and who died in St. Petersburg, in the Russian Empire. The poem is known by heart by many in the Ukrainian diaspora. I'm thinking, also, of <a href="http://johnksamson.com" target="_blank">John K. Samson's</a> songs derived from the experiences of Ukrainian-Canadians, of Geeshie Wiley, of Joe Strummer, and of the beatitudes, and of today's events around the invasion of Ukraine.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-align: left;"><span style="font-family: "Palatino Linotype", serif; font-size: 14pt; line-height: 28px;"><br /></span></p>Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-21918380623968682612021-05-23T15:53:00.000-07:002021-05-23T15:53:17.438-07:00Poem: Horn Threnody 3.11 (feat. Toshinori Kondo)<p> </p><p>Here is the print text for an audio-poem I have made, which I'll be premiering today on The Words & Music Show from Montreal. It's a reflection, for me, on distant witness and a meditation on global responsibility. The recording uses some electric trumpet lines from Toshinori Kondo, <a href="https://toshinorikondo.bandcamp.com/album/blow-for-311">offered by his family license-free through Bandcamp,</a> over--or under--which I have layered some of my own muted pocket trumpet textures. My own recording is available free of charge on Bandcamp, although any payment I receive for downloads will be matched by me and donated to local food banks here in Vancouver. <a href="https://www.npr.org/2020/10/20/925792333/toshinori-kondo-trailblazing-modern-trumpeter-dies-at-71">Toshinori Kondo passed away</a>--transitioned--at the age of 71 on October 17, 2020, so this piece is also an elegy for him, offered with deep respect for his life and art. The audio from which I have borrowed is Mr. Kondo's posthumously-released recording called "Blow for 3.11." </p><p><br /></p><p align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm; text-align: center;"><span style="font-family: Garamond, serif;">Horn Threnody 3.11 (feat. Toshinori Kondo)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Garamond, serif;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm 0cm 0cm 216pt;"><span style="font-family: Garamond, serif; font-size: 10pt;">Ce ton qui nous colle aux oreilles, la vision de la catastrophe collée sur la rétine, se superposent à d'autres que nous avons connus depuis l'enfance, et il faut vivre avec cette vision de notre futur possible, à jamais gravée sur la rétine, qui hélas surgit parfois distinctement devant nos yeux. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm 0cm 0cm 288pt;"><span style="font-family: Garamond, serif; font-size: 10pt;">—Ryoku Sekiguchi, <i>Ce n’est pas un hasard</i>. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Garamond, serif;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">No form of lament seems massive enough:<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">tectonic peal, <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm; text-indent: 36pt;"><span style="font-family: Garamond, serif;">the supersaturated keen<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">of jacked electric brass wet with effects, <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">like denatured gull screech, like seismic shriek,<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; 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line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">crude, big seabed upchuck; catastrophic, <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">headlong saltwater slap, pulverizing<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">harbours, houses, and power-plants <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm 0cm 0cm 72pt; text-indent: 36pt;"><span style="font-family: Garamond, serif;">in the hard churn<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">of its remorseless, whelming gut. Take out <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">your mute. Retaliate with what small dose <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">of spitty empathy your human mouth<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">can muster. The word <i>tsunami</i> blisters<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;">your lip like leakage from unquenched fuel rods.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><span style="font-family: Garamond, serif;"><br /></span></p>Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-8994146716774324592020-06-02T10:22:00.000-07:002020-06-02T10:22:28.974-07:0025.05.20<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;"><a href="https://en.wikipedia.org/wiki/Killing_of_George_Floyd">25.05.20</a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Listen can’t breathe. Listen what voice whose
voice can’t breathe. Listen what broke what voice who says listen can’t
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can’t breathe. Listen whose neck whose voice what broke can’t breathe. Listen
cop knee to neck speak up can’t breathe can’t speak shut up listen shut up.
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-75804385441724039832020-04-29T12:43:00.002-07:002020-04-29T12:43:32.173-07:00Voiceover / Shoring, a videopoem
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<span style="font-family: Baskerville; font-size: 14.0pt; line-height: 150%; mso-ansi-language: EN-CA;">This video
poem, completed two years or so ago, is made from edited scrap Super 8 footage taken by my grandparents —
mostly by my grandmother — during a return visit to Nova Scotia in the summer
of 1962. I composed the texts for the two poems, "Voiceover" and
"Shoring," and read them. <a href="https://soundcloud.com/geoff-mitchell">Geoff Mitchell</a> composed and performed the
music and constructed the soundscapes from field audio he recorded around the
Bedford Basin in Nova Scotia. The voice and music were recorded at a studio in
Montreal in June-July 2017. The texts form part of an ongoing series around the
idea of the nostos, the return journey, and address, for me, something like
what <a href="https://www.newyorker.com/news/news-desk/postcript-svetlana-boym-1959-2015">Svetlana Boym</a> has called off-modern nostalgia.<o:p></o:p></span></div>
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<br />
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/232078515" width="640"></iframe>
<a href="https://vimeo.com/232078515">Voiceover / Shoring, a videopoem</a> from <a href="https://vimeo.com/user70346074">Kevin McNeilly</a> on <a href="https://vimeo.com/">Vimeo</a>.Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com1tag:blogger.com,1999:blog-237211826691679637.post-78187184980033548432020-04-29T12:27:00.000-07:002020-04-29T12:46:19.328-07:00Constable (poem)<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">I’m using this blog to
self-publish a few poems from home, most of them elegies and other public
pieces that have emerged in the recent months. “Constable” is an elegy
respectfully dedicated to RCMP <a href="https://www.thechronicleherald.ca/obituaries/heidi-stevenson-38167/">Const. Heidi Stevenson</a>, who was <a href="https://globalnews.ca/news/6840045/heidi-stevenson-rcmp-shooting-death/">murdered in Nova Scotia</a> a week and a half ago. It’s intended to offer sincere condolences. I
grew up in Truro, Nova Scotia, and still have friends there.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 115%;">Heidi
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 115%;">Maintiens le droit.<o:p></o:p></span></i></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">You’re told, hold to what’s
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">which if taken to heart you
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">the wounded, the bewildered, and
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">Service inscribes its craft
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">There’s anybody could be your
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<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">to temper fear, favour, and
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">kindness. From the folks you
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">you learn what real care
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">on your current patch, for
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">ways north of Cole Harbour up
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">you might pull your cruiser to
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">to think through how your oath
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<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">how kids and husband, left to reconcile<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">duty to loss, might persevere,
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">no place else comes remotely
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-57667823966720511622020-04-13T18:04:00.000-07:002020-04-13T18:09:58.878-07:00For Saff, made famous on Netflix (poem)<!--[if gte mso 9]><xml>
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<span style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">Here is a
poem I wrote on Good Friday morning, in response to an article I read about
<a href="https://www.refinery29.com/en-ca/2020/04/9683192/tiger-king-reunion-kelci-saff-saffery-gender">Saff</a>, and after <a href="https://www.netflix.com/ca/title/81115994">a two-day binge-watch of Tiger King on Netflix</a>. Saff feels to me like a voice of relative calm amid the furor.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 16.0pt; line-height: 150%;"><o:p><br /></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 16.0pt; line-height: 150%;">For
Saff<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">The most anybody could claim
to come to know<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">about you would be by what you
look like and how <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">you talk when you’re on
screen. Reality <span style="font-variant: small-caps;">tv</span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">gets you to rethink life.
Before Joe Exotic<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">made it onto Netflix, he cared
enough to give<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">you refuge and a job.
Manspreading on a green<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">plastic Adirondack chair near
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">flanked by discarded propane
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">by stained tarps, building
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">your black trucker’s cap
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">on a freshly lit cigarette and
shake your head,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">brushing off some producer’s
glib, mis-pronouned prompt. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">The fact is you returned to
work within a week<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">of having had your lower left
arm torn half off<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">by an honest-to-fuck tiger.
You say you can’t <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">to check their instincts. What
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<span lang="EN-US" style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">the unjust husbandry of this
imprisoned world.<o:p></o:p></span></div>
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<br /></div>
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Friday, in the year of COVID-19<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">If you're
interested, <a href="https://www.metroweekly.com/2020/04/netflixs-tiger-king-portrays-trans-man-as-lesbian/">here
is a link to an image</a> taken from one of Saff's confessionals in <i>Tiger
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<span style="font-family: "baskerville"; font-size: 14.0pt; line-height: 150%;">Here is some
video from <i>Tiger King</i> in which Saff describes his accident:</span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-4991326048448304172019-09-28T11:32:00.000-07:002019-09-28T11:32:04.510-07:00The Warm Up (poem) re: Friday's Climate Strike<div class="MsoNormal" style="line-height: 150%; text-align: left;">
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Here’s
a draft of a brief poem written off-the-cuff in response to, and in support of,
yesterday’s climate strikes principally by high-school students around the
globe. Self-publishing this one feels nearly right to me because of the urgency
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<br /></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Swells of DIY
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">magic-markered onto
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<br /></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">call out the dire,
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<br /></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; font-variant: small-caps; line-height: 150%;">change
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">of shouts and bullhorns
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">raw, fierce unction.
Who sutures the world’s wounds? <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Show us how to march
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">what can be done and
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 11.0pt; font-variant: small-caps; line-height: 150%;">Skolstrejk for Klimatet</span><span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 11.0pt; line-height: 150%;">,
Vancouver and elsewhere, 27 September 2019<o:p></o:p></span></div>
Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-28791117957678066302019-06-03T22:45:00.000-07:002019-06-03T22:45:53.491-07:00IICSI at UBC, Congress 2019<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Today at the University of British Columbia, as part of the <a href="https://www.congress2019.ca/">2019 Congress</a> of the Social Sciences and Humanities being hosted there, the <a href="http://improvisationinstitute.ca/">International Institute for Critical Studies in Improvisation</a> will present a showcase of practice-based research on and around improvisation. I'm attaching the flier/schedule. Come check it out!</span><br />
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-87728779810520659062019-05-30T15:48:00.000-07:002019-05-30T15:48:04.003-07:00Mount Everest Deaths (Poem)<div class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">I have been reading about the death-toll on Mount Everest, and seen the photograph (in <i>The Guardian</i>, <a href="https://www.theguardian.com/world/2019/may/28/walking-over-bodies-mountaineers-describe-the-carnage-at-the-top-of-mount-everest" style="color: purple;">here</a> and <a href="https://www.theguardian.com/world/2019/may/27/american-climber-dies-on-descent-from-summit-of-mount-everest" style="color: purple;">here</a>) of the current human traffic jam at the summit, trying to push upward, sometimes stepping over the bodies of other dead climbers. This piece, this poem, emerged for me as a commentary on the news, and of thinking about the inhuman and about certain forms of eco-tourism and terrible sublimity emerging in the accelerated epoch now named the Anthropocene. A hybrid sonnet came out, in fives and sixes. I want to put it up on this blog because of the immediacy and the temporality of its subject matter. It was composed and edited over about three days.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">Tourist Climbers, Mount Everest, Nepal Side, Late May 2019 <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">(See the Photograph by Nirmal Purja)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">Triumphantly inadequate: out of ten-plus<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">amateurs, permits intact, who’d expire <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">in a crammed mass ascent through the kill zone this week, <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">most, chuffed with so much third-hand hubris, got <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">sucker-punched by the hypoxic sublime. Sure, sure,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">a blue-balling few summited, but only<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;"> (People stepped over them, stiffened. A line <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">of down-filled anoraks snaked its impacted track<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;"> up the crown ridge, strewn with used O<sub>2 </sub>tanks,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">You choose to bend and help, you don’t make it.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">No cliff jockey returns from this fierce place unscarred,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">having clomped past the air’s inhuman edge.<o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-41652249583297697082019-04-15T10:30:00.000-07:002019-04-15T10:33:15.065-07:00Summaries and Overviews for UBC English 111, "Displaced Persons"<div class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US">A few of the students in my first-year undergraduate course at UBC requested what amount to executive summaries of the six principal texts on the course syllabus (which can be found here: <a href="http://faculty.arts.ubc.ca/kmcneill/111_2019.htm" style="color: purple;">http://faculty.arts.ubc.ca/kmcneill/111_2019.htm</a>). Lecture audio (also posted on my SoundCloud page, <a href="https://soundcloud.com/kindofkevin" style="color: purple;">Kind of Kevin</a>) on each text can be accessed through the syllabus. The course is an introduction to the study of prose non-fiction that I teach under the title “Displaced Persons.” <o:p></o:p></span></div>
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<span lang="EN-US">English 111, Section 005—Displaced Persons: Approaches to Prose Non-Fiction<o:p></o:p></span></div>
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<span lang="EN-US">Summaries and Overviews, by Prof. Kevin McNeilly<o:p></o:p></span></div>
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<span lang="EN-US">As requested, I have drawn up a set of paragraph-long takes on key themes and talking points in the six main texts on our course syllabus. These paragraphs only suggest possible critical and interpretative trajectories through this material; use them, if you wish, as starting points for your own readings of these texts.<o:p></o:p></span></div>
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<span lang="EN-US">David Chariandy’s <i>I’ve Been Meaning to Tell You</i>(2018) tries, as the title suggests, to find the means both to disclose and to discuss unacknowledged or suppressed antagonisms around his experience of racism in Canada. It’s important to recognize that this extended letter addressed to his daughter – the book is an extended essay in epistolary form – builds on the concept of the essay (or <i>essai</i>, in <a href="https://en.wikipedia.org/wiki/Michel_de_Montaigne" style="color: purple;">Michel de Montaigne’s sixteenth-century French</a>) as an attempt, as an open-ended experiment in how to put his complex and fraught encounters with racial interpellation (being “hailed” or identified) into words, how to frame his thinking around race and to communicate those experiences to (and with) his family. He develops a pluralistic concept of heritage, community and ethnicity based on a respect for difference and diversity and a resistance to seeing the human “mix” in terms of sameness; he admires what he calls the “luminous specificity” of human experience. By the close of the book, he argues for an open-minded and attentive practice of “listening.”<o:p></o:p></span></div>
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<span lang="EN-US">Lawrence Hill’s op-ed in the June 1, 2018 issue of <i>The Globe and Mail</i>, “Act of Love: The Life and Death of Donna Mae Hill,” makes an argument for a compassionate approach to physician-assisted death or assisted suicide by narrating the final days of his mother’s life, as he accompanies her to a clinic in Switzerland. The extended essay braids together three time-lines—anecdotes from his mother’s life, a narrative of her last days and assisted suicide, and a brief account of the present time of writing the essay at his desk—to reflect on what we called intersubjectivity, the ways in which lives and voices are enmeshed in each other. His prose describes and enacts diegetic practices—ways of telling—that, as speech-acts and “acts of love,” create necessary human connection.<o:p></o:p></span></div>
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<span lang="EN-US">As an extended series of interlaced, page-long fragments, <i>Diamond Grill </i>forms what Fred Wah calls a “biotext,” an assemblage of life-stories that weave in and out of each other. Wah is particularly concerned with questions of racial identity and mixing: one of the most significant dishes served at the family restaurant run by his father (who also shares his name) is “mixed grill,” a jumble of European and Chinese foods. The swinging door in the Diamond Grill between the public space and the kitchen is also a crucial figure for Wah of the hyphen, as in the ligature between “Chinese” and “Canadian” in Chinese-Canadian. Wah works to find the means to inhabit that in-between “contact zone,” where he engages with what he calls “the dissonance of encounter, the resonance of clashing tongues.” Through the recombinant, DNA-like form (according to him) that his writing takes, Wah seeks to negotiate with difference and to reconcile himself to that on-going, hyphenated clash.<o:p></o:p></span></div>
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<span lang="EN-US">Each of the chapters of Marjane Satrapi’s graphic memoir, <i>Persepolis</i>, translates crucial moments in her personal history—as a teenage girl in Tehran, growing up through the Iranian revolution—for a contemporary French audience. Her episodic depiction of her adolescence, mapping a trajectory of personal transition and developing self-awareness, wants also to offer a corrective to misperceptions about both “life in Iran” and Iranian national history, as an “old and great civilization”; the text is a memoir, for her, not merely as a narrative of memories of her youth but also, significantly, as a memorial to her fellow Iranians <o:p></o:p></span></div>
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<span lang="EN-US">who lost their lives in prisons defending freedom, who died in the war against Iraq, who suffered under various repressive regimes, or who were forced to leave their families and flee their homeland . . . . (“Introduction,” [vi]).<o:p></o:p></span></div>
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<span lang="EN-US">Her drawings both represent and enact a visual engagement with the strictures of authoritarian control, as Marji tests the boundaries, and bears witness to the limits, of who she is allowed to be, and to become. When in the opening chapter of the text, Marji declares at school that she wants to be a prophet when she “grow[s] up,” a declaration that her teacher regards with cynical horror but that her “puzzled” parents affirm is a child’s imaginative prerogative, she also activates a tension around visuality—between the visual and the visionary, between the witness and the seer, between looking and insight—that informs the set of antitheses and contradictions, especially between the traditional and the modern, that inform her fraught sense of belonging, of being a young Persian woman.<o:p></o:p></span></div>
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<span lang="EN-US">In <i>Citizen: An American Lyric</i>, Claudia Rankine confronts the pervasive micro-aggressions that she faces in her everyday life as a Black American woman. Her text is a multi-modal assemblage, an instance of intermedia, combining printed text (designed in stark black and white by her collaborator, John Lucas) with photographs of visual media by other artists, scripts for internet videos (also realized in collaboration with John Lucas), audio, sports television excerpts (especially around Serena Williams), and more. Rankine addresses the ways in which black bodies are presented, interpreted and contained against “a sharp white background” (a line she takes from Zora Neale Hurston, via artwork by Glenn Ligon). She composes a number of elegies for young Black men (“my brothers . . .”), and creates fading typographical monuments that both acknowledge and enact their disappearance from public view. She is interested in the ways in which works of art, through shifting focus and points-of-view, can become politically charged and provocative.<o:p></o:p></span></div>
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<span lang="EN-US">In <i>Findings</i>(2005), Kathleen Jamie’s essays revolve around four main themes or trajectories: the archeological (involving visits to Paleolithic digs), the ecological (involving encounters with the non-human), the bio-medical (involving visits to hospitals, museums and medical institutions), and the ornithological (involving encounters with birds). She positions herself as a tourist, a visiting outsider, something of a stranger in her own familiar Scottish context. Her writing engages with issues around what we now call the Anthropocene, the epoch of human impact on the climate and on the planet itself. She focuses in on different, conflicted senses of time: the present, human history, natural history, deep time. Each essay is typically framed by encounters with edges, margins, shorelines and contact zones. She concerns herself with her “findings” in each of these moments of discovery and encounter not to advocate for the power of human, anthropocentric knowledge-gathering, but rather to test and acknowledge the limits of human dominion and understanding; these are essays that lean in to unknowing, and think lyrically through the ethics and implications of human technology, of the craft of human expression.<o:p></o:p></span></div>
Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-54470714634945060522019-03-31T20:23:00.001-07:002019-03-31T20:23:30.058-07:00Answering Back in David Chariandy's I've Been Meaning to Tell You (Video)<!--[if gte mso 9]><xml>
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<span style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">This
video was made as an addendum to my four lectures on David Chariandy's <i style="mso-bidi-font-style: normal;">I've Been Meaning to Tell You</i> (2018),
for my first-year undergraduate course at UBC on approaches to non-fiction,
"Displaced Persons." I discuss key themes in the book, and offer an
array of descriptive registers of race, particular around the figuration of
blackness. The course website is here: <a href="http://faculty.arts.ubc.ca/kmcneill/111_2019.htm">http://faculty.arts.ubc.ca/kmcneill/111_2019.htm</a><o:p></o:p></span></div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ZWhC_q6p6QI/0.jpg" src="https://www.youtube.com/embed/ZWhC_q6p6QI?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-9317391968546712742019-03-12T19:16:00.000-07:002019-03-12T19:16:25.043-07:00Sleeve Notes for Other Worlds, by Maggie Nicols and Peter Urpeth<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Here are the sleeve
notes I was invited to write for <i style="mso-bidi-font-style: normal;">Other
Worlds</i>, a duet recording by pianist <a href="https://urpeth.wordpress.com/peter-urpeth-maggie-nicols-duet/">Peter
Urpeth and vocalist Maggie Nicols</a>, issued on compact disc in 2017 on <a href="http://www.fmr-records.com/index.asp">the FMR label</a>, although from
the look of the website it appears to be out of print—copies are still
available from <a href="http://www.squidco.com/miva/merchant.mvc?Screen=PROD&Store_Code=S&Product_Code=24085">Squidco</a>
and other distributors, I think. The music deserves wider circulation, and it
was an honour to write this brief piece.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Other
Worlds<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">These duo
improvisations were originally made for the development of the soundtrack for <a href="https://www.imdb.com/title/tt1857607/">Seán Martin and Louise Milne’s
2011 documentary</a>, <i style="mso-bidi-font-style: normal;">A Boat Retold</i>.
A few short sequences made the final cut. Fortunately, we can hear on this
album something close to its initial and fully realized form: a pair of
aqueous, intimate and mesmerizing extemporaneous suites. Maggie Nicols, I’m
told, came to the title—or the title came to her—after re-listening to the
recordings. The music she and Peter Urpeth share combines the exploratory and
the attentive, shifting between moments of assertion and accommodation, of
provocation and conversation, of sounding out and listening in. The phrase <i style="mso-bidi-font-style: normal;">Other Worlds</i> suggests not only a
combination of allure and unknowing, of the worldly and the strange, but also a
search by the duo for its own nascent, unfolding narrative, sound-tracking
their mutual reach toward each other’s sound-worlds and outward, together: an
opening up to the textures and audible flows of the living worlds around them.
There are moments, at the beginning of the second piece, when the vocalist
veers on her own into what seems like a kind of ur-Gaelic patter, syllables
contingently and playfully feeling their way into what might be meaning, but
never quite arriving, never quite coming to ground. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">At
least that’s what I hear, since I don’t speak Gaelic. She offers us something just
the other side of words, distilling a ludic alterity that’s sonically palpable
in the edgy grain and in the throat-singing overtones that come and go along
her sometimes fierce, sometimes yielding melodic fractals. The piano functions
as resonant accompaniment, drawing out and layering harmonics, supporting and
deepening their exchange. But as each improvisation unfolds Urpeth quickly
becomes co-creative collaborator; piano and voice variously merge and diverge,
unknitting temporary concord into contrapuntal banter, then stitching threads
and coaxing excursuses into newly discovered intersections and emergent,
evanescent alignments. What I pick up on, as I listen, is the pianist’s
decisive, responsive and protean touch, the haptic give-and-take of a genuine
reciprocity—the point being, I think, to attend on their itinerant and vitally
otherwise communion, a collision of quickened but separate attentions, and to
follow where they go.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">The
sound of this particular recording is capacious, yet close. I overhear their
shared and mutually shaped space, as notes seem to bounce and scatter along the
walls of The Vortex on an empty afternoon. I find myself proximately immersed
in their interchange, amid stream, virtually part of it. The music of Peter
Urpeth and Maggie Nicols remains warmly open and consistently welcoming: an
invitation. The poignant release that the closing minutes of the second piece
enacts, as they let go of each other and as their lines come apart and dissolve
into ambient sound—the voices of children playing outside the club, an outer
world that has been present throughout the recording—offers a deeply moving
enactment of what their music accomplishes, here: a lyricism of possibility, an
open-hearted grace.<o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-7812898625104142052019-03-05T16:15:00.001-08:002019-03-05T16:15:56.904-08:00Song for Song For (Elegy for Joseph Jarman, 1937-2019)<div class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt;">
<span style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">I'm a good few weeks late with this, which was written soon after <a href="https://thebluemoment.com/2019/01/12/joseph-jarman-1937-2019/" style="color: purple;">Joseph Jarman's passing</a> in early January. I haven't been keeping up with the blogging for at least a year now; things should change soon. In any case, this is for Joseph Jarman out of deep respect for what I believe his music and his poetry have taught me. And how his work has taught me more about how to listen.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">Song for Song For<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">(Joseph Jarman, 1937-2019)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever heard about a better way to dance, then did;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever sensed life soon enough gets over with itself;<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 24px; margin: 0cm 0cm 0.0001pt; text-indent: 36pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever got called to call out hardline America;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever learned to ghost-finger an alto’s sacred glyph,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">a baritone’s raw mark-up language, a tenor’s thick throat;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever showed righteous moxy in situations when<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">righteous moxy was not exactly needed; whoever <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">testified to the unkempt scurf of little instruments;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever understood the fraught, feral imperatives<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">of compassion; whomever good gumption never let go;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">most gigs, most nights; whoever chased “uncharted microtones”;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt; line-height: 28px;">whoever caught nothing shy of the heft of complete light; <o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-6100542918402588772018-11-09T14:03:00.000-08:002018-11-09T14:03:43.425-08:00Leaf Meme, Nitobe Memorial Garden (Poem)<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14pt;">Here is my version of an Instagram poem. Or one of them. My take on Rupi Kaur, maybe. I wrote the text and took the photo yesterday in the Nitobe Memorial Garden on a lunchtime walk with my wife Christina, to whom the poem is dedicated. It was pretty quick. There was a little tweaking and polishing and editing today, but not much, as I combined them into something meme-like. And also not.</span><div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-84396552446687176552018-09-11T15:04:00.001-07:002018-09-11T15:04:46.776-07:00Remarks for Hovering at the Edge (IICSI Guelph Colloquium, 13 September 2018)<div align="center" class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt; text-align: center;">
<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">For <i>Hovering at the Edge: Words, Music, Sound, and Song</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">IICSI colloquium at Guelph, 13 September 2018<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">(Panel with Sara Villa, Paul Watkins, Rob Wallace)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">First Half.</span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">I want to start by poaching a phrase from the title of Fred Moten’s hot-off-the-Duke-University-Press trilogy, which he admits to purloining from Christopher Winks’s translation of an interview of Antillean poet </span><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">É</span><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">douard Glissant by the filmmaker Manthia Diawara. Here it is: “Consent not to be a single being” (xvi). The implicit network of voices caught up in that performative translation suggests, already, the layered irresolution, the refusal and the excess that Moten names, following on a reading of C. L. R. James, the “not-in-between.” For a good twenty-five years now, I have attempted fairly quietly to practice a plural and dislocated cultural pedagogy, both critical and (co)creative, that hovers in the sometimes appropriative, sometimes disjunctive interstices of the Eurological, the Afrological and the Indigenous. I lay claim to no particular belonging, although my appearance and heritage tend to do that for me, materially and obviously. My writing such as it is has striven, sometimes against its own tendencies and sometimes by embracing them, to inhabit and to enliven—and to be enlivened by—those unstable and conflicted contingencies, those dissolving and partial places where productive intersections can and do happen. “Join me down here in nowhere,” Claudia Rankine calls out in <i>Citizen: An American Lyric</i>. I feel like I have tried, in my teaching and in my writing, to answer (and to answer to) that fraught, rich, poetic invitation.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;"> The hover I often find myself attempting to describe occurs—perhaps as a temporary suture, perhaps as an undoing, as a re-opened wound—in the liquid, motile collision of words and music that happens both in and as song, particularly improvised song. It’s the attenuation, the extemporal hysteresis, in one sense, that tugs lyrics toward the lyric. Drawing on Amiri Baraka’s concept of “musicked speech,” Moten begins to map in C. L. R. James’s sentences a “phrasal disruption” that he names lyric, a noisy “poetry” interrupting (“[n]ot by opposition; by augmentation”) James’s prose—inflecting Moten’s own parenthetical and iterative style, as well as my imitation here—and an aurality that “remains to be seen and heard so to speak, and in excess of the sentence because it breaks up meaning’s conditions of production,” serving “to disrupt and trouble meaning toward content” (3). At the same time, music asserts itself through and against the verbal “not only as a mode of organization but, more fundamentally, as phonic substance, phonic materiality irreducible to any interpretation but antithetical to any assertion of the absence of content” (31). Moten comes to offer his apologies for such theoretically and poetically dense passages as the ones I have just quoted: “I’m sorry if this is all a blur. I’m so used to my own astigmatism that maybe I can’t even talk to anybody anymore. To make matters worse, I’ve never been able to keep my glasses clean” (261). Still, he understands his own verbose blur (as the title of his book suggests) as constitutive and crucial, as inhering in the give-and-take word-music of song itself. This astigmatism, this arrhythmia, is the stuff of the improvisatory; Moten offers, as exemplary, the unsettled musicking of Charles Mingus: “He would protect the pulse, like any good bass player, while freeing himself from it,” and, I want to add, by singing, shouting, moaning, ululating, vocalizing as he plays (103). Protection, however, also articulates itself against the risk of hurt, in Moten’s terms, as both complement and antagonist, as augmentation and opposition. Moten thematizes this correspondent hurt in the transcribed/described “scream” of Frederick Douglass’s Aunt Hester; Michel Leiris evokes the “<i>cri</i>,” which he hears in “<i>les sons r</i></span><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">â</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">peux . . . que les jazzmen aiment </span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">à</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">tirer de leurs instruments </span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">à</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">vents . . .qu’ils savent aussi faire g</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">é</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">mir, grognier, se plaindre ou ricaner sur toutes sortes de tons</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">” [the raspy sounds. . . that jazzmen like to shoot from their wind instruments. . that they also know how to moan, grunt, complain or snicker on all kinds of tones] (37). This pained and celebratory tonality—at once, for Leiris, derisive and sanguine—offers a moment of suture, of unruly translation, between what he calls <i>parole</i>and <i>chant</i>, speech and song: “<i>Peut-</i></span><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">ê</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">tre est-ce quand les mots, au lieu d’</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">ê</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">tre en position servile de traducteurs, deviennent g</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">énérateurs d’idées qu’on passé de la parole au chant? S’ils se font chant, n’est-ce pas lorsque, cessant d’obéir seulement aux injonctions du dictionnaire, ils valent par ce que leur forme et point seulement leur sens official suggèrent (en quelque sorte ‘génèrent’)</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">?” [Perhaps it is when the words, instead of being in a servile position of translators, become generators of ideas that we pass from the word to the song? If they make themselves sing, is it not when, ceasing to obey only the injunctions of the dictionary, they are worth what their form and point only their official sense suggest (somehow 'generate')?] (112).</span><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;"> In some sense like me, Leiris comes to this music as an attentive outsider, hoping by staging, as audition, a close proximity to its song also to catch at (that is, to translate otherwise) some of its vitality, its deep cry. Moten, by contrast, necessarily resists such “an absolute nearness [to black vitality], an absolute proximity, which a certain invocation of suture might approach, but with great imprecision. . . . There’s no remembering, no healing. There is, rather, a perpetual cutting, a constancy of expansive and enfolding rupture and wound, a rewind that tends to exhaust the metaphysics upon which the idea of redress is grounded” (ix). “Jazz,” as he puts it, “does not disappear the problem,” or dress its wound, or offer healing sesames: jazz “<i>is</i>the problem and will not disappear. It is, moreover, the problem’s diffusion, which is to say that what it thereby brings into relief is the very idea of the problem” (xii, emphasis in original). While attempting to describe my own practice of study, which I understand as the interrogation and elaboration of a certain conceptual arrhythmia, I have perhaps relied overmuch on quoting Moten in these few minutes, but I am also mindful that the work of reading, with as much acuity as I can muster, is also to develop a tenuous but palpable resonance, a hapsis, a pushback and a to-and-fro with what I hear presently in Moten’s sentences. I’m going to move on to try to give a more specific example of this practice of reading and listening, of listening as reading, but before that I want to look only once more to the early pages of Moten’s book, where he delineates what he calls “black study” as the stuff of discrepant song, as audible hurt and as a “lyricism of the surplus”:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">This is why, as Wadada Leo Smith has said, it hurts to play this music. The music is riotous solemnity, a terrible beauty. It hurts so much that we have to celebrate. That we have to celebrate is what hurts so much. Exhaustive celebration of and in and through our suffering, which is neither distant nor sutured, is black study. (xiii)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">My own practice of study cannot unproblematically or unchallenged suture itself to that terrible beauty or find even vestigially proximity to Moten’s “we.” Nevertheless, in the fraught translation between word and sound that manifests itself in improvised song, I do find myself, following Brent Hayes Edwards and, of all people, Raymond Williams, “hovering ‘at the very edge of semantic availability’” (16) trying to explain the blur.</span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Part Deux. <i>Deuxi</i></span><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">è</span></i><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">me Partie</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">, I Should Say.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">I only have a couple of minutes, so I want to give a brief example of the creative blur, the hover I’ve been trying to describe in my own creative-critical practice by ventriloquizing some of Fred Moten’s recent work. I want to begin to listen carefully to Darius Jones’s and Emilie Lesbros’s <i>Le B</i></span><i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">ébé de Brigitte</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">, which is both an homage to and an extension of Brigitte Fontaine’s 1969 collaboration with Areski Belkacem and the Art Ensemble of Chicago, <i>Comme à la Radio</i>. I want to take up two related tropes to understand how song and the improvisatory intersect in this work: the suture and, borrowing the title of the one wordless track on Darius Jones’s 2015 recording, the “universal translator.” Linking the Jones-Lesbros collaboration directly to the Brigitte Fontaine recording is from the get-go a bit misleading and an instance of mistranslation or of meaning lost in translation. If you dig a little (through the internet, for instance), you’ll discover that the “Brigitte” in Darius Jones’s title is not Fontaine (though named for her) but a maternal figure in his evolving personal cosmology (articulated in his unfolding series of “Man’ish Boy” recordings); unless you find your way to such notes, however, who Brigitte is will remain hermetic and likely miscued for listeners. The promise of universal translatability offers itself through Google or in <i>Star Trek</i>and <i>Hitchhiker’s Guide</i>utopianism (and has something to do with an Afro-Futurism here, though I have no room to engage or unpack it), but rather than transparency, the universality – the Benjaminian <i>Reine Sprache</i>– that Jones describes musically is an effect of contingent opacity, of difference and uncertainty, of the slipped suture: “In the process of creating this music, we often fell into moments of miscommunication because of differences in culture and language. I think this created a sense of mystery, and forced all of us to listen more deeply to each other’s nuances and subtleties, because we didn’t always have words to fall back on.” Words, despite what Jones appears to claim here, are not even a fallback for communicative or diegetic clarity, and even when they’re unsung, their tug and blur remain in play in the performance, the articulation, of these songs. Briefly put, the cosmology – the universality of an imagined universal translator – never closes or coheres, not even for its originator; instead it revises, remakes, re-writes itself, an extemporaneous diegesis. Which means, for me, that in the stitching, the verbal-acoustic suturing that happens when we sing, the lyric “problem” that Fred Moten describes tends to come into play, maybe even necessarily. Here are a few snippets from the (what I take to be) largely improvised lyrics by Brigitte Fontaine for “<i>Comme à la Radio,</i>” the eponymous opening track for her collaborative album: <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Ce n' sera rien<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Rien que de la musique<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Ce n' sera rien<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Rien que des mots<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Des mots<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Comme à la radio<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">And,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;"> Tout juste un peu de bruit<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Pour combler le silence<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">As she moves through the song, we realize that with her increasing tenacity what we’re hearing both is and is not audible “like” a song “on the radio.” Her words, her noise, fills in silences, but even with what we might mistake for self-deprecation (“nothing but words,” “nothing but music”), it inclines itself, by both suturing and cutting into itself and its musical accompaniment, to the “nowhere” that Claudia Rankine says she inhabits, an excessive and unruly soundspace that both fills semantic gaps and refuses to fill us in. Emilie Lesbros’s singing on, for example, “Chanteuse in Blue,” also darts in and out of any semantic purview (one critic, while asserting that her texts are mostly “suitably poetic,” found that these words “veer into the irritating”: I’d call them edgy, working the audio nerves to the edge, the abutment, of sound and sense, of the Eurological and the Afrological, let’s say, with her Aebi-Birkin-esque accent): <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">hah, wah, a-a-a-a-a, uegh<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">“Baby, let me tell you something.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">“Chanteuse in blue . . .”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">“He said, ‘What? What are you talking about, sweetheart?’”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;"> “I said, ‘I am suffering from the difference that people <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">think we have.’”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">What’s both thematized and enacted here, meta-diegetically and subversively, as translated verbal excess, is precisely and necessarily the irritation of the lyric: the refusal to settle in; instead Lesbros (and Darius Jones’s dialogic saxophone lines, both miming and counterpointing, intensifying and cross-cutting Lesbros’s voice) presents an embrace—a fraying and a knitting up – of the discomfiting, the discrepant, the extramusical, the blur. I will have exceeded my time. My time’s more than up.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div align="center" class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt; text-align: center;">
<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Texts Quoted or Name-checked (in reverse alphabetical order)<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Fred Moten. <i>Black and Blur</i>. First volume of <i>consent not to be<o:p></o:p></i></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt; text-indent: 36pt;">
<i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">a single being</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">. Duke UP, 2017.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Michel Leiris. <i>À Cor et à Cri. </i>Gallimard,<i></i>1988.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Brent Hayes Edwards. <i>Epistrophies: Jazz and the Literary <o:p></o:p></i></span></div>
<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt; text-indent: 36pt;">
<i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">Imagination</span></i><span lang="EN-US" style="font-size: 14pt; line-height: 37.33333206176758px;">. Harvard UP, 2017.<o:p></o:p></span></div>
Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-17726998774138138452018-08-11T15:31:00.000-07:002018-08-11T15:31:22.380-07:00Some Musics, for Ken Pickering (poem)<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Here is a brief elegy
for <a href="https://ottawacitizen.com/entertainment/jazzblog/rip-ken-pickering-guiding-light-of-the-vancouver-jazz-festival">Ken
Pickering</a>, who passed away yesterday and will be sorely missed.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some
Musics <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 150%; margin-left: 108.0pt; text-align: center; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">for Ken Pickering<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics draw you
in and pull you near.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics sound what
words fall short about.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics free you
up enough to hear<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">what offers a brief means
of letting go.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics can’t be
bought again, even <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">by special order at
Black Swan Records.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics refuse the
done, the given.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics have a way
of happening<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">that defies and
embraces love at once.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics winnow a
few greasy vowels<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">down to their consequential
resonance.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics make life a
bit more worthwhile.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics have little
to do with notes.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics improvise
what can’t be said.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics stir what
grieves and celebrates.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 150%;">Some musics keep good
company in loss.<o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-42696416386485212202018-07-31T11:36:00.000-07:002018-07-31T11:58:18.481-07:00Voicing Dissent: Petra Haden's Other America (LA Sojourn, Part 1)<div class="MsoNormal" style="font-family: Cambria; line-height: 32px; margin: 0cm 0cm 0.0001pt;">
<span style="font-family: "palatino linotype";"><span style="font-size: large;">I've been listening to <a href="http://www.petrahaden.com/" style="color: purple;">Petra Haden</a>'s recordings for years now. I've never had the pleasure of hearing her sing live, but still respond to a vibrant directness, a deeply engaging vitality, that inheres in her music, particularly in the overdubbed choric covers of popular song that she’s been self-releasing through YouTube and Facebook. I associate her vibrancy with an adaptive, attentive and essentially improvisatory approach to singing—improvisatory not despite the compositional fixity of any recording, but as a structural principal of this kind of recording. That claim needs to be argued, rather than taken as a given, and making a version of that argument is what I’m starting to do in the essay I’m posting here; it’s a paper that I delivered on Friday, March 30, 2018, at UCLA during <a href="https://www.acla.org/sites/default/files/files/ACLA_2018_Print_Guide_137686_Text_Proof%20Low(1).pdf" style="color: purple;">the annual conference of the American Comparative Literature Association</a>, as part of a seminar called ‘“Stay Woke”: The Politics of Protest Song,’ organized and chaired by Bronwyn Malloy of the University of British Columbia. I’m working with Petra Haden’s cover of the David Bowie-Pat Metheny Group collaboration, “This Is Not America,” which is the theme song from the 1985 spy-thriller <i>The Falcon and the Snowman</i>, to try to discover the ways in which dissent voices itself not necessarily as dissonance or discord but rather in the re-figurations of plurality in the varietals of community represented by choral song: to concoct a multiplicity out of an initial gesture at negation or lyric refusal, the promise of an America sounded from what it is not or what it refuses to be. Many of her covers of film themes and of pop and pop kitsch (such as Journey’s “<a href="https://www.youtube.com/watch?v=7_jwojdf7Js" style="color: purple;">Don’t Stop Believin’</a>”) operate neither as satire nor as mere celebration, but produce a form of Americana – Haden’s collaborations with <a href="https://www.youtube.com/watch?v=yu8WLvX9nBw" style="color: purple;">Bill Frisell</a> and with <a href="https://sunnysidezone.com/album/seemed-like-a-good-idea-petra-haden-sings-jesse-harris" style="color: purple;">Jesse Harris</a>, as well as her work with her father <a href="https://www.youtube.com/watch?v=6HYCiEXRxCw" style="color: purple;">Charlie Haden’s legacy</a> operate in this vein, in my view – that sustains a democratizing impulse in its aural blend of irony and joy; her songs open up an auditory and audible space in which an attentive and open-hearted America can begin to hear itself more fully.</span><o:p></o:p></span><br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/XWkqbfrRfik" width="560"></iframe>Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-27348944667391755332018-06-13T19:18:00.000-07:002018-06-13T19:18:05.318-07:00Sounding Promise in the Present Tense: IICSI Vancouver Colloquium, June 22-24, 2018<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-size: 14.0pt; line-height: 150%;">This year’s IICSI colloquium—<i style="mso-bidi-font-style: normal;">Sounding Promise in the Present Tense: Improvising Through Troubled
Times</i>—happens during the opening weekend of the <a href="https://www.coastaljazz.ca/">Vancouver International Jazz Festival</a>,
from Friday June 22 to Sunday June 24, 2018. All of the talks, presentations,
and performances, which are free and open to the public, take place in room
C420 of UBC Robson Square, the downtown Vancouver campus of the University of
British Columbia, located underneath the Vancouver Art Gallery. By my count,
this is the tenth Vancouver colloquium supported by the <a href="http://improvisationinstitute.ca/">International Institute for Critical
Studies in Improvisation</a> (IICSI) and by its parent research initiative, <a href="http://www.improvcommunity.ca/">Improvisation, Community and Social
Practice</a> (ICASP), which have been presented almost annually here since 2007.
