Published just months after Armand Schwerner’s death on February 4, , the Selected Shorter Poems and the first complete edition of The Tablets together. THE TABLETS is his answer. Armand Schwerner has been “reconstructing” these fictional Sumero-Akkadian inscriptions, apparently from the time of The Epic of. No selection of this abbreviated length can convey anything like the full richness of Armand’s poetry. The Tablets themselves, despite the controlling presence of.
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Do I take advantage of the present unsure state of scholarly expertise? On occasion it almost seems to me as if I am inventing this sequence, and such fantasy sucks me into an abyss wrmand almost irretrievable depression, from which only forced and unpleasurable exercises in linguistic analysis rescue me.
Published by National Poetry Foundation first published January 1st Want to Read saving….
The locus appears later” Tablets Steve rated it really liked it Jul 20, Part of this wonder is derived from the nature of the poetic process. If you like what you read here, help us keep it free for everyone by making a donation.
Paperbackpages. It is made available here without charge for personal use only. Schwerner’s metafictional fun with his character is one indication that the magical power of writing holds even in the realm of “objective” modern scholarship.
Armand Schwerner – Wikipedia
Thanks for telling us about the problem. If you step on me may your leg become green and gangrenous and may its heavy flow of filth stop up your eyes forever, may your face go to crystal, may your meat be glass in your throat and your fucking fail. And that’s the main problem; that’s also the problem of Western civilization. The voices of the made thing, poem, object, need no ascription by the maker.
He has a suspicion that his inclination towards meaning must find other paths from those he has been given by his own modes of scholarship and research, his own culture, his own theological antecedents.
But whether one regards the phenomenon from an archaic or postmodern perspective, it is clear that what the maker fashions is not self-expressive or experiential in any conventional sense. With his colleagues in the ethnopoetics movement, he re discovered the poetic potential in the anthropologist’s study of native cultures and languages, in the synchronicity of the archaic and the modern.
At the beginning of Tablet VI, we are informed that “Foosh” is the last in a long list of ridiculous names including “Sore-Ass-Mole-Face-Snivel-Kra,” “Anxious-Liar-Fart-Flyaway ,” and “The Porous Poppycock”though “we have no information about the identity of the addressee; anger and ridicule are directed toward some immanent power which keeps changing its attributes” Because poetic form is experienced as both recognition and otherness, it is magical or uncanny. At what point does the modern student of the sacred participate in the practice of the sacred?
Empty holes in the fish-dying-becoming directions. Books by Armand Schwerner. Rewriting Poland Marta Figlerowicz. Merve EmreDeborah Chasman.
The edges do not meet in three places. Jordan rated it it was amazing Jun 16, Armans Herron rated it it was amazing Jul 18, As Schwerner explains, “The made thing, poem, artifact, product, will appear to the maker as Other and yet give the arkand of recognition, to breed other discoveries.
And given what we have seen of the Tablets and the world from which they come, where does ritual end and poetry begin?
Poetry is the producer of joy, its reader participates in the creative act. Three Poems Keith S.
I have been responsible for occasional jocose invention rather than strict archaeological findings. I now regret my earlier flippancy—an attitude characteristic of beginnings, a manifestation of the resistance man often senses when he faces the probability of a terrific demand upon his life energy Susan SontagGeoffrey Movius. Rather, it is we readers who enact the primal scene every time we look into The Tabletsevery time we turn its pages, for the translated tablets are themselves the artifacts, or as close as anyone will ever come to them.
Portions of the text he finds simply “interesting,” “curious,” or “odd.
This same sense of immediate connectedness — of sincerity, that quality so valued by Objectivists such as Zukofsky and Oppen, whom Schwerner knew personally — is also to be felt when the poet uses the first-person pronoun.
Anthony rated it really liked it May 13, No ar,and is too small. Debrah rated it it was amazing Feb 18, The Tablets by Armand Schwerner.
Armand Schwerner: The Tablets
From the tone of the address, Foosh is, in all likelihood, some sort of deity, and there is a note of intimacy in the passage that is reminiscent of a patriarch’s or prophet’s speech with God in the Hebrew Scriptures. The current schwermer that language speaks us, xrmand than vice versa, is likewise found in the image of unknown voices speaking the poet.
Geoffrey Movius in conversation with Susan Sontag. Nor are the speakers of The Tablets certifiably congruous with one another—or even with themselves. It also means that we count on you, our readers, for support.
PennSound: Armand Schwerner
Jake Adam rated it it was amazing Dec 09, Evan Fillon rated it really liked it May 18, What is remarkable about Schwerner is that he may have found one means of addressing this problem, that he may have an alternative path. The hieroglyph for “god” may be translated “pig,” and while the capitalization is certain, the number regarding “One” or “Ones” is not. His urge to sing is more formidable, however, when brought to bear on The Tabletsamid whose complex rigors one does not necessarily expect—but is grateful to find—such consummate, consuming music as this: For best printing results try turning on any options your web browser’s print dialog makes available for printing backgrounds and background graphics.
Lenny Boy Peter E. In Tablet XXVI, a figure called “the blind artificer” emerges out of a welter of computer-generated pictographs, and we hear one of the most poignant laments to emerge from Schwerner’s ancient world: