Marjorie PerloffThe Oulipo Factor:The Procedural Poetics of Christian Bök
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Prefatory note: In 2002, the Spenser Society, which regularly sponsors a session or two at the annual MLA Convention, asked me to participate in a panel on the legacy of the Spenserian Stanza. I am hardly a Spenser expert, but when I studied the stanza with its ingenious interlocking rhyme scheme (ababcdcdd), in which eight iambic pentameter lines are followed, to great effect, by a final alexandrine, it struck me that, although, after the nineteenth-century, poets no longer use the Spenserian stanza, its complexity, and especially its deployment of the alexandrine, have much to teach a poetry culture increasingly indifferent to the role of sound in poetry. Indeed, the free verse, now dominant not only in the US but around the world, has become, with notable exceptions, little more than linear prose, arbitrarily divided into line-lengths. But there are two sites where sound is once again being foregrounded. The first, as we have already seen, is in Concrete and post-Concrete visual poetries. The second may be found in procedural (rule governed) poetics, whose center today is probably the French movement called Oulipo. The following essay takes up the Oulipo alexandrine and some of its Anglophone derivates. |
Loyal practitioners of the alexandrine, our hexameter, unhinge from within the meter of this rigid and puerile mechanism. The ear, freed from a factitious counting, takes joy in discerning, on its own, all the possible combinations of twelve tones.
Stephane Mallarmé, ‘Crise de vers’[1]
Our words must seem to be inevitable.
W. B. Yeats, Letters on Poetry [2]
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La fille de Minos et de Pasiphaé
down to Baudelaire, whose alexandrines often break up, not into hemistychs as in the above example, but into trimeters, as in: |
A la très belle, à la très bonne, a la très chère
In its variable forms, the alexandrine remained intact until the fall of the Paris Commune in 1870. In that year, it experienced a catastrophe — the word is well chosen because etymologically it means kata (down) plus strophe (turning) and hence has metrical overtones — at the hands of Rimbaud’s ‘revolutionary’ poem ‘Qu’est-ce pour nous, mon coeur’ (see VA 20-26). For here the rules, especially those relating to the necessary prominence of the sixth syllable and the place of the silent e were consistently violated. And Roubaud relates this violation to the violation of the social order, which is the impetus of Rimbaud’s oppositional poem. After Rimbaud, so the common wisdom would have it, the ‘broken’ alexandrine was increasingly replaced by free verse: Apollinaire’s and Cendrars’s rhythms set the stage for what Roubaud calls ‘le vers libre international — the free verse now dominant around the world, whose only distinguishing feature is lineation as such. Free verse, Roubaud notes, easily adapts linguistic units to linear ones and is characterized by its formal indifference (VA 204). Its absence of rules makes it suitable for a global age for free verse passes readily from language to language and is potentially translatable. Indeed, says Roubaud, the passage of free verse across frontiers is metrically duty-free (VA 205). Loyal practitioners of the alexandrine, our hexameter, unhinge from within the meter of this rigid and puerile mechanism. The ear, freed from a factitious counting, takes joy in discerning, on its own, all the possible combinations of twelve tones.
Roubaud calls this ‘a marvelously Schoenbergian Utopian definition of a new alexandrine, where all the possibilities of twelve – not in the arithmetical sense , the current impoverished sense according to which mathematics is no more than a rigid, puerile, and facticious counting — but where a hieratic rhythmic entity with almost infinity variety, would be in play (for the new jouissance of the ear)’ (VA 53). Les amoureux fervents des fleuves impassibles The source text is Baudelaire’s ‘Les Chats’: Les amoureux fervents et les savants austères
Bénabou joins the first hemistich of each line to the second of another: the first alexandrine thus selected (#8) is the opening line of Rimbaud’s ‘Bateau ivre’: ‘Comme je descendais des fleuves impassibles.’ The second (#107) is Phèdre’s disclaimer in Racine’s great tragedy, ‘Ah, que ne suis-je assise à l’ombre des forêts’; the third (#163) comes from Baudelaire’s own ‘Correspondances’: ‘Il est des parfums frais comme des chairs d’enfant’; and the fourth (#162) from Baudelaire’s ‘Chanson d’Automne’: ‘Bientôt nous plongerons dans les froides ténèbres.’ They also serve who hurt and will do none Or he invents a sonnet like, ‘the Maoist’s Regrets,’ which begins Shall I compare thee, China to Peru?