Rainbow Robert, from Coastal Jazz, and I have curated this year’s colloquium,
blending various modalities of and approaches to improvisation. Here is the provocation
I put together to suggest some of the potential overarching themes and
trajectories for our event:<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; line-height: 150%; mso-ansi-language: EN-CA;">At this
year’s colloquium for the International Institute for Critical Studies in
Improvisation, presented in collaboration with the Vancouver International Jazz
Festival and Coastal Jazz, presentations and performances will address
questions around what it means to improvise in a challenging and uncertain
present. What roles can the improvising arts play to address cultural and
social turbulence? How might improvisation both settle on and unsettle our
senses of what matters now? How does improvising confront our enmeshments in a
heavily mediated and diverse world? What sorts of connections and resistances
does improvisation enact? How might improvisation involve practices of
disruption and of reconciliation? Of protest and of healing? Of undoing, of
re-mixing, of co-creation? What senses of promise can improvisations sound in a
time of unease and displacement? <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14.0pt; line-height: 150%;">We have expanded from two to three days of
programming, and part of our focus this year involves making space for
indigenous performances and community work. On Friday, June 22, we will be
presenting Tla’Amin youth activist, singer-songwriter <a href="http://www.takaiyablaney.com/">Ta’Kaiya Blaney</a>. We will also be
featuring a performance-discussion by <a href="https://www.bluemoonmarquee.com/">Blue
Moon Marquee</a>, and a day of workshops and presentations on community
engagement through improvisation; some of this latter work has emerged from the
influence of <a href="https://en.wikipedia.org/wiki/Jo-Ann_Episkenew">Jo-Ann
Episkenew</a>, and we have dedicated the day to remembering her legacy.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
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<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-size: 14.0pt; line-height: 150%;">There will be artist keynotes on Saturday and Sunday
from drummer-composer <a href="http://scottamendola.com/">Scott Amendola</a> (titled
“Stretch Woven”) and guitarist <a href="http://www.nelscline.com/">Nels Cline</a>
(“Improvising from the Get Go”). Writer <a href="http://gillianjerome.com/">Gillian
Jerome</a> will give a poetry reading on Sunday morning, and writers <a href="http://dinadelbucchia.com/">Dina del Bucchia</a> and <a href="http://sookfong.com/">Jen Sookfong Lee</a> will record a live “<a href="http://cantlit.ca/">Can’t Lit</a>” podcast on Saturday.
Percussionist-improvisers <a href="http://www.ovalwindowmusic.org/joesorbara/">Joe
Sorbara</a> and <a href="https://whirrboom.bandcamp.com/">Dylan van der Schyff</a>
will discuss their co-creative approaches to improvisation, and British
singer-songwriter <a href="http://gwynethherbert.com/">Gwyneth Herbert</a> will
present<span style="mso-spacerun: yes;"> </span>her piece “Letters I Haven’t
Written.” Guitarist <a href="http://arambajakian.com/">Aram Bajakian</a> and
poet-singer <a href="https://www.alansemerdjian.com/bio/">Alan Semerdjian</a>
will discuss their collaboration involving musical settings of poetry around
the Armenian genocide.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 14.0pt; line-height: 150%;">I’ll post expanded blog entries on each of our
presenters in the coming days. In the meantime, check out some of the links
above. And feel free to come on out any or all of the colloquium presentations:
there are going to be some exciting, powerful and compelling moments!<o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-18239976279905872982018-05-12T11:34:00.002-07:002018-05-12T12:01:16.764-07:00Me the CanLit Wannabe<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">When I first read Nick
Mount’s <i style="mso-bidi-font-style: normal;">Arrival</i>, I recognized a
history of the various forms of academic, institutional and cultural
gatekeeping that emerged from the 1970s CanLit boom his book maps out, and also
imitates and re-contextualizes, roughly fifty years forward into a Canadian
present. My recognition is thoroughly personal, and signals my immersion in and
interpellation by an ingrained set of historical filters and blinders. I have
to acknowledge my own privilege, even as an undergraduate at Western in the
early 1980s, and the mobility that such privilege impalpably enabled, but it
was a privilege that worked more as deficit than enabler: in a scenario
somewhat akin to Kafka’s parable, I was shown the magical door into the
creative and academic domain of Anglo-CanLit, but was never invited to cross
the threshold. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">I
have remained relatively adjacent ever since, though I have never mistaken my
own tenured position in an English Department for something to complain about;
but, for me, that position remains asymptotic to the still inaccessible domain
of what I now understand as a fiction of success in the intersecting parochial
circles of the Canadian literary world. Professor Mount frames, as apologist, as
enthusiast and critic, as a historically and aesthetically proximate
participant-observer, the key players in a nascent cultural nationalism that
shaped and informed how I was taught Anglo-Canadian literature and literary
history thirty-odd years past: Atwood, Laurence, Richler, Davies, Cohen,
Watson, Purdy, Munro, Layton. (Within this inherited framework, Francophone
literature becomes one of many cultural sets subsumed within or adjunct to a
larger English-speaking national mythos – despite Mount’s fairly robust
descriptions of Marie-Claire Blais, for example, or Anne Hébert or Hubert
Aquin.) When I opened Mount’s book a few months ago, I recognized a slice of
that past where I know I came from (as Northrop Frye might have put things), and
of the recalcitrant critical context into which I was not so much invited as trained,
and then passed over.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>What follows isn’t really a late-to-the-game
review of <i style="mso-bidi-font-style: normal;">Arrival</i> so much as a brief
set of personal and critical riffs, set off by a few resonant moments in the
book as I’d read it through. Mount has already been both lauded and excoriated,
often for what amount to pretty much the same reasons. In <i style="mso-bidi-font-style: normal;">Arrival</i>, he accurately and attentively revisits the cultural nationalism
of (roughly) post-centennial English Canada around the creation and
promulgation, until the mid-1980s, of what was then called CanLit. His
perspective is self-consciously sesquicentennial, though it only lightly confronts
what feels to me like a contemporary recidivist nationalism that continues to
be caught in and to resist the unsettling roils of decolonization,
reconciliation, and gender trouble. Instead, Mount re-embraces what feels like
the narrowly bracketed recovery of Anglo-Eurological prestige that drove
polemics like Margaret Atwood’s <i style="mso-bidi-font-style: normal;">Survival:
A Thematic Guide to Canadian Literature</i> (1972), after which Mount’s book is
named. Collectively around 1968 or so, CanLit very obviously wanted to
legitimate itself as a capital-L Literature. “I wrote this book,” Mount claims
at the outset of his 2017 preface, “because it didn’t exist,” re-imagining a
kind of literary-historical <i style="mso-bidi-font-style: normal;">terra nullius</i>
onto which CanLit, now alongside his populist history of the CanLit boom, once sought
to inscribe itself (<i style="mso-bidi-font-style: normal;">Arrival</i> 1). Mount
has been criticized for mostly omitting the complex intersections of race,
region, gender, class, orientation and ideology that wove themselves through
and articulated themselves against CanLit in the early 1970s, and for
re-asserting a literary emptiness that is clearly mistaken: even before
confederation, the nascent literary domain of the Canadian was embroiled in its
own aesthetic and cultural controversies. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Earle
Birney’s oft-quoted lines—from the brief squib of a poem he titled with the
first use of the clipped portmanteau “Can. Lit.,” and which he tellingly
split-dated both 1947 and 1966—assert that “it’s only by our lack of ghosts /
we’re haunted.” But Birney’s absolutism (“only”? really, Earle?) is tendentious
and misguided: there was plenty going on, and none of it lacked for ghosts.
