Sentenced to Poetry: Fullness as Accumulation and Rebellion
in the Prose Poem
by Amanda Earl
"I began to long for complex sentences, for the
possibility of digression, for space. The space of a different, less linear
movement: a dance of syntax. The prose paragraph seemed like the right kind of
space where form could prove ‘a centre around which, not a box within which’
(Ezra Pound)." (Rosemarie Waldrop, “Why Prose Poetry”)[1]
The first prose poems I read were Baudelaire’s Le Spleen de Paris (1869). I was
an eighteen-year old, studying French at the University of Toronto’s Victoria
College, in downtown Toronto, going gaga over attractive young men and being
influenced by a Turkish friend who spent all her days in the café knitting when
she wasn’t buying jewelry. Suddenly I was surrounded by strangeness, people who
floated convention, who spoke languages other than English, who had travelled.
I was already mesmerized by the poems of Baudelaire and
Rimbaud in many ways, the wildness of them, but I especially liked the way
Baudelaire’s prose poems move away from rhyme but still contain a musicality in
the sentence, still portray a speaker who wants to be drunk, who wants to
explore creativity as something untameable, compatible with the poet’s restless
spirit. There is something about the prose poem that feels out of control, not
constrained by line breaks that is liberating and makes for endless
possibilities of whimsy, exploration and connection.
As a young woman surrounded by fascinating students from
exotic places, given the opportunity to wander the streets of downtown Toronto
on my own, the rebelliousness and cosmopolitan nature of these poems and the
author had a certain appeal.
Sentence
Prose poetry can be a way of conveying the fullness
of language and human experience, of playing with the sentence. Lisa Robertson
creates memorable and eccentric poetry out of the sentence. Her book, the Weather (New Star Books, 2001), is an
assembly of weather reports but also a playful and lyrical collection of
sentences and fragments. Each clause builds upon the next by means of rhythm,
repetition and accumulation of detail to create a crescendo with sound and
imagery:
"A beautiful morning: we go down to the arena. A cold wintry
day; we open some purse. A day is lapsing; some of us light a cigarette. A deep
mist on the surface; the land pulls out. A dull mist comes rolling from the
west; this is our imaginary adulthood. A glaze has lifted; it is delusional
space. A great dew; we spread ourselves sheer-like. A keen wind; we’re paper
blown against the fence. A little checkered at 4 PM ; we dribble estrangement’s
sex. A long soaking rain; we lift the description."
I just started reading Lisa Robertson’s Cinema of the Present (2014), which feels like an homage to
the sentence. As does Nilling:
Prose Essays on Noise, Pornography, the Codex, Melancholy, Lucretius, Folds,
Cities and Related Aporias (2012)
a book of essays, a book of essay-poems.
I am enthralled with the way the sentence in prose poems or
essay-poems can be accumulative. On occasion, whenever I damn well feel like
it, I have been known to subscribe to horror vacui, filling up a blank space
with detail, rather than trying to be as spare as possible in my writing.
Perhaps as a type of rebellion from the standard viewpoint that poetry should
be minimal or the realization that human behaviour isn’t minimal; it is sloppy,
overflowing and wordy. I spend a great deal of time eavesdropping on
conversations and trying to find ways to translate awkward behaviour of
strangers onto the page. I’m not always sure that minimalism is the best way to
do so. Even as a reader, sometimes I want to be drunk on language and imagery.
In Juliana Spahr’s “thisconnectionofeveryonewithlungs”
(University of California Press, 2005), the sentence, by means of repetition
and accumulation, becomes incantatory. The section entitled
“poemwrittenafterseptember11/2001” begins as seven minimal lines made up of one
sentence with lots of space in between. Spahr crowds more and more text onto
successive pages until near the end of the poem when she has a paragraph
of twelve lines made up of one sentence and then back to two-line
sentence at the end, “How lovely and how doomed this connection of everyone
with lungs.”