The pentameter does not break into two equal parts, and so it doesn’t lend itself as well as the alexandrine to Bénabou’s particular constraint. O2. Anagram
And so it goes, the famous line being put through such other hoops as ‘Double Curtailing (‘Not to be, that is’), ‘Antonymy’ (‘Nothing and something; this was an answer’), and ‘Permutation’ (‘That is the question: to be or not to be.’ |
The Linear Fallacy
In the US, Oulipo has long had its counterpart in the work of John Cage, Jackson Mac Low, and the Fluxus poets. Cagean constraints are not as literary as those of Oulipo — the rules are not likely to involve rhetorical figures like anagram or homophony — but the counting devices are often more elaborate than such Oulipo rules as N + 7.[9] The poetry of constraint, in any case, is now becoming an interesting alternative to the dominant poetic mode of the anthologies and journals — dominant, incidentally, not just in conservative but in so-called experimental circles as well. Consider the following examples, some of them lyric, others narrative, which I have selected at random, by opening the just published Norton Anthology of Modern and Contemporary Poetry and copying out the beginnings of poems, written during the 1990s: On Fridays he’d open a can of Jax Seven poems, all of them by distinguished prize-winning poets: in order of their appearance, Yusef Komunyakaa, James Fenton, Jorie Graham, Rita Dove, Thylias Moss, Cathy Song, and Henri Cole.[10] Yet, different as these poets are from one another with respect to gender, ethnicity, and thematic concerns, all of them observe what is currently a poetic formula: their ‘free verse’ is really — and perhaps intentionally — no more than lineated prose.[11] Here are my transpositions of the seven extracts above: On Fridays he’d open a can of Jax after coming home from the mill, & ask me to write a letter to my mother who sent postcards of desert flowers taller than men. He would beg, promising to never beat her again.
When we examine these models, we note that the line break, so central to free verse in its early manifestations in the twentieth century, no longer has the semantic function it exercised in poetry from Ezra Pound and William Carlos Williams, to George Oppen and Lorine Niedecker, Robert Creeley and Frank O’Hara, down to Clark Coolidge and Rae Armantrout. Indeed, in these recent poems, all of them written in complete sentences, the attention paid to sound structure or syntactic patterning is so minimal that one can only conclude that the term poetry currently designates, not the melopoeic origins of lyric poetry or the page designs of visual prosody but rather an ironized narrative or, more frequently, the personal expression of a particular insight, presented in sometimes striking figurative language: ‘desert flowers / Taller than men,’ ‘leafy flakes melt round my footfall,’ ‘Menial twilight sweeps the storefronts,’ bodies are ‘glazed and glistening like raw fish in the market,’ ‘happiness’ asserts itself ‘like a bird in a dirty cage.’[12] Five years have past: five summers, with the length A whole essay could be written on the subtle ways these lines enact the ‘connect[ion]’ of ‘the landscape with the quiet of the sky.’ The assonance of ‘quiet’, ‘sky,’ the internal rhyme of ‘steep’ and ‘deep’, ‘soft’ and ‘loft-y’, the permutation of ‘secluded’ into ‘seclusion,’ and the relation of enjambment to the creation of that ‘soft inland murmur’ of line 4: each rhythmic unit here is carefully calibrated. But the mere choice of meter is obviously not enough: here is Dana Gioia’s account, in a poem called ‘Rough Country,’ of coming across a hidden waterfall: not half a mile from the nearest road,
Here the dutiful elaboration of the iambic pentameter does little to relate meaningful units: consider the monotony of ‘and NESTing JAYS, a SIGN that THERE is STILL.’ Again, word and rhythm seem to have no necessary connection: if the first line read ‘not half a mile from the nearest highway’ and the second, ‘a spot so tough to reach that no one comes,’ I doubt anyone would notice. |
The Jouissance of Sound
