“In the final analysis I consider the contemporary era to be a kind of interregnum for the poet, who has nothing to do with it: it is too fallen or too full of preparatory effervescence for him to do anything but keep working, with mystery, so that later, or never, and from time to time sending the living his calling card- some stanza or sonnet- so as not to be stoned by them, if they new he suspected that they didn’t exist.” — Mallarme
The seminar cost 90 euros, lasted two days from 9:00 am to 11:00pm and consisted of twenty-four papers, one film, and two keynotespeakers. I attended the seminar as an analysand, which the womannext to me said was very unusual. I was curious to put faces to thenames, flesh behind the words. I wanted to see how analysts handlea microphone, the logistics of ordinary order which can be so difficultfor those accustomed to the thin air of high altitudes. I wanted to seethe fabric of their vestments. In fact it all went smoothly and cordially.
The Congress had been held a few days before and we talkedabout how there was no English translation and why not.
The topic of the seminar was “Entering Analysis”. Papers wereto be first person accounts of the beginning of analysis.
The room was lit by skylight, a diffuse grey light, like thewandering attention of an analyst, rigorously soft-focused.
My memories of the papers remain amorphous despite myeffort to recollect details. The rhythm of the presentations and termslulled me into a mild stupor.
There were several reoccurring themes. The debate on thevalidity of “phone analysis”. There were references to how ananalysts gesture of the hand, tapping of the fingers, or movementthrough the room had proved meaningful. It was also pointed out thatphone analysis, due to the prevalence of cell phones, no longerdictated any set space.
Eric Laurent’s presentation recalled to mind Lacan’s descriptionof Freud’s handling of concepts as that of a man who holds ahammer which fits comfortably in his hand and says “This is how Ihold it for best effect. You may need to hold it some other way.”
Laurent spoke of the nonsensical past which could not have beenotherwise, and the future of contingency, when, quoting the Porgieand Bess song, “It Ain’t Necessarily So.” It could be as it ought to be.
There was some talk of humor and one individual remarked “Whenthere is the phallus there can be a lot of fun!” As soon as the phallusis there it’s a comedy.
I wondered if there was a phallus in the American Lacanianmovement.
Miller’s talk began at eleven pm. I remembered the only video Icould find of him speaking (on YouTube- Rally of the ImpossibleProfessions) where he prefaces his talk by saying he prefers to speakto a tired audience, because their defenses are down and they don’task so many questions. He was introduced and someone saidit’s not every day you get to speak to Jacques-Alain Miller. I thinkMiller opened the palms of his hands to this audience of Englishspeakers as if to say “What do you have to offer? What can youcontribute?” And he was initially met with silence so he began hisaccount of his free association on the topic of “Entering Analysis” witha recital of the Miranda Rights. He contrasted these lines with whatmight be a Freudian Warning.
He also spoke of a Freudian bubble one enters, where one is alonetogether with an analyst. His use of the word “bubble”, it’s silliness,contrasted with the incantation of terms which had preceded it.
I thought afterwards that the Miranda Rights produce silencein a subject, since one is innocent until proven guilty, thereforeone’s words will really only be used against oneself. The subjectretains a lawyer, a representitive to filter one’s words. Perhaps apessimistic view. In analysis is one already guilty? Lacan advancesa proposition in “experimental form”, at the end of “The Ethics ofPsychoanalysis”, which he formulates as a paradox-
“In the last analysis what a subject really feels guilty about when hemanifests guilt at bottom always has to do with- whether or not it isadmissable for a director of conscience- the extent to which he hasgiven ground relative to his desire.”
And later-
“Doing things in the name of the good and even more in the name ofthe good of the other, is something that is far from protecting us notonly from guilt but also from all kinds of inner catastrophes. To beprecise, it doesn’t protect us from neurosis and its consequences.”
So we are certainly all guilty in this sense.
I tried to give Miller one of Roger Penrose’s books in French but hesaid he already had it.
Leaving the seminar I realized I’d spent all but some centimes onjournals and did not have enough money to take the metro so Iheaded south down the hill from Pigalle towards the Seine. Parisbeing so geographically small I usually just orient myself by NSEWcoordinates. So I walked south, passing the church of the Trinity onmy right. I walked vigorously for about twenty minutes and finallyended up with the church of the Trinity on my left.
Two weeks later I sat on my father’s terasse, baking. I looked downat the flesh pink tiles and saw a potato bug on its back, flailing itslegs. I used the tip of my index finger to help it right itself, but in the process accidentally broke one of its hind legs. The bug began to walk in a two inch diameter wide circle, dragging a wet limp leg behind him. After he’d made a couple circuits I slipped a wet leaf beneath his course and deposited him (he’s become sexed) gently in the shade of the flower boxes, to trace his circles in the darkness, out of sight.
Some odd notes from the speakers:
St. Paul- The true Christian has to be anything to any man.
Love is suicide.
Passion is death.
Pleasure is always linked to a beyond pleasure, the backgroundfabric of unpleasure.
P.S.
Several of the journals I bought address “the healthcare debate”. The requirement of quantifiable results, of checked boxes,presents a problem for Lacanians, perhaps even a prohibitiveproblem. Analysis has been described as a fundamentally antisocialactivity. How would any regulatory institution process a truth that canonly ever be half said? I had a friend from the seminar over for a drinkand posed a question that had been on my mind for awhile. “DoLacanians have any interest in brains?” He began shaking his heademphatically. He said “Miller’s position, and I believe it’s a mistake, isthat even to open the door to that issue would be to risk adefeat. ‘This is our territory, let’s keep it.” I have more faith, in Miller I mean.
Penrose describes the following in Shadows of the Mind-
According to an idea by Yakir Aharonov and Lev Vaidman (1990)quantum reality is described by two state vectors, one of whichpropagates forwards in time from the last occurrence of thestate-vector reduction (a measurement- magnifying quantumevents to the classical level), in the normal way, and the otherpropagates backwards in time, from the next occurrence of thestate vector reduction in the future. This second state vectorbehaves ‘teleologically’ in the sense that it is governed by what isgoing to happen to it in the future, rather than what happened to it inthe past.
kathryn l. pringle is the author of one book: RIGHT NEW BIOLOGY (Factory School) and two chapbooks: The Stills (Duration Press) and Temper and Felicity are Lovers.(TAXT). Her work can also be found in the anthology Conversations at the Wartime Cafe: A Decade of War (Conversations at the Wartime Cafe Press/ WODV Press) and in the forthcoming anthology I’ll Drown My Book: Conceptual Writing by Women (Les Figues).
Editor’s Note: kathryn l. pringle is the winner of Omnidawn’s 2011 First/Second Poetry Book Contest. Previous winners include Paul Legault and Michelle Taransky. Today’s selection grapples with what it is to be a creator of the written word, with the price one pays in the currency of oneself in the act of writing, and the elements that comprise the written word: those of matter and of time.
A Note About the Omnidawn Series: Today’s post concludes the Omnidawn Series here on the Saturday Poetry Series on As It Ought To Be. It has been a pleasure to share these forward-thinking poets with you. I hope you will support this important press by buying their books and reading the cutting-edge work that they are sharing with the world.
On the other hand, take a book, and you will find it offering, opening itself. It is this openness of the book which I find so moving. A book is not shut in by its contours, is not walled up as in a fortress. It asks nothing better than to exist outside itself, or to let you exist in it. In short, the extraordinary fact in the case of a book is the falling away of the barriers between you and it. You are inside it; it is inside you; there is no longer either outside or inside. – George Poulet, Criticism and the Experience of Interiority
1.
The word in the sentence has been smudged, the ink blotted, the paper overfolded, the meaning derailed; the sentence now pale, missing its force and import, languishing as the characters in La Boheme, sickly as music without its words. The others, the ones intact, try to make up for the missing word and proliferate a range of meanings consistent with the vocabulary and syntax, yet still it is the realm of guesses, guesses as to the missing, as to the alteration in meaning, as to the endless possibilities contained in what would otherwise have been a quite mundane sentence leading to the next in the paragraph, but which now has taken over completely given the aggressive force of the uninvited guest.
2.
For a writer, the intimacy of the image is in submitting completely to what one has imagined and put on the page, to oneself one might say and yet not oneself, an onanism without guilt, the subsuming embrace of an image abstract enough as not to flush the skin, yet vivid enough to cause a collapse into the lilies as if trying to remember the names of the angels and archangels and all the company of heaven, although one never can, just the overwhelming smell of them at the side of the greenhouse door—so much white odor, dusty stamens, the moment of her modest rapture as she saw him appear in the archway with the single flower, the ceiling a complex mosaic of blue and stars, ave gratia plena dominus tecum.
3.
Intimacy in its purest form seems most often encountered in writing, and yet one must recognize the ways in which one is necessarily pulled from the actual possibilities for intimacy, the eyes that catch yours, the peculiar angle of a hip, the trading of quips as if one could never get enough salt under the tongue, into an secondary form of intimacy on the page that nonetheless during the time of involvement seems to be more profound than any other encounter. Such profundity is undercut, however, often and repeatedly, during the time spent in this linguistic solitude by a random pass by a mirror as, unable to concentrate, one paces the room first to this side and then that, catching a glimpse of a person one would never want to have on intimate terms.
