On Wheaton and Hawkins, by way of Percy Shelley

And now it’s the lead story over at The Chronicle of Higher Education. The new #Wheatongate continues apace and will likely continue so to do until the decision comes down from the Board of Trustees, at which point–whatever the decision–it will all flare up again until we find someone else’s business to be aghast over, or we forget. For the most part, I actually like this convtoversy for the level of conversation it has engendered.

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Christmas at the Movies

I’m a sucker for Christmas: while serious about the holy season, and against commercialism both generally and in its specifically American shopping bonanza iterations, I go in for the schmaltz and fanfare attached to the whole production with gusto

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Teaching Cenci

 I recently taught Shelley’s play The Cenci for this course at the University of Washington. It struck me as “unstageable” for the same reasons it did so for the play’s early readers: the sexual episodes are too extreme for the (especially late-Romantic) stage, and the characters deliver exhausting monologues that would bore any live audience. Besides, the language is to full, so intellectual, that hearing it spoken by an actor, one loses half of the meaning. I know, Shakespeare managed to write just as rewardingly for the page and for the stage, but then, he was Shakespeare, wasn’t he? 

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On Fascism, of course


I tend to disagree with everything Adam Kirsch says; even if he’s telling a story about his own life, I have a hunch that he’s lying. It all just sounds false to me, especially his poetry. This article, sent on my @prufrocknews is no exception; especially this bit:

It was at a party in early 2002, a few months after the Sept. 11 attacks, that I first heard someone declare, as if it was self-evident, that the George W. Bush Administration was fascist. The accusation refuted itself, of course—people living under a fascist regime don’t go around loudly attacking the regime at parties—but it was symptomatic of the times. Post-Sept. 11 paranoia took many forms, and one of them was paranoia about the American government (and not just in “truther” circles).

I hate the “of course” because it’s a verbal arrogance to which I’m prone as well. It presumes that what one is saying is evident to any thinking person, which Kirsch’s claim here is not. “People living under a fascist regime don’t go around loudly attacking the regime at parties” he pronounces, settling the argument in a way somehow both definitive and obvious. I don’t know what kind of parties Kirsch attends, but, actually yes, they do. There is not now, nor has there ever been, a fascist/totalitarian regime so powerful that no person at no party would dare criticize it. Not Stalin, not Mao, not Ayatolah Komeni, not Bush. And there has especially never been a regime structured such that the presence of criticism ceased to make it fascist. Insufficiently in control, perhaps. A government can control many things, can limit press and squash dissent but only when that dissent is sufficiently public. 

Fascist governments are those which seek to enforce conservative values and behavior norms and engage in–to greater or lesser degrees, depending on the totality of their power–governmental suppression of individual freedom. You can read the Bush administration as having done such things or not, but it is not obvious that they did not. Pretty fair cases have been made that, on dozens of occasions, they sought to enforce certain behavior norms, and to limit personal freedom in the name of conservative values. Critics of the administration were fired from their jobs, scientists who suggested alternative theories about climate change were denied grants and subject to derision, an undercover agent was apparently outed (and could have been killed) for disagreeing with the march to war, and a group of pop singers who criticized the president was publicly tarred and feathered, threatened with death, and radio stations that played their music with boycotts, to cite some of the memorable, if not the most egregious, examples.

Unfavorable estimates of Bush’s tenure abound; the people who hold them may be, but are not necessarily,as Kirsch claims they are, “paranoid,” or “symptomatic,” or sick. They just disagree with you. Mmm…kay?

Hardly Hedgerows

Digging through early biographies of the Wordsworth, M.E. Bellanca uncovers one by the poet’s nephew Christopher called Memoirs of William Wordsworth, published in 1851. It features, as she notes, heavy quotation (about 45 pgs) from Dorothy Wordsworth’s Grasmere and Scotland journals. So, it should be considered an early publication of Dorothy’s, refuting years of scholarship that had claimed that Wordsworth’s talented sister remained unpublished during her life.

Except scholars made no such claim.

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American Redemption

Two events in the history of redemption happened this week that seem to me related, and indicative of our historical moment: the gangster Jeremy Meeks was awarded a modeling contract, and Donna Tartt won the Pulitzer Prize. I’m fascinated by both, largely because I’ve been reading long Victorian poems.

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Poet-Dad?

Eight months ago, I stopped writing poems. It wasn’t a conscious decision, it just stopped happening, which was odd, since I’ve been writing poems pretty consistently since I was 15.

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Jurado Juvenalia

Here's a song from Damien Jurado that I'm guessing even longtime fans haven't heard. It's from a sampler for a nascent record label that, in the pre-Kickstarter era, never got funded. I'm not sure who was behind it, but from the line-up, I'm guessing this was an early side-project of Aaron Sprinkle's. It's one of my favorite collections, featuring bands that, I think sadly, never put out a full-length record, (esp. Moonboy and Paul Mumaw) but whose work on this suggests they should have. It features an acoustic track from Soulfood 76--another early favorite of mine--and a remix from Poor Old Lu. Get "Persuading You Near" (1996) from Working Man Records, if you can find it in a bin. Enjoy. 

And because my friends in a Facebook group asked, here is another song from the record from an early Jurado band called ”Moonboy.” It’s my favorite track on the sampler and I wish they had made a full-length album.