Consider, to begin with, the role of sound in the poetry of ancient cultures, not just in Greece and Rome, but in Chinese and Hebrew, Arabic, or African texts as well. In the Lianja epic of the Congo, for example, the bards, so we learn from the Princeton Encyclopedia of Poetry and Poetics, were interested ‘not merely in the rhythmic flow of the narration following distinctive patterns of line and syllable count’; they also looked for such sound effects as ‘alliteration, sound-imitating words, sonorous names... appositives... lyrical evocations and inversions of normal word order.’[1] Or again, in Tang Dynasty poetry (usually considered China’s Golden Age), what was called Regulated Verse consisted of a prescribed 8-line stanza, distinguished by its level-tone rhyme, falling at the end of each couplet. Tang Regulated Verse also had specific rules governing the distribution of parallelism. Each component in the first line [was] matched by a grammatically similar and semantically related, yet tonally antithetical, component in the corresponding position of the second line, thus forming a perfect mirror effect.’ ‘The coherence of the poem’s phonic pattern,’ moreover, was ‘governed by the cumulative effect of contrast (dui) and connection (nian)’ (PEEP 194). For Tang Dynasty aesthetic, the successful poem was one whose elaborate mathematical form could accommodate personal lyric vision. ‘Eunoia’ is the shortest word in English to contain all five vowels, and the word quite literally means ‘beautiful thinking.’ Eunoia is a univocal lipgram, in which each chapter restricts itself to the use of a single vowel. Eunoia is directly inspired by the exploits of Oulipo . . .the avant-garde coterie renowned for its literary experimentation with extreme formalistic constraints. The text makes a Sisyphean spectacle of its labour, willfully crippling its language in order to show that, even under such improbably conditions of duress, language can still express an uncanny, if not sublime, thought.[1]
Bök’s chief model was probably Georges Perec’s La Disparition, the tour-de-force novel written without the letter e — a feat almost impossible in French, depending, as it does, on approximately one-eighth of the total lexicon. Gilbert Adair’s translation A Void does the same thing in English. All chapters must allude to the art of writing. All chapters must describe a culinary banquet, a prurient debauch, a pastoral tableau and a nautical voyage. All sentences must accent internal rhyme through the use of syntactical parallelism. The text must exhaust the lexicon for each vowel, citing at 98% of the available repertoire (although a few words do go unused, despite efforts to include them: parallax, belvedere, gingivitis, monochord, and tumulus. The text must minimize repetition of substantive vocabulary (so that, ideally, no word appears more than once.)The letter Y is suppressed (103-04).
Finally, the poem’s visual layout is rule-bound. The chapters vary in length, but each chapter is divided into units made up of the same number of lines: 12 in A, 11 in E and I, 13 in O, 12 in U. The print blocks, with their justified margins, look like squares and are placed in the upper part of their respective pages. CHAPTER A for Hans Arp
Bear in mind, as you read these curiously dissimilar ‘stanzas,’ Bök’s rule that ‘the text must exhaust the lexicon for each vowel. The poet has not, in other words, chosen particularly silly-sounding U words or harsh A ones, for he must, in the course of the poem, use all the A’s, E’s, etc. What the poem thus teaches us is that, Saussure notwithstanding, vowels do have semantic overtones. A poetics of A, to begin with, evokes an alien, often exotic East : Hassan, Agha Khan, Arab, Mahabharata, cabal, pagan, fatwa, bachannal, altar, naphtha, maharajah, baklava, Tartar, drachmas, mandala, Cassandra, karma, Allah, Sahara, Rwanda, Shah, Ghana, Katar, Japan, Samarkand, Kandahar, Madagascar, lava sandflat. In the Western world , that exoticism is transferred to A Dada bard as daft as Tzara. A poetics thus involves awkward grammar that appals a craftsman. Dada, we know, always involved the destruction of ‘normal’ syntax and preferred a slapdash arc and a backward zag to the orderly stanza or ballad. Again, A art seems to be largely abstract: a pagan skald chants a dark saga. The authors associated with A lack the gentleness of E or lightness of I: they include such heavies as Kant and Kafka, Marx and the revolutionary Marat. No doubt, this is because A is not only the letter of the exotic East but also of the law and of bans. Nel mezzo del cammin di nostra vita As she recalls her procedure in the headnote: I had started to collect Dante translations like others collects stamps or good wines, at first simply following a lead to see what might come through, in the dark of dark, in the wood of wood, in the musicalised sense of panic. 