4.
The book lies open and prone as it disappears even as the snow in the alps I’ll never see but in the film of the monks of the Grande Chartreuse. It keeps closing as a fan if the body beneath shifts position from side to side. Its pages are without obvious texture yet the feel of them is just enough to remind one where one is. The paper is there; the fingers are there. Yet immersion in one of these things is not an encounter with the thing resting on one’s lap. It is a tyranny of sorts, a take-over, a haunting into the next hours as a character whom one has never met comes closer, not inhabiting exactly, not taking over thoughts and gestures, but warmer than a fictional character ought to be, walking in an internal landscape where it seems to be snowing a kind of snow closer to paper confetti than rain and far more familiar.
6.
What one is seeking is the loss of oneself, not in the sense of terror or anxious concern, but in the sense of being seized out of oneself and therefore fully oneself as one sees or hears most profoundly with obliterated eyes and ears, and it is often by the juxtaposition in writing of the abstract with the specific that such seizure occurs. No matter if the image seems exactly fitting or to come astonishingly out of nowhere, it wrests one; and for one split second, it is what is, and the trajectory forward is halted. It runs athwart time, not in actuality, of course, but in the structure of the piece itself and one locates one’s absence with erotic relief.
7.
It is useful to sit on if you’re small; the side to side squirm on top of a large-sized book slides into one’s adult mind. Someone says to put a dictionary under foot while working at the computer. It is useless for looking up words—the print is miniscule, the on-line OED more efficient. Oversized have a special roped off section in the library stacks; they are heavy to lift, to take home, to use. Often beautiful, with drawings of orioles and beetles, camellias and vein lines, these oversized are also awkward to hold. Their spread requires the expanse of a library table. The power of uselessness spreads itself across this surface into the feathers of the Audubon wingspread into the moldy but preternaturally extended afternoon—it seems to go on and on—reminiscent of a far earlier era.
(“The book” appears here today with permission from the poet.)
Martha Ronk has published 8 books of poetry, most recently Vertigo, a National Poetry Series selection 2008. Her forthcoming book Partially Kept is forthcoming from Night Boat books; she also has published a selection of fiction: Glass Grapes and other stories from BOA Editions 2008. She teaches Shakespeare and creative writing at Occidental College in Los Angeles.
Editor’s Note: Part contemplation, part meditation, part manifesto, today’s poem considers the world of the word, the sentence, and the book. Here we have a body constructed upon the bone structure of Language poetry, shrouded in prose form and driven by syntax, sharing its spine like a Siamese twin with the idea of the book. Dense with ideas and littered with intimacy, eroticism, and nature in all her reproductive glory, journey through the mind of the poet with today’s exploration of “The book.”
A Note About the Omnidawn Series: Recently I attended a reading of Omnidawn-published poets at New York’s Poets House. The evening was filled with incredible talent and a palpable dedication to the craft of poetry that I wanted to share with you. I am honored that Omnidawn was willing to partner with me for this series, and am thankful to the poets who have agreed to share their work here so that I may help spread the word both about Omnidawn Publishing and about the talented writers they support.
Portrait of Kurt Schwitters by El Lissitzky, 1929.
GOODBYE KURT SCHWITTERS
by Matt Gonzalez
“I use any material the picture demands.” Kurt Schwitters, 1920.
Today marks the conclusion of an important Kurt Schwitters (1887-1948) retrospective, the first in the United States in over 25 years. Limited to three exhibition venues: the Princeton University Art Museum, the Menil Collection in Houston, Texas, and finally the University of California, Berkeley Art Museum & Pacific Film Archive (BAM/PFA), Kurt Schwitters: Color and Collage presents over 80 works by the 20th Century German born artist whose versatility spanned a variety of artistic mediums including painting, collage, sculpture, assemblage, and typographical work.
Although associated with Dada throughout his life, Schwitters resolved to be his own movement. He called it Merz from a fragment of a phrase, which originally spelled Kommerz und Privatbank, he had cut out of a newspaper advertisement and incorporated into one of his art pieces. As with much of his work lost or abandoned during the rise of Nazism and the ravages of World War II, the collage painting which named his movement was removed, and likely destroyed, from a Dresen gallery by the National Socialist who deemed it degenerate art.
It is all the more reason to celebrate this show which collects diverse works from various collections that span the entire length of his art making, from his earliest abstract collages made in 1918 to the final works which date 1947 after Schwitters had fled the Nazi invasion of Norway for England. Artists Jasper Johns and Ellsworth Kelly both loan multiple works to the exhibition.
[Mz 601, 1923.]
The show, which was organized by the Menil Collection, is curated by Isabel Schulz, executive director of the Kurt and Ernst Schwitters Foundation (and curator of the Kurt Schwitters Archive at the Sprengel Museum Hanover), along with Joseph Helfenstein, director of the Menil Collection. Berkeley Art Museum director Lawrence Rinder deserves credit for securing this superb exhibition for his museum and presenting it to West Coast audiences.
After achieving some success as a landscape and portrait painter in Hanover, in 1918 Schwitters began making collages from discarded paper and incorporating a variety of objects into his abstract paintings. He sought to combine “all conceivable materials for artistic purposes” and did so by mixing oil and paper with objects made of rubber, cloth, wire, and wood. Schwitters utilized bus tickets, newspaper fragments, correspondence, packaging labels, tissue papers, cigarette packaging, and chocolate wrappers among other discarded items. He then reconfigured this found detritus to make abstract and non-objective artworks. German Dadaist Raoul Hausmann remembered the night Schwitters introduced himself in the Café des Westens, in Berlin. “I’m a painter,” he said, “and I nail my pictures together.”
Schwitters work adheres to a greater political emphasis than one might think at first glance. To the extent that Dada was a reaction to the chaos and inhumanity of World War I, Schwitters’ own abstract collage making, the picking up of disgarded paper and objects to make new things, is rooted in this conflict: “In the war, things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready…. Everything had broken down and new things had to be made out of the fragments; and this is Merz. It was like a revolution within me, not as it was, but as it should have been.” As a result his art broke with convention and his affinity with the Dada movement was cast.
His method was fluid. In addition to nails and bone glue, Schwitters used flour and water as a paste adhesive and also to create an opaque coat that nullified and muted certain color elements in the work. German-American art historian and dealer Charlotte Weidler watched Schwitters work in his studio:
“He spread flour and water over the paper, then moved and shuffled and manipulated his scraps of paper around in the paste while paper was wet. With his finger-tips he worked little pieces of crumbled paper into the wet surface; also spread tints of watercolor or gouache around to get variations in shadings of tone. In this way he used flour both as paste and as paint. Finally, he removed the excess paste with a damp rag, leaving some like an overglaze in places where he wanted to veil or mute a part of the color.” Quoted in Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, Techniques (Philadelphia: Chilton, 1962).
[Untitled (Black Merz Drawing), ca. 1925.]
Schwitters worked his collage pieces laying them flat, which is particularly evident in those pieces signed in different places, which suggested they be exhibited in multiple orientations. The Untitled collage (Black Merz Drawing) is one such example, signed to allow for both a vertical and horizontal presentation, it underscores the pure essence of non-objective art. The piece dates from around 1925, yet its color is still crisp, with a dark background, and overlayed with blue, red, and yellow color fragments scattered around the picture plane. The composition presents the tumbling of paper downward, as if in movement. It is reminiscent of Jean Arp’s Collage with Squares Arranged According to the Laws of Chance (ca. 1916-17).
We must be careful not to judge Schwitters’ work solely from a contemporary vantage point. While it retains experimental elements, at times viewers struggle to conjure up his notoriety as a radical artist. Art critic and historian Kenneth Baker has noted the paradox of seeing the work today: “We have become so adjusted to visual scramble in art and to the repurposing of materials that we can scarcely imagine the challenge that Schwitters’ early assemblages and collages posed to respectable taste in their day.”
In addition to presenting collage, lithography, sculpture, and paintings, a replica of Schwitters’ famous Merzbau (Merz building) accompanies the exhibition, the Merzbau being, in effect, Schwitters effort at creating a total aesthetic installation by building out interiors of his home utilizing the angles and hard edges so prevalent in his collage work, which one could live and work in. Beginning in 1923, on three separate occasions Schwitters worked on a different Merzbau. The first, made in Hanover, was destroyed by Allied bombing. The second Merbau created by Schwitters in Norway after he fled the Nazis in 1937 was accidentally destroyed in 1951 by children playing with matches. The third, begun in 1947 in England never saw completion. However in 1983 set designer Peter Bissegger completed his reconstruction of the central portion of the Merzbau, and this is on display at the Berkeley Art Museum.
All exhibitions of Schwitters work in the United States are indebted to those collectors and curators who sought to promote his work during his lifetime. In particular, Katherine Dreier, an art collector who founded the Société Anonyme, Inc. with Marcel Duchamp and Man Ray, was the first in America to express interest in Schwitters’ work. Although her plans to give him a one-man show never materialized, she was responsible for the Brooklyn Museum’s 1926 show International Exhibition of Modern Art which included four paintings, 25 collages, and one sculpture by Schwitters, thus introducing him to art connoisseurs in this country.
[Mz x 19, 1947.]
Although Schwitters never reached America, he was prescient enough to know his work would be well-received here. In a 1941 letter to his wife Helma, who remained in their native Hanover, Schwitters wrote “I shall enjoy great renown in America.” He died January 8, 1948, one day after being granted British citizenship.
Schwitters’ work lives on. In addition to his visual art, he left experimental stories, poems, and plays, including his famous poem An Anna Blume (commonly translated as To Eve Blossom), which first attracted an international audience in 1919 for its originality and inventiveness, and various sound experiments including a 40 minute “primeval” sonata, Ursonate, which he composed between 1922-32, and which is still performed today.
Kurt Schwitters epitomized the avant-garde in his day, and continues to do so.
Kurt Schwitters: Color and Collage. Through November 27, 2011. Berkeley Art Museum, 2626 Bancroft Way, Berkeley, California.
We wanted up and they went down
wandering into the core
they always wanted
to go there, it’s the journey
you never pretended to take
inward, fruitful
and winding
Cradle the moon on your belly
Held like a baby, a basket
of bruisable fruits
germinate
unpronounced ones
sweeter than you imagined
indefensible rind
we like peeling
we like thinking of eating
Black dragon swishes tail
Time catches up
and he’s bruising
keep dancing, you’ll charm him
he’ll watch
Lion shakes head
Are you sorry or hungry?
we gather whatever
finds us, gazelles
stronger than they look
sudden, the nightfall around here
Wild horse leaps the creek
Fly along and somebody
won’t catch you, skyborn
going out
the ears curved pathways
have you heard this before
a fairy tale
is always retold
Alice Jones’ books include The Knot and Isthmus from Alice James Books, Extreme Directions from Omnidawn, and Gorgeous Mourning from Apogee Press. Poems have appeared in Ploughshares, Volt, Boston Review, Colorado Review, and Denver Quarterly. She is a co-editor of Apogee Press.
Editor’s Note: Intimate, simple, and elegant, the poems in Alice Jones’ Extreme Directions: The 54 moves of Tai Chi Sword are reflections on the practice of Tai Chi Sword, Chinese brushstroke painting, and human experience. Reminiscent of the peaceful quiet of Haiku, Jones’ poetry contemplates large ideas from a meditative space, asking questions such as “Are you sorry or hungry?” and breathing through answers with a Zen-like acceptance; “we gather whatever / finds us.”
A Note About the Omnidawn Series: Recently I attended a reading of Omnidawn-published poets at New York’s Poets House. The evening was filled with incredible talent and a palpable dedication to the craft of poetry that I wanted to share with you. I am honored that Omnidawn was willing to partner with me for this series, and am thankful to the poets who have agreed to share their work here so that I may help spread the word both about Omnidawn Publishing and about the talented writers they support.
Here’s a video shot at the University of California-Davis. It shows Lt. John Pike of the UC-Davis police sauntering up to students associated with the Occupy movement and pepper spraying them, before backing slowly away in a heavily armed phalanx while demonstrators and onlookers chant “shame on you”:
I take this moment as emblematic of our current political situation. It is a situation in which about 2/3 of Americans sympathize with the Occupy movement’s call for greater economic equality, but only half that number approve of the protests themselves, and no political party does anything to address the growing inequality. It’s a situation, too, in which administrative leaders at all levels seem happy to tolerate police violence, which the right-wing media, led as ever by Fox News, presents as necessary and even heroic. The people are angry, but they’re wary of those who demonstrate on behalf of their interests, and the political elites prefer to address the situation with violence rather than reforms. How did we get to this sad state of affairs?
The answer, I think, has to do with changes in the attitudes of our various elites over the past few decades.
There was a time, not so very long ago, when elites from various fields — politics, business, finance, labor, journalism, religion, academe — would gather together and attempt to ameliorate whatever social and economic problems seemed of pressing importance. And they would gather in something like a spirit of enlightened self-interest, if not exactly of disinterest, trying to take a look at problems from a point of view other than that of immediate self-advancement. This, anyway, is what George Packer claims in a recent article in Foreign Affairs. Knowing a little bit about the history of social elites and their relation to the notion of disinterest or impartiality, I’m inclined to agree with him. Here’s what Packer says about the various American elites in the postwar era:
…the country’s elites were playing a role that today is almost unrecognizable. They actually saw themselves as custodians of national institutions and interests. The heads of banks, corporations, universities, law firms, foundations, and media companies were neither more nor less venal, meretricious, and greedy than their counterparts today. But they rose to the top in a culture that put a brake on these traits and certainly did not glorify them. Organizations such as the Council on Foreign Relations, the Committee for Economic Development, and the Ford Foundation did not act on behalf of a single, highly privileged point of view — that of the rich. Rather, they rose above the country’s conflicting interests and tried to unite them into an overarching idea of the national interest. Business leaders who had fought the New Deal as vehemently as the U.S. Chamber of Commerce is now fighting health-care and financial reform later came to accept Social Security and labor unions, did not stand in the way of Medicare, and supported other pieces of Lyndon Johnson’s Great Society. They saw this legislation as contributing to the social peace that ensured a productive economy. In 1964, Johnson created the National Commission on Technology, Automation, and Economic Progress to study the effects of these coming changes on the work force. The commission included two labor leaders, two corporate leaders, the civil rights activist Whitney Young, and the sociologist Daniel Bell. Two years later, they came out with their recommendations: a guaranteed annual income and a massive job-training program. This is how elites once behaved: as if they had actual responsibilities.
This establishment really does represent an accommodation of different elites to one another: business and finance came together with leaders of what Chris Hedges has called “the liberal class”: a group consisting of “the media, the church, the university, the Democratic party, the arts, and labor unions” (his book on the fate of these elites, The Death of the Liberal Class, makes chilling reading). Together, the moneyed elite and the liberal class worked out ways of sharing wealth and solving social problems that, however imperfect, kept the fabric of society together. The liberal class could feel it had delivered some justice to the disempowered, and the moneyed interest could rest assured that, with enough soup in every bowl, radicalism had been headed off (indeed, as Hedges notes, one function of the liberal class has been to “discredi[t] radicals within American society who have defied corporate capitalism and continued to speak the language of class warfare.” With the great mass of people placated, radicals discredited, and the position of business and finance secured (at a moderate cost) a social compact was maintained. This is not to be sneered at: the years prior to the war had shown the world (especially Europe) what the failure of social compacts, and the legitimization of certain kinds of radicals, looked like. No one wanted to go back to those days.
The postwar arrangement, Packer notes in passing, didn’t delivery for everyone: if you were African-American, or a woman, you’d probably find those postwar years something less than Edenic. I’d add other groups to Packer’s list, especially gay people, who are only now beginning to gain something like equality and something like a public voice. But for many people, the establishment seemed to deliver a decent life, with relatively secure employment and relative egalitarianism, with inexpensive public universities, and wealth far less polarized than it is today (we’ve gone from a postwar 40:1 CEO-to-worker pay ratio to a ratio of more than 400:1).
(If you are interested in the first modern instance of an amalgamation of different elites and their cultivation of an ethos of relative disinterestedness, you might want to read the bits about Addison, The Spectator, and the class dynamics of eighteenth century England in this post).
In Packer’s view, the old establishment, with its alliance between moneyed and liberal elites, came to an end for two reasons: the “youth rebellion and revolution of the 1960s” and the economic troubles of the 1970s, brought about by “stagflation and the oil shock.” Here, I think, he’s only partially right, and very light on detail. It’s certainly true that the student and New Left movements of the 60s (and, I would add, the 70s) challenged the old establishment. But Packer neglects to say why: it was the draft and the war, certainly, but it was also the coming into the public sphere of all the social groups the old establishment had left out: African-Americans, women, gay people, and others. They rightly questioned the representativeness of the old elites, and they rightly saw that, whatever degree of disinterest informed elite decisions, it masked a preference for whiteness, maleness, and heterosexuality. The demands of repressed groups for representation, though, led to a backlash, as the established elites, and many of the non-elites benefitting from the old social compact, felt threatened. The moneyed elites that already felt they’d been asked to share a great deal resented being asked to share with even more people (“What! First the G.I. bill and now urban renewal on top of that?!”), and the hard-working white male non-elites sensed that their small privileges were under threat. This, I think, is the nature of the undermining of the old establishment during the 60s and 70s. When the oil shock came along, further undermining confidence in the old compact, it simply presented an opportunity for already existing cracks to widen.
As the fissures in the old compact widened, elites lost faith in the process of working together in relative disinterest for the good of all, and America began to resemble something more like the Hobbesian state of nature, with the war of all against all. Here’s how Packer describes the oil-shock era and the subsequent end of a relatively disinterested establishment:
[The oil shock] eroded Americans’ paychecks and what was left of their confidence in the federal government after Vietnam, Watergate, and the disorder of the 1960s. It also alarmed the country’s business leaders, and they turned their alarm into action. They became convinced that capitalism itself was under attack by the likes of Rachel Carson and Ralph Nader, and they organized themselves into lobbying groups and think tanks that quickly became familiar and powerful players in U.S. politics: the Business Roundtable, the Heritage Foundation, and others. Their budgets and influence soon rivaled those of the older, consensus-minded groups, such as the Brookings Institution. By the mid-1970s, chief executives had stopped believing that they had an obligation to act as disinterested stewards of the national economy. They became a special interest; the interest they represented was their own. The neoconservative writer Irving Kristol played a key role in focusing executives’ minds on this narrower and more urgent agenda. He told them, “Corporate philanthropy should not be, and cannot be, disinterested.”
