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JACKET # 14 - July 2001 | # 14
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Brian Kim StefansVeronica Forrest-Thomson and High ArtificeNOTE: More material on Veronica Forrest-Thomson in Jacket 20 |
One of the misfortunes of the lack of attention being paid to English poetry of this century is the obscurity of Veronica Forrest-Thomson, a poet who died in 1975 at the age of 27. Forrest-Thomson is the author of Poetic Artifice, a book that outlined a theory of poetry from a critical perspective — i.e. a tool to determine the success or failure of a poem rather then merely a vocabulary for describing the phenomenon of a "poem" — but one which, rather than confirming or resisting a "tradition," concentrated on those elements of the poem that resist quick interpretation or, in her terms, "naturalization" by the reader or critic. A cluster of insane massacres turns green upon the highroad |
For Forrest-Thomson, the poem serves as an example of "irrational obscurity ...[one that] can only be rationalized as an example of irrationality." The poem is weak, she asserts, because though one can agree that it is intended — in the poet’s rationale — to be an expression of the "disorder" and "social and moral dislocation" of the world, such an interpretation can only be made on "other levels of poetic discourse" — i.e. with the intervention of a second party, a critic who describes the poem. The poem does not offer, by itself, a way to order its "chaos," for there is no point of entry through which the reader can begin to assemble its separate images — "an asylum out of its hovel," for example — either in the sounds, syntax or line breaks, nor do the conventional levels of its meaning help, for it does not point to specific instances of this "chaos" in society. The above passage... also uses ’bizarre and near-nonsensical imagery’ but it takes a good care that this be related to the other levels of Artifice and that the image-complexes move through these in a newly alive and potent verse line which progresses inexorably through citadel after citadel of social and literary heritage, leaving each in crumbling ruin, only to shore them... by its technical reshaping. This description of Eliot’s verse avoids falling prey to the allurement of its various allusions, and merely posits that they are being made, seeming to focus, consequently, on the destruction that the lines themselves are carrying out, as if Eliot were an active agent in the dissolution he has been credited with diagnosing. |
Veronica Forrest-Thomson, Cambridge, 1972, copyright © Jonathan Culler 1972, 2001 |
There aren’t many academic theories that can look at poems from Hughes, Ashbery’s The Tennis Court Oath (remember Harold Bloom’s crabby dismissal of the entire project), concrete poetry, William Empson and T. S. Eliot without apologies, while maintaining an attention to what poems may come in the future beyond its compass, or between the cracks. The beauty of the theory (which is only lightly sketched here) is that it allows one to cross the lines separating various "poetics" — these codes of literary identity that are more often a system of dislikes — and cross into that central element all poetry shares, the physis of its Artifice. |
Godard, the anthropological swan This literalness in her thinking makes her appreciation of such phenomenon as Dadaism — at one points she equates her Artifice’s dependence on "aesthetic distance" and "content as form" with Dadaism — and her quest "for a subject other than the difficulty of writing" especially compelling, for she is aware how much she has to free herself from an intensely rational and positivistic mind. (Like a number of artists in her time, including Ian Hamilton Finlay, Robert Smithson and the Language Poets, she could be seen as part of a larger movement of "civilizing Dadaism," a project that operates distinctly from such phenomenon as post-structuralism in that the original spirit of Dadaism, its anti-discursivity that shatters a specific art/cultural context, is preserved, the only thing having changed being the frames in which Dadaism is intended to operate; in Finlay’s case, for example, the Duchampian ready-made becomes the neo-classical emblem.) She has, consequently, written a yet-unpublished college thesis about the role the discipline and language of science plays in modernist poetics, and had a "consuming passion for science" that went along with her interest in poetry. Phrase-Book |
Bibliography |
J A C K E T # 14 and
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co-production with SALT magazine, This material is copyright © Brian Kim Stefans and Jacket magazine and SALT magazine 2001 |