The sentence can be long or short. It can be minimal or
full of detail. It can reflect the breath, the body. In “Je Nathanaël”
(BookThug, 2006), Nathalie Stephens (now Nathanaël) moves between short,
staccato sentences and run on sentences without punctuation to create a tone of
restless sensuality. The book deals with the inability of language to
articulate human experience but also the inability of the body to represent the
self:
Scatalogue
"Books don’t show the way but insist on remaining. So how to
leave the book and enter directly into the body ? We are jealous of one
another’s bodies yet we each have one. I would undress my tongue and dip it
willingly into ice cold water would invite you to meet me where the body
becomes transparent where nothing is for sale and everything is given away. I
would invent rude words for your mouth to show you the true colour of blood.
Love in the raw is life renewed. But of this write nothing down not a thing. Be
wary of the heat that emanates from the unwritten page. Everything remains to
be said so long was we have said nothing. Most importantly do not fear dirtying
yourself. love washes the body clean of perfection.”[2]
Stanza-based poetry often leaps from one image or theme to
another without any kind of obvious transition. When it’s done in prose poetry,
it feels like a form of rebellion against conventional prose. As soon as we are
taught to write, we begin to learn the importance of logic, of clear
transitions between ideas. Prose poetry fucks with that. Take for example, the
brilliant and versatile Anne Carson.
Her writing dances from subject to subject. The transitions
aren’t always straight-forward. This is not a careless mistake, but rather a
deliberate technique, a way to accumulate and balance, to create a collage of
wonder. This method has given me permission to leap in ways that conventional
writing environments do not.
Her ability to transcend the boundaries of genre is
liberating. Float (Knopf, 2016) is a kick-ass
example of such: 22 chapbooks that float from poetry to essay to fragment,
often within the same chapbook. The work is versatile, playful, thoughtful and
full of language that is straight-forward, not high-fallutin, nor
academic-sounding.
In Cassandra
Float Can, one of the
chapbooks in Float, Carson
is interested in “cracks, cuts, gashes, splittings, slicings, rips, tears,
conical intersects, disruptions, etymologies.” She talks of the veils that
cover so-called reality, how translation and even the writing of the sentence
itself can be an act of covering or cutting through surfaces.
I am currently reading Mary Ruefle’s My Private Property (Wave, 2016), another blend of
essays and prose poems, reminiscent of Anne Carson’s Short Talks (Brick Books, 1992) in that each poem
takes one subject and goes off in unexpected directions.
The sentence in prose poetry is the conveyor of leaps. Its
rhythms evoke Miles Davis playing horn on Bitches Brew: long, echoing brass or
short trills. It is versatile, rebellious and adventurous.
Reading this over, I’m starting to worry that I’m saying I
don’t like stanza-based poetry. That isn’t true. Whatever serves the work, even
song lyrics. Hey, didn’t Bob Dylan just win the Nobel Prize for Literature for
his lyrics? This means I can talk about music as poetry. Hell, I would have
anyway. But thank you, Sweden.
Some of my favourite poetry blends lines and sentences,
poem and prose poem. Works such as Oana Avasilichioae’s We, Beasts (Wolsak & Wynn, 2012) move from
single lines on a page to lines that transcend linear space, moving up the page
diagonally to blocks of prose punctuated with periods. When this sort of thing
happens, publishers have a hard time categorizing a book as poetry or prose.
This, I think, is my favourite kind of literary rebellion, a work that is
unclassifiable, that doesn’t fit into a pigeon hole.
Wouldn’t it be great if genre didn’t matter? It doesn’t.
Fuck it.
Amanda
Earl is a poet, publisher and fiction writer, living in Ottawa. Amanda is
managing editor of Bywords.ca and fallen angel of AngelHousePress. Her books
include “A World of Yes” (DevilHouse, 2015), “Kiki” (Chaudiere Books, 2014),
“Coming Together Presents Amanda Earl” (Coming Together, 2014). Further
information is available at AmandaEarl.com or contact Amanda on Twitter
@KikiFolle.