Among the non-disinterested spending that corporations began to engage in, none was more interested than lobbying. Lobbying has existed since the beginning of the republic, but it was a sleepy, bourbon-and-cigars practice until the mid- to late 1970s. In 1971, there were only 145 businesses represented by registered lobbyists in Washington; by 1982, there were 2,445. In 1974, there were just over 600 registered political action committees, which raised $12.5 million that year; in 1982, there were 3,371, which raised $83 million. In 1974, a total of $77 million was spent on the midterm elections; in 1982, it was $343 million. Not all this lobbying and campaign spending was done by corporations, but they did more and did it better than anyone else. And they got results.
If you remember the Carter administration, you remember what the end of the establishment looked like: bipartisanship came to an standstill in Washington, and it remains stuck in that mode today. And the moneyed elites ceased to see their well-being tied to that of the nation as a whole: their interest was self-interest plain and simple, without the amelioration of any enlightenment. There’s a sad irony to all of this, in that the break-up of the old elites, and the airing out of their smoke-filled rooms, didn’t lead to greater egalitarianism. “Getting rid of elites…” says Packer, “did not necessarily empower ordinary people.” Indeed, when “Walter Reuther of the United Auto Workers and Walter Wriston of Citicorp stopped sitting together on Commissions to Make the World a Better Place” and began “paying lobbyists to fight for their separate interests in Congress,” says Packer, “the balance of power tilted heavily toward business.” And there it has stayed, as indexes of wealth distribution and worker productivity and tax policy make plainer and plainer every day.
The massive, well-organized deployment of enormous sums of money by the business and (especially) the financial elites have in large measure made American politicians, regardless of party, into the tools of the wealthy elites: Bush cut taxes on the very rich to near-historic lows, and the right-wing Roberts court more or less legalized political bribery in the Citizens United decision, but it was Bill Clinton who began the deregulation of Wall Street that led first to massive profits for the few, then to an terrible crisis for the many, and it was Democrat Chuck Schumer who kept capital gains taxes so low that most hedge fund managers pay taxes at a lower rate than their secretaries. The Koch brothers and those of their ilk don’t consider themselves stewards of national well-being, not really: they consider themselves people who have a right to buy the means to rig the system ever-further in their favor. For them, this is simply their prerogative. Acting on this presumed prerogative has made them very wealthy, but it has also made their whole class less and less legitimate in the eyes of the public, despite the constant drumbeat of political advertisements and the far-from-disinterested vision of events presented on Fox News and other corporate media platforms.
The liberal elites — mainline churches, universities, elements of the media, labor leaders — have been complicit in these sad developments. Unable to ameliorate the naked self-interest of financial and corporate elites, they have clung to their own small privileges while no longer serving a useful role. They simply do not deliver for the broad population as they used to do, and in failing to do so they have become despised by many in the working and middle classes. As Chris Hedges puts it,
The liberal class has become a useless and despised appendage of corporate power. And as corporate power pollutes and poisons the ecosystem and propels us into a world where there will be only masters and serfs, the liberal class, which serves no purpose in the new configuration, is being abandoned and discarded. The death of the liberal class means there is no check to a corporate apparatus designed to enrich a tiny elite and plunder a nation…. It ensures that the frustration and anger among the working and middle classes will find expression outside the confines of democratic institutions and the civilities of a liberal democracy.
That’s a difficult pill for many of us to swallow, but it does explain some of the most notable political developments of our time. It explains the urges behind the Tea Party (which saw itself as an outsider movement, at odds with all elites, but was co-opted almost from the start by the moneyed elites). And it explains what’s been happening these past two months in New York, in Oakland, in Chicago, and in towns and cities across the country. The Occupy Wall Street movement can be seen as several things. It can be seen as a desperate move for political expression by those who see the failure of all elites to even try to stop the erosion of the social and economic position of the vast majority of Americans. It can also be seen as an attempt to wrest the old liberal classes away from their complicity with the now-completely-dominant moneyed elites — to revitalize a liberal class on its deathbed. It can also be seen in a less charitable light: I recently saw a nephew of mine and his friends disparage the Occupy movement as “a hipster convention” of people who looked like they were “in line for the latest iPhone.” I think this is wrong, but I see where it comes from: it comes from the correct perception that the old liberal elites (“a hipster convention” signifies this class) have been more concerned with their petty privileges (“the latest iPhone”) than with delivering for the millions of Americans whose relative position has been steadily degrading for decades. I like to hope that the Occupy movement can both give expression to the political needs of the many, and can give the old liberal class the backbone it needs to stand up to the ever-expanding domination of American life by a tiny financial elite.
