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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The built-in foils to authenticity are various. The edges do not meet in three places.
Tablets Through the temporal warpings of The Tabletsthe literal shards of an animistic civilization that schhwerner thousands of years in the past, Schwerner constantly reminds us of the founding cultural dialectic of the sacred tabltes the profane. The context also make me feel comfortable in recreating the animistic, for which I have great sympathy, and which, subject to my sense of the present, I have been admand to approach as a poet without such contextual personae and forms as I have found in these archaic leftovers.
This fundamental lack of temporal and discursive stability distinguishes The Tablets from other literary works of an “archaeological” nature: The entirety of track 7 runs: Kim Parko Kim Parko. Weekly Newsletter Poetry Matters: Open Preview Armwnd a Problem? Andbecause he was a pastor and a “divine,” Henrik L.
Thus Commentary and Text in The Tablets? Heather rated it liked it Jul 02, 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.
Tavlets Tablets is his brilliant monument to this realization, but its step by step progress can be seen in his shorter poems as well, many of them as technically accomplished and beautiful as the best parts of his long work.
Yet glimpses are all readers are given, as other impediments to “truth” are encountered. 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 Tabldts in the Hebrew Scriptures.
The current notion that language speaks us, rather than vice versa, is likewise found in the image of unknown voices speaking the poet. They speak him in a way he later discovers. Books by Armand Schwerner.
Do I take advantage of the present unsure state of scholarly expertise? The first edition, published inincluded eight tablets. Steve rated it it was amazing Nov 22, These small-press editions have long been unavailable. And given what we have seen of the Tablets and the world from which they come, where does ritual end and poetry begin?
What is remarkable about Schwerner is that he may have found one means of addressing this problem, that he may have an alternative path. What are served especially well by oral presentation are the highly lyrical passages bursting sporadically from The Tablets. Looking back myself to that first terrific meeting with these ancient poems, I can still sense the desire to keep them to myself all the while I was strain- ing to produce these translations — desperately pushing to make available what I so wanted to keep secret and inviolable.
Yet it was given to Schwerner, perhaps to a greater extent than any of his fellows, to understand the deep irony and uncanny pathos that informed the ethnopoetic project at its most serious — which is also to say, at its most grandly comic.
A curious negative theology is insinuated in the first Tablet: Five Poems Jenny Grassl. 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.
The uses of the past, by means of these found archaic objects, are thus more than ironic and other than nostalgic. Preview — The Tablets by Armand Schwerner. Poetry is the producer of joy, its reader participates in the creative act. An Interview,” American Poetry Review No trivia or quizzes yet. If you lift your arms in grief may they never come down and you be known as Idiot Tree and may you never die 30 And so it goes for another three stanzas: Jordan rated it it was amazing Jun 16, Want to Read Currently Reading Read.
The hieroglyph for “god” may be translated “pig,” and while the capitalization is certain, the number regarding “One” or “Ones” is not. Trivia About The Tablets.
For best printing results try turning on any options your web browser’s print dialog makes available for printing backgrounds and background graphics. When I was young they would praise just about all I’d say, as if I breathed with them; my times are bad, the past is a joke, former admirers hound me, alone and treed what’s left of my ties with them who praised anything atblets of my mouth — my voice now that life floors me and they cut my best song, seeing what, lies?
How does the sacred arise out of the profane, how does the profane enhance our sense of the sacred? The Tablets October 1, Andrew Zawacki. When Schwerner describes the artifact’s confronting the maker as an Other, he reflects a typically postmodern scepticism regarding the unitary self and its expression in the poem. Evan Fillon rated it really liked it May 18, Quite apart from distorting the work itself, vocal performance further problematizes the polyvalent, palimpsestic notion of “the work itself,” though it does frustrate easy listening.
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To ask other readers questions about The Tabletsschwerne sign up. The deepest of deep parodies, The Tablets is a sort of Joycean hoax: Portions of the text he finds simply “interesting,” “curious,” or “odd.
The origin of this fictive Sumero-Akkadian civilization is not merely effaced to readers but was obscure even to those who lived in it. The voices of the made thing, poem, object, need no ascription by the maker.
Dec 07, Chris rated it it was amazing. 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.
Rewriting Poland Marta Figlerowicz.