What it did lack was any artifice of coherence, though not for lack of trying. (“No
Whitman wanted,” is how Birney puts it, a claim about absent mythopoeia I once
heard, when I was a graduate student, repeated back to me by the one and only
Helen Vendler, on a train in Ireland from Sligo to Dublin, to meet Seamus
Heaney. But that’s another story.) If you think about it, charging Mount with
the same sins of omission and the same typological longing as his subjects and
predecessors, with their attendant exclusions and implicit structural racisms,
isn’t really much of a critique. What might be better to ask is <i style="mso-bidi-font-style: normal;">why</i> he or we might want to return to such
formations CanLit now, at 150+, at a remove of at least half a century.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>The origin story that Mount offers is
one that I was taught, too, although his rather Toronto-centric balancing act
between two founding (father) figures for CanLit, Northrop Frye and Marshall
McLuhan, is both distorted and out of keeping with my own experience. What I
received at lectures and in seminars was mostly Frye and more Frye; one of my
professors at Western joked that many of his colleagues were “small Frye”—a
terrible pun, but not far off the mark. Mount’s argument for the formation of
CanLit centres on the intersection of granting bodies like the Canada Council
with secondary and post-secondary schools and with the publishing industry,
particularly the dissemination of the New Canadian Library. But, in terms of an
aesthetic of cultural nationalism, the often conflicted counterpoint of the
work of U of T professors Frye and McLuhan remains for Mount at the core of the
CanLit’s conceptual apparatus: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 72.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Mostly,
what Frye—and McLuhan—did for Canadian writers of all kinds and loyalties was
to provide examples of international success, proof that you could be not just
Canadian and a writer but Canadian and written about, argued over, read. (75)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">It’s notable that
McLuhan is second banana in Mount’s phrasing here, but the idea is still not far
from what I experienced: that Frye and McLuhan offer forms of <i style="mso-bidi-font-style: normal;">imitatio scriptor</i>, modeling literary
greatness on a cosmopolitan stage. It’s no accident that Atwood’s <i style="mso-bidi-font-style: normal;">Survival</i> begins with epigraphs from
Margaret Avison and from Frye, her professor, that gesture at the collision of
the parochial and the worldly. Birney’s poem doesn’t, in fact, lack for ghosts,
and the spectres of Frye and Roy Daniells, it’s possible to remark now, loom
posthumously through his lines; those spectres, it turns out, are the ones who
lament a literary lack, and did so well in advance of what Mount presents as
CanLit. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">In
<i style="mso-bidi-font-style: normal;">Survival</i>, Atwood echoes and
re-purposes a “great man” ideology of literary value, transposing its key so
that it might, in a gesture of gender-neutrality, include women’s writing too:
“In Canada there are many authors and many books, but few obvious classics”
(11). What constitutes a “classic,” for Atwood in 1972, remains relatively
unchallenged, and still resolutely patriarchal, as she suggests when she quotes
another U of T professor, E. K. Brown, with measured irony around an aesthetic
of greatness that’s hardly at any remove from Thomas Carlyle: “A great art is
fostered by artists and audience possessing in common a passionate and peculiar
interest in the kind of life that exists in the country where they live” (qtd.
on 181). Roy Daniells, who was chair of my own Department of English at UBC
through the 1950s, is deeply and thoroughly influenced by Brown, who had in turn
emerged from the tutelage of Pelham Edgar, when he reproduces this yearning for
Anglo-Celtic greatness and for reconstructed autochthony in a 1955 chapter on
Canada’s “Literature: Poetry and the Novel” (qtd. in Djwa 313). Noting that no
great writer has yet emerged who might be “capable of producing a large number
of stories which are united by a sensibility, a style, a locale, and a
selection of material,” Daniells nonetheless asks for a literature keyed to
geography and cultural amalgam, expressing a unifying sense of “first the land
itself, the great terrain, and second the juxtapositions of race, nationality,
and creed within the country and upon the continent.” Daniells, Djwa argues, <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 72.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">was
particularly interested in the larger geographical features that had
conditioned the history of the country – especially the experience of entering
the country through the St Lawrence (a concept later developed metaphorically
by Frye in his Conclusion to the Literary History of Canada) – and the
importance of landscape on all forms of new writing. (309)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Greatness comes in
response to addressing the pressing existential and fundamentally
Anglo-Canadian, settler-culture question of where here is. CanLit, in Mount’s
reading, aspires—and occasionally achieves—recognizable greatness. But it does
so by stringent gatekeeping, by carefully policing its nascent boundaries. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Mount suggests—and I think he’s wrong
about this, given my own epigone encounters with some of these writers—that the
universities (such as my own campus, where Daniells was a key player in the
founding of the academic/public intellectual journal <i style="mso-bidi-font-style: normal;">Canadian Literature</i>, a juggernaut of canon formation in 1958)
played a minor role in the making of CanLit, which he understands as more
populist and distributed: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 72.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Universities
did little to encourage Canadian literature, but they did create a record
number of new spaces in which others could – all those new campuses and new
classrooms and the theatres, galleries, bookstores, pubs, and cafes that
followed them. More by accident than by design (which is pretty much how a
university develops, because pretty much how knowledge develops), they greatly
increased the opportunities for the kind of chance encounters that turn young
people toward artistic lives. (75)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">I’d like to pause here
to tell one of two stories, this one involving me—who positioned himself,
albeit about a decade late, as one of those “young people”—being turned not
toward but away from CanLit. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">As
an undergraduate at Western, I was in close proximity to a number of first- and
second-generation CanLiterati; I took courses from James Reaney and Don McKay,
for example, and—because Toronto was only a two-hour drive up the 401—there was
a robust slate of live readings and a strong writer-in-residence programme. In
my fourth year, I took what I understood to be one of the English Department’s
first versions of a creative writing seminar, led by a professor whose own
output inclined toward creative non-fiction, his nearly <i style="mso-bidi-font-style: normal;">sui generis</i> mix of the critical and the confessional. (I won’t name
him, but if you are so inclined you can find him out.) He, too, seemed to me at
the time to be CanLit adjacent, an adherent more than a recognized member of
the clique—award-winning writers were his friends and colleagues. I thought,
like others in the class, that we were being offered slight but tangible access
to the post-<i style="mso-bidi-font-style: normal;">Survival</i> literary
establishment, that a university, as a key site of the management of what
constituted a nascent contemporary canon of Canadian writing, was opening the
gate a crack. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">I
ended up with a B+ in the course, a grade designed to signal, as the professor
later explained to me, that I had lots of knowledge but no real talent. For him
I didn’t write—especially poetry—the right way, or well. I had already had some
inkling of this trouble when I had visited the current writer-in-residence, a
Toronto-based poet in print through McClelland and Stewart, earlier in the
term; “Hmm,” she had said as she flipped through the handful of pages I had
submitted, “do you really want to publish these?” The poems were, she said,
“kind of precious,” and she didn’t know what to tell me. “Do you want these
published?” she repeated, at a loss for suggestions. “No,” I said. “No.” Which
was a lie. What I had wanted from her was some recognition even of my writing’s
modest value, some affirmation, some key to set me on the road to any sort of
publication. But it wasn’t forthcoming, and I left her temporary office
temporarily defeated. (Footnote: one of the texts she read, which I had been
drafting and developing for the creative writing seminar, would eventually find
publication as a long-form prose poem called “Pining” in <i style="mso-bidi-font-style: normal;">West Coast Line</i>.) What would have helped me, I think, was even a
pittance of generosity. The creative writing professor, in a semblance of
deference, invited me out after the term was done for a beer at a local pub,
Chaucer’s. I came prepared with two books in my satchel: Michael Ondaatje’s <i style="mso-bidi-font-style: normal;">The Cinnamon Peeler</i> and George
Bowering’s <i style="mso-bidi-font-style: normal;">George, Vancouver</i>. I
admired both poets, and one of my favourite texts had been Ondaatje’s chapbook <i style="mso-bidi-font-style: normal;">Tin Roof</i>, a copy of which I had bought
from Ondaatje himself at a reading at the Forest City Gallery. Look, I said to
my prof as I set them on the table: “This is the kind of writing I don’t want
to do.” I was, even then, more of a formalist, reacting against the looseness
of TISH and the confessional and landscape regionalism. It’s that
as-yet-unsettled formalism, I think, that had been read as “precious.” “Well,”
he said over his beer, adopting the condescension of the trained academic,
“these are two very different writers, you know.” They were both his friends.
Yes, I knew. “I’ve never met anyone,” he told me, “who seemed to know so much
about recent poetry but wasn’t able to do it.” His version of the CanLit gate
was closing for me. He seemed to think he was trying to be gentle, but there
was meanness there, a stiff inability even to want to foster my desire, as a
tyro, to be a part of that small cultural world, a world he himself wasn’t
quite in with.<o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholpD8jZgPXo_hyphenhyphenSZtKSOvlNqKgNh0Gu4jYOkIr6ufkMm4DrtPY_D9mMd39LkO8E0GcbILI-x3hD8tIkDYxM_9WjRP1Sy7rnBfdxxBxcVwJ-kLr_b2eoAe1GFQjkwC6ofs-BCty13JB9-1/s1600/AClarke.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholpD8jZgPXo_hyphenhyphenSZtKSOvlNqKgNh0Gu4jYOkIr6ufkMm4DrtPY_D9mMd39LkO8E0GcbILI-x3hD8tIkDYxM_9WjRP1Sy7rnBfdxxBxcVwJ-kLr_b2eoAe1GFQjkwC6ofs-BCty13JB9-1/s320/AClarke.JPG" width="240" /></a></div>
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><span style="mso-tab-count: 1;"> </span>So here is my other undergraduate story
triggered by Nick Mount’s book. In my first year at Western, Austin Clarke was
the writer-in-residence. Among other things, he took it upon himself to hold
weekly informal seminars for any students who wanted to talk about writing or
to get a bit of feedback on their work: a workshop, but without the constraints
of formal study. He modeled a kind of generosity and personal attentiveness, a
practice of care, that was rigorous but also, I came to realize later,
atypically open-hearted for the Canadian scene. He had a way of making space
for others, not by deference, but by interested engagement. He is one of the
very few non-white writers cited in Atwood’s <i style="mso-bidi-font-style: normal;">Survival</i>, and not so much as colleague but more an figural example,
as stand-in. Her chapter seven describes “The Reluctant Immigrant” by
summarizing two stories from Clarke’s <i style="mso-bidi-font-style: normal;">When
He Was Free and Young and He Used to Wear Silks</i>; they centre, for Atwood,
on economic and social disenfranchisement, “failure masquerading as
achievement,” devolving to debasing resentments about money (151-2)—they’re not
about craft or voice, but reductively allegorize social marginalization through
realist depictions of urban racism. Mount repurposes Atwood’s distancing
tactics when he re-narrates an anecdote about one of publisher Jack
McClelland’s notorious encounters with Clarke: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 72.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Austin
Clarke was so abusive to M&S staff that Jack [McClelland] suggested he look
for another publisher. “What you need more than anything else, “ writes Jack,
“is a good swift kick in the ass.” (173).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Mount seems charmed by
McClelland’s blustery machismo, but what I hear in this story is recalcitrant
structural racism, an inability to empathize with Clarke, to address what it is
he might have been angry about. The threat was that a version of that cultural
gate, suffused with a version of white universalism, might snap shut. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">In
the first of our writing workshops with Clarke, he brought along two LPs and a
portable record player. One was a boxed set of Beethoven symphonies, I think
the von Karajan complete on Deutsche Grammophon. To get the ten or so of us
present to reflect on the relationship between style and meaning, he wanted to
play one of the pieces, one movement, but couldn’t get the records out of the
cardboard sleeves. He pulled out a jackknife and, cursing under his breath,
tried to cut the box open along the edge. “My daughter,” he said, “has scotch
taped it for a joke.” He gave up, and tossed the set onto the table in front of
him. The other record was <i style="mso-bidi-font-style: normal;">Milestones</i>
by Miles Davis. It hadn’t been taped up. He played us the title track, a
famously galloping modal tune that begins side two. “What do you hear?” he
asked us. Part of his point was no doubt to invite us to consider the
challenges of blackness in Canada. Most people registered the up-tempo groove
as ebullient, liquid, sanguine, joyful. No, said Austin Clarke, “what I hear is
anger. Miles is angry. Think of the blade-like sound of his Harmon mute on
other songs.” And then he laughed. And he didn’t tell us exactly what he knew Miles
Davis was angry about. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">When
I turned in some of my nascent fiction to him later in the term, he didn’t put
me off. I had what I thought was a concept—something like second-rate Lydia Davis, I’d later figure out—that I wouldn’t write more than a page per story, a story
per page. The idea was to be clipped and suggestive. His unlit pipe clamped in
his teeth, Clarke read it through silently, in front of me, looked up over the
top of the page, and said, “Great. Now where’s the rest of it?” Two lessons, at
least, emerge for me from that moment: first, don’t have so little humility as
to believe your own aesthetic malarkey, and second, more importantly, try to ask
for more, be kind, be generous, be open. Austin Clarke’s sense of anger came, I
think, from having that generosity thwarted and unreturned. That negation, that
thwarting, I think, is a large part of what still constitutes CanLit at all.
Such gatekeeping needs not so much to be reanimated as to have its worn out scotch
tape cut.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt;">Books and Such I
Quoted From<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Atwood, Margaret. <i style="mso-bidi-font-style: normal;">Survival: A Thematic Guide to Canadian Literature</i>.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14pt; line-height: 150%;"> Anansi, </span><span style="font-family: "palatino linotype"; font-size: 14pt;">1972.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Birney, Earle. <i style="mso-bidi-font-style: normal;">Ghost in the Wheels: The Selected Poems of
Earle Birney</i>. </span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"> McClelland and Stewart, 1977.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Djwa, Sandra. <i style="mso-bidi-font-style: normal;">Professing English: A Life of Roy Daniells</i>.
U of </span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"> Toronto P, 2002.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Mount, Nick. <i style="mso-bidi-font-style: normal;">Arrival: The Story of CanLit</i>. Anansi,
2017.<o:p></o:p></span></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com1tag:blogger.com,1999:blog-237211826691679637.post-58245800816046809682018-02-12T00:49:00.000-08:002018-02-12T00:49:59.995-08:00Justice Rough—re: Battleford, SK, 9.ii.18 (poem)<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">Justice
Rough—re: Battleford, SK, 9.ii.18<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Tell
me I’m wrong again. Tell me I’m wrong again.<o:p></o:p></i></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">Justice ought to mean
how there are no feckless accidents.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">What
seems like justice shows up late or not at all. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">Allegedly what looks
nothing like justice tried to jack <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">the
next-door neighbours’ used pickup. Retribution<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">miscarries what passes
for bad justice, a claw hammer <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">smashed
through someone else’s windshield. Feels like justice <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">starts to take shape
in blinkered loss. Seems like justice got clocked <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">point
blank in the back of the head. What starts to feel <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">like justice flubs and
fails to take. Surely justice sounds like<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 36.0pt;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">a
blithe excuse for cold payback. Sounds like justice <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">could do nothing much
worse. Surely what passes more or less<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>for
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Palatino Linotype"; font-size: 14.0pt; line-height: 200%;">Tell
me I’m wrong. Tell me I’m wrong. Tell me I’m wrong, again.<o:p></o:p></span></i></div>
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Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com1tag:blogger.com,1999:blog-237211826691679637.post-70012913488723291382018-01-31T09:44:00.000-08:002018-01-31T09:46:30.380-08:00The Super Blue Blood Moon Blues (poem)<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
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<span style="font-family: "palatino linotype";"> </span><span style="font-family: "palatino linotype";">who
can’t curse.</span></div>
Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-33253516978043994272017-09-11T16:35:00.000-07:002017-09-11T16:35:38.436-07:00Breath, Blood, Throat, Voice: Tanya Tagaq and the Politics of Song<!--[if gte mso 9]><xml>
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<span style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">This
is an audio capture of a collaborative presentation by Bronwyn Malloy and me—both
affiliated with the University of British Columbia—on the music of Tanya Tagaq
(along with that of Jesse Zubot, Jean Martin and Christine Duncan). The talk, called "Breath, Blood, Throat, Voice: Tanya Tagaq and the Politics of Song," took place on Friday, 24 March 2017 at the University of British Columbia. In
keeping with our subject matter—Tagaq’s recent music, especially from the album
<i style="mso-bidi-font-style: normal;">Retribution</i>, and live performances—we
tried to design our own presentation as a co-creative duo, moving back and
forth between voices and approaches. Our intention is to revise and expand this
material into a collaborative scholarly-critical essay. We're focusing in on the collisions of indigeneity and alterity/plurality/community through the co-creative practice(s) of improvised musicking.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><br /></span></div>
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<br /></div>
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/315301530&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe><br />Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0tag:blogger.com,1999:blog-237211826691679637.post-13706695376141373242017-09-11T15:36:00.000-07:002017-09-11T15:42:00.390-07:00Close Careful Trans Listening: Pauline Oliveros, Joe McPhee and Rachel Pollack's Unquenchable Fire<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">I read this paper—“Close
Careful Trans Listening: Pauline Oliveros, Joe McPhee, and Rachel Pollack’s
<i>Unquenchable Fire</i>”—on June 3, 2017 at the Montreal colloquium for the
International Institute for Critical Studies in Improvisation: <a href="http://improvisationinstitute.ca/workshops-conferences/mcgill-colloquium/mcgill-colloquium-2017/">Still
Listening—A Series of Events in Memory of Pauline Oliveros</a>. For me, it
represents a first foray into an intersectional social aesthetics, drawing
together transgender writing—in particular, Pollack’s speculative fiction—with
queer theory and the practice of deep listening. As I point out, the paper
leans a little toward Oliveros, despite the composition and recording being
principally credited to Joe McPhee. I also need to develop more fully and
carefully a reading of the theology of annunciation and its relationship to
gendered bodies and the dynamics of consent and the discursive power of the
speech act.</span></div>
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/341947744&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>
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<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><br /></span>
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">You might also want to
check out <a href="http://stilllisteningoliveros.com/">Still Listening, the on-line
exhibition</a> of a series of 85 85-second compositions dedicated to Pauline Oliveros.<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;"><br /></span>
<span lang="EN-US" style="font-family: "palatino linotype"; font-size: 14.0pt; line-height: 150%;">Oh, and if you want a copy of the music, you can buy it from <a href="https://joemcphee.bandcamp.com/album/unquenchable-fire">Joe McPhee's Bandcamp page, here.</a></span><br />
<br /></div>
Kevin McNeillyhttp://www.blogger.com/profile/17366899070068507252noreply@blogger.com0