[I presented this text as part of a lecture in the first week of my upper-level undergraduate course on “Denatured Reading,” taking a cue from – among many others – Graham Harman’s claim that “[n]ature is not natural and can never be naturalized.” What kind of writing do such claims ask for?]
I’m looking for a way to frame a set of concerns for this class, to trace some kind of conceptual architecture. By beginning with what must seem like arbitrarily compiling a handful of poems—some from writers on the course syllabus, some not—I haven’t made it too easy to see anything like a focus, and the syllabus itself, revised from an earlier version of the course, still appears to me a bit cobbled and unkempt—heterotopic, perhaps, to borrow a term from the introduction to Michel Foucault’s The Order of Things, an idea he develops from reading Jorge Luis Borges. Maybe this amorphousness, this assemblage, is appropriate to the course, too, given the unruliness of the subject matter—the decomposition of contemporary concepts of the natural—and its attendant image-pool—flotsam, junkyards, scrapheaps, wastelands, yardsales, edgelands, cyborgs, plastics, stuff. But I still feel like I need to offer you, and myself, some means of holding the material together, some imperative that drives me, and you along with me, through this slice of the contemporary, of the work of those who live with us, now. I need, I think, to pose a question—and what comes to mind is a question posed a good seventy years ago, but which has a way of lingering, of insinuating itself into our present.
Ventriloquizing a key half-line from Friedrich Hölderlin’s 1801 elegy “Brod und Wein,” a disgraced Martin Heidegger asks, in 1946, “und wozu Dichter in dürftiger Zeit?”—”and what are poets for in a destitute time?” or “and why poets in [a] paltry time?” Following on the material and cultural desolation of Western Europe in the aftermath of the Second World War, Heidegger inclines toward a version of the religiosity of the late and last Romantics, linking Hölderlin to Rainer Maria Rilke’s orphic vestiges, to discover some remainder of a saving grace for humanity, some reason for our collective persistence as a species, some scrap of holiness:
To be a poet in a destitute time means: to attend, singing, to the trace of the fugitive gods. This is why the poet in the time of the world’s night utters the holy.
Theodor Adorno notoriously excoriates this poetical onto-theology as barbaric, consigning the lyric—except, perhaps, that it makes room in these latter days for the voices of suffering—to bathos and redaction. Even if we remain justly suspicious of Heidegger’s cult of Being, it feels too desolate, too hopeless, to abandon altogether the poetic imperative he articulates. At least, it does to me. How can writing, poetic or otherwise, still manage somehow to face the hard fact of our looming destitution, the tenor of our catastrophic times, what Maurice Blanchot names our “disaster”? “We others,” Heidegger continues, by which he seems to me to mean we readers, “must learn to listen to what these poets say.” Poetry, in our time, emerges around the recalibration of attention. We have missed hearing something, have been less than perfect listeners, poor students. Hölderlin’s poetry, though a bit dire and over-serious, presents an imperative to attend to what persists and insists beyond its human limits: “But there would be, and there is, the sole necessity, by thinking our way soberly into what his poetry says, to come to learn what is unspoken.” Poetry, in fits and starts, still gestures sometimes toward a refiguration of the encounter with the non-human world, the obscurity into which those fugitive gods appear to have retreated, and is still impelled by creative effort. Hölderlin’s adjective dürftiger—needy, meager, scanty, sparse, paltry, destitute—has at its root the verb dürfen—can or may—which suggests both capacity and possibility, a trace of this ontological imperative. When I quoted, a little abruptly last class, a line from Isabelle Stengers’s In Catastrophic Times remarking on “the felt necessity of trying to listen to that which insists, obscurely,” it was with an eye (and an ear) toward framing this poetic imperative. Following James Lovelock, Stengers names “that which insists” Gaia, the inhuman earth, and argues that if we mean to resist barbarism (deriving for her more from Rosa Luxemburg’s critique of capitalism than from Adorno), we need to try—notice how qualified her imperative remains—to think creatively and experimentally, and I would say poetically around and with this imperative. Pervasive anxieties these days around climate change, displaced populations, pharmacology, genomic modification and other environmental and biological incursions of human progress have become shared hallmarks of our human condition. Biotechnologies both reactivate and intensify an unease around what feels like an unspoken and unspeakable ontological threat. What poetry, what creative writing, might be for in our times is to broach the question of how to voice what’s unspeakable, to begin, again, to trace the boundaries, the contact zones, the edges, the membranes between humanity and its others, between the made and the given, between the natural and the denatured.
The philosopher Alain Badiou declared in a fairly recent interview that “[i]t must be clearly affirmed that humanity is an animal species that attempts to overcome its animality, a natural set that attempts to denaturalise itself.” Badiou is not only reframing an enlightenment rationalism embedded in myths of human progress—what remains to us today, maybe, of liberal humanism—but also pointing up an irony inherent in deep ecology and human concern with the environment: an untenable separation of the human and the non-human in the guise of the “natural.” Just yesterday, an article in The Guardian reiterated that human technologies have fundamentally altered the geological record, that we have inscribed ourselves into the planet such that we have ashifted the narrative of the history of being itself, and hardly for the better. The anthropocene has arrived. “The history of life on earth,” Rachel Carson writes in Silent Spring (1962), “has been a history of interaction between living things and their surroundings,” but those interactions, particularly from the human side of things, have been characterized not so much by reciprocity as by “irrecoverable” contamination. The three poets we have touched on so far address this contamination, directly. Tom Raworth’s “Beautiful Habit” concatenates the fragmented discursive remainders of those contaminants, and attempts to siphon some form of last-ditch, vestigial beauty from them, the leftover possibility of close listening: “it’s us / or rust / listener.” Paul Farley, by contrast, calls the creative intellect’s bluff, shuffling through the greasy, porous surfaces of man-made objects—a deck of cards, a microwave—trying to make contact with the nothingness—the withdrawn guarantees of meaning or of surety—behind his own crafted and crafty words, his tells and his tellings. Kathleen Jamie wants to attend to the “seed-small notes” along a remote shoreline scattered with natural detritus, to begin to listen to what’s left to her brief attention.
Last night at the Western Front, Ches Smith’s trio (with him on drum kit and vibraphone, Mat Maneri on electrified viola, and Craig Taborn on piano) offered two sets of provocative, engrossing and powerful music drawn from The Bell, their recent album issued by ECM. Each set consisted of extended suites of Smith’s compositions; his writing practice sounds to me typically to involve a logic of serial disjunction, assembling each piece from layered rhythmic and melodic cells—emerging in the recording as fractal loops, insistent frittered ostinato, reminiscent at times of Steve Reich’s music for percussion—conjoined in distinct, contrasting sections. In performance, those assemblages—close to coruscating, unfixed fragments of wordless art songs—link up, often with turn-on-a-dime jump cuts, to produce a compelling admixture of meditative resonance and hard-driving, impactful disturbance. The music feels both openly improvisational and exactingly through-composed, as it moves from the intimate lyricism of chamber-jazz to—I’m not exaggerating—bone-shaking heavy-metal thrash. The first set emerged as a single suite, gradually ramping, like “I Think” and “Wacken Open Air” do on the recording, toward a propulsive, drum-driven wall of sound; the recording itself is quieter, with the drums mixed down a little, while in performance Ches Smith will build a thunderous and gleeful abandon. (I don’t know which compositions were played in which set, although I think they began with “The Bell”; they may have played extended version of the album tracks in order, since the second set—which featured two more compact suites instead of one—closed with “For Days,” the final cut on the recording.) Craig Taborn’s lines concentrated principally on repeated motifs, either locked chords or looped shards of melody, but he also provided an insistence, a fierceness, that introduced a provocative and—if this is the right word—actively contemplative energy into the potential stasis or fixity in such unwavering recurrence to push the sound forward. Gilles Deleuze names a philosophical version of this practice, simply, the imagination: “The role of the imagination, or the mind which contemplates in its multiple and fragmented states, is to draw something new from repetition, to draw difference from it. . . . Between a repetition which never ceases to unravel itself and a repetition which was deployed and conserved for us in the space of repetition, there was difference, . . . the imaginary. Difference inhabits repetition” (Difference and Repetition 76). Mat Maneri’s contributions on viola either established electronically-enhanced bass drones, or, more frequently, negotiated the interstices of upper-register tonality, pulling at the spaces between notes, microtonally fraying and re-stitching phrases. All told, it was a truly powerful gig, the trio collectively laying down a spate of compelling trajectories through variegated tensions and multiplicities: overlapping lines that attend on, that sound, I’d say, the “barely intervallic” collisions and differences inherent in present-tense collaboration, to grant an audience moments of shared, unsettled, and imaginatively rich listening.
Gilles Deleuze. Difference and Repetition. 1968.
Trans. Paul Patton. New York: Columbia UP,