1-2-3 lines, and three menace him, and the one at the crossroads and the one who speaks and the one who remains hidden. A perfect plot in the massing of time, lost already walking. Faced with the seemingly inexhaustible pool of translations into English of Dante’s Inferno, I decided to collate all translations archived at the British Library up until May 2000 — seven-hundred years after the date fixed by Dante for the start of the Comedy’s journey Forty-seven exemplars emerged from this process. The resulting piece was first presented as a recorded text-sound piece with the Irish composer Ciíaran Maher, who, Bergvall recalls, ‘worked on the vocal fractals from this recording to create a 48th variation running underneath the recording.’ The translations were then alphabetized, the list thus collapsing historical time and emphasizing the relativist nature of translation. The resulting musical structure emphasizes similarity where we might expect difference and yet the alphabetization (‘Halfway...’, ‘In the middle of...’, reminds the reader or listener that no two of the translations are exactly the same. As Bergvall explains it: Unlike the graphic causal horror of linear travel, these point by point interceptions spin a spiraling musicality, its horror is abstracted, a build-up of interrupted motion, pulling together into a narrative of structure, stop-start, each voice trying itself out, nothing looped, yet nothing moving beyond he first line, never beyond the first song, never beyond the first day, the forest walls, the city walls, my body walls. Having to look for points of exit, further in, further down, rather than out.[1] The chain of variations thus produced is fascinating in the delicate shading of its differences: the ‘dark wood,’ for example, appears again and again, and yet the wood is also ‘sunless,’ ‘gloomy’ ‘darkling,’ and ‘obscure.’ Some translations use archaic language and rhyme: Midway the path of life that men pursue Some are slangy: Halfway through our trek in life
Some emphasize the darkness of the wood, others the darkness of the speaker’s consciousness, unable as she is to find the straight road, the right path, the narrow way, the rightful pathway, or the true road. In Oulipo terms, the sequence enacts its constraint because there is no progress, no ‘direct path’ or ‘path that does not stray’ to take us out of the maze of alternate tercets. Via is Vita, no more, no less. ‘About Face’ started out in 1999 for a performance in which I was interested to explore the format of a reading-performance as an explicit balancing between audibility and inaudibility (the listener’s/viewer’s)... between what you see and cannot hear, what you hear and cannot see.... the piece was more structured and articulated by word and sound associations (‘faceless’ leads by contraction and code-shift to ‘fesse’ [French for buttock] and openness to accidents, rather than as a procedural or constraint-led piece.[1]
Bergvall goes on to say that she used interrupted transcripts of recorded conversations so as to foreground ‘social opacity and historical erasures.’ Then too the form enabled her to reflect on ‘games of face in relation to intimacy, love, intimate pleasure’ and to test such common oppositions as that between Hellenic/ Christian concepts of the face as a marker of presence and Judaic/ Moorish traditions in which ‘face’ can only be ‘symbolic / inscriptive.’ ‘The acrobatics of trying to write face,’ writes Bergvall, ‘leads to reflecting on it as a speech act.’ Begin a f acing
The technique here is not procedural, but ‘About Face’ shares with Oulipo poetics the desire to decompose words so that their phonemic, morphemic, and paragrammatic properties emerge. Take the first line, ‘Begin a f acing.’ Many poems begin with ‘begin’ — for example, Wallace Stevens’s Notes toward a Supreme Fiction (‘Begin, ephebe...’) — but here the space between ‘f’ and ‘a’ which produces ‘ace’ (perhaps an allusion to Tom Raworth’s long columnar poem by that title), suggests that facing someone or something is always an interrupted activity, a ‘point of motion,’ as we read in line 2. Lines 3 and 4 work similarly — the break-up of ‘close’ gives us the very different word ‘lose,’ and central questions about the phrases ‘face to face’ and ‘about face’ are now posed. Bergvall mimics speech patterns — ‘Tender nr pace m’ — a line that can be heard as opening with ‘tender near’ or ‘tenderness’ but remains visually opaque. This line modulates, in its turn, into the discriminations of ‘pace’/ ‘faceless’/ ‘underfaced’ and the permutations on ‘how close,’ ‘just close,’ ‘too close.’ Like a curtain pulled a face it violent
where ‘fact’ transforms aurally (but not necessary visually) into a ‘fuck’ that is somehow ‘vile’ and ‘unforgiving’ — no longer a face to be seen as the Other, but mere Spectacle. Time to keep pple in the drk |
Notes[1] Stephane Mallarmé, ‘Crise de vers,’ in Variations sur un sujet, Oeuvres completes, ed. Henri Mondor et G. Jean-Aubry (Paris: Gallimard, Bibliothèque de la Pleiade, 1946), p. 362. Translation mine. [2] W.B.Yeats, Letters on Poetry from W. B. Yeats to Dorothy Wellesley (1935–38; New York: Oxford, 1964), p. 61. [3] Jacques Roubaud, La vieillesse d’Alexandre.Essai sur quelques états récents du vers français (Paris: Editions Ramsay, 1988), p. 7. Subsequently cited in the text as VA. [4] Jacques Roubaud, ‘Introduction, The Oulipo and Combinatorial Art,’ in Harry Mathews & Alastair Brotchie (eds.), Oulipo Compendium (London: Atlas Press, 1998), p. 42. Subsequently cited in the text as OuC. [5] Michel Bénabou, ‘Alexandre au greffoir,’ La Bibliothèque Oulipienne, Vol. 2 (Paris: Editions Ramsay, 1987), pp 202–33. Subsequently cited as BEN. [6] OuC 227. A literal translation would be ‘Lovers devoted to impassive rivers / Are equally devoted, in the shadow of the forests, / To cats and sweet like the flesh of children / Who like them are sensitive to the chill in the cold darkness.’ [7] Again a literal translation: ‘Fervent Lovers and austere scholars / In their ripe season, are equally fond / of cats, strong and soft, the pride of the household,/ Who, like them, are sensitive to the cold and, like them, sedentary.’ [8] Harry Matthews, ‘35 Variations on a Theme from Shakespeare,’ Shiny 9/10 (1999): 97–101.
[9]
The N + 7 method involves replacing each noun (N) with the seventh following it in the dictionary. Much depends upon the dictionary chosen: the shorter the dictionary, the more discordant the next word is likely to be. See OUC 198–99.
[10]
The poems, in the order cited, may be found in The Norton Anthology of Modern and Contemporary Poetry, Volume 2, ed. Jahan Ramazani (New York: Norton, 2003): Yusef Komunyakaa, ‘My Father’s Love Letters,’ p. 863; James Fenton, ‘Dead Soldiers,’ p. 901; Jorie Graham, ‘The Dream of the Unified Field,’ p. 927; Rita Dove, ‘Claudette Colvin Goes to Work,’ p. 986; Thylias Moss, ‘Interpretation of a Poem by Frost,’ p. 1001; Cathy Song, ‘Sunworshippers,’ p. 1022; Henri Cole, ‘Folly,’ p. 1038. [11] I discuss what I call ‘the linear fallacy’ in an essay by that name for The Georgia Review 35 (Winter 1981): 855–69.
[12]
Language poetry and related experimental modes of the nineties differ from this model in that syntax is often fractured, continuity fragmented, and puns multiple. But, interestingly, the aural dimension of poetry generally plays no more as well as catachreses multiple. But sound plays no more part here than in the more mainstream poems above. Here are two typical poems published in Douglas Messerli’s From the Other Side of the Century: A New American Poetry 1960–1990 (Los Angeles: Sun & Moon Press, 1994), Ray di Palma’s ‘The Wrong Side of the Door’: [13] See The New Princeton Encyclopedia of Poetry and Poetics, ed. Alex Preminger and T. V. F. Brogan (Princeton: Princeton University Press, 1993), p. 14. The article on African poetry is by George Lang. The Encyclopedia is subsequently cited in the text as PEEP. [14] Christian Bök, Eunoia (Toronto: Coach House Press, 2001), p. 103. All further page references are to this edition. [15] The headnote and complete text of ‘Via’ have not yet been published.
[16]
How 2, 1, no. 6 (2001). The website is [17] An excerpt from ‘About Face’ is published as an appendix to my interview with Caroline Bergvall, ‘ex/Crème/ental/eaT/ing,’ Sources: Revue d’etudes Anglophones: Special issue, 20th-’Century American Women’s Poetics of engagement, 12 (Spring 2002): 123–35. Like ‘Via,’ ‘About Face’ will appear in Bervall’s new book Mesh. [18] Email to me, 3/14/03. Subsequented cited as CB [19] See Retallack’s ‘Narrative as Memento Mori’ in Essay IX.
[20]
Hugh Kenner, ‘Something to Say,’ A Homemade World (New York: Alfred A. Knopf, 1975), p. 60. |
August 2003 | Jacket 23
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and Jacket magazine 2003 |