Maxine Chernoff is the author of 6 books of fiction and 13 books of poetry, most recently To Be Read in the Dark (Omnidawn), A House in Summer (Argotiste), and Without (Shearsman, forth. 2012). She chairs the Creative Writing Program at SFSU, edits New American Writing, and with Paul Hoover translated The Selected Poems of Friedrich Hoelderlin, which won the 2009 PEN USA Translation Award.
Editor’s Note: Today’s poem reads like a treasure map. Follow the clues to discover what is hidden “beyond rooms;” listen to “what is embodied” and discover the story living in the caverns between words and white space. X marks the spot in which a light bulb burns above you; the riches of language are waiting.
A Note About the Omnidawn Series: Recently I attended a reading of Omnidawn-published poets at New York’s Poets House. The evening was filled with incredible talent and a palpable dedication to the craft of poetry that I wanted to share with you. I am honored that Omnidawn was willing to partner with me for this series, and am thankful to the poets who have agreed to share their work here so that I may help spread the word both about Omnidawn Publishing and about the talented writers they support.
A stutter, number after number, apologies, the resemblance of the forest
To the axe’s handle, one tree, how many lions can be carved from it,
Whose hand you held at the investigation, the funeral, the dedication, as
Evidence is placed in a glass case to be considered, see the sorry teller
Counting change, a crime and a crisis recounted in the same breaths,
Bird eating bird bones, the will to witness what you have been
Saving up, a robber behaving like a fallen fence, two streams that go
By one name, a condition developed in turn, in chorus with the crying
Hoarded eggshells that will rot, no matter how long, they spelled this
May change, into ways you consider it, which is to say, how not to feel
Broken, wings are the sum, and counting, and counting the present state,
A disaster is, waiting to happen, because the pile was made up, of branches
Not yet dead, and you refusing, to say tinder, to admit, potential for tender
There, I said it, said please ask who is about to tell, the particular was impossible,
To keep up, doing this, and this to our hiding place
Michelle Taransky is the author of Barn Burned, Then, selected by Marjorie Welish for the 2008 Omnidawn Poetry Prize. Taransky works at Kelly Writers House, as Reviews Editor for Jacket2 and teaches writing and poetry at University of Pennsylvania. A chapbook, No, I Will Be In The Woods is just out from Brave Men Press.
Editor’s Note: Today’s poem is as dense and rich as a forest. Peel back each leaf to reveal more leaves. See how each branch is connected, how the earth is blanketed beneath your feet. Give yourself over to the relation of wood to what is carved from it, to what is small enough to be burned, to what lives and dies within.
A Note About the Omnidawn Series: Recently I attended a reading of Omnidawn-published poets at New York’s Poets House. The evening was filled with incredible talent and a palpable dedication to the craft of poetry that I wanted to share with you. I am honored that Omnidawn was willing to partner with me for this series, and am thankful to the poets who have agreed to share their work here so that I may help spread the word both about Omnidawn Publishing and about the talented writers they support.
I had no urge except to sleep
with her in the cave, but I felt
sympathy. I cared. I sensed
intelligence in a crevice. I saw
life. I saw a bison’s back
in a crack. I saw
the whole world, the whole sky
all of night. The night
was alive, here, underground
with the bisons, the horses, and rhinos
before me, before my eyes — I saw
a backdrop with all the beasts.
I saw blood on my finger.
The arc of a bison’s back
appeared with one stroke.
The second urge arrived.
(Today’s poem originally appeared in the Stone Highway Review, and appears here today with permission from the poet.)
Tom Holmes is the editor of Redactions: Poetry & Poetics. He is also author of Poems for an Empty Church (Palettes & Quills Press, 2011) which was recently nominated for the Pulitzer Prize, The Oldest Stone in the World (Amsterdam Press, 2011), Henri, Sophie, & the Hieratic Head of Ezra Pound: Poems Blasted from the Vortex (BlazeVOX Books, 2009), Pre-Dew Poems (FootHills Publishing, 2008), Negative Time (Pudding House, 2007), After Malagueña (FootHills Publishing, 2005), and Poetry Assignments: The Book (Sage Hill Press, forthcoming). He has thrice been nominated for the Pushcart Prize. His work has appeared a number of times on Verse Daily and has also appeared in Blue Earth Review, Chiron Review, Crab Creek Review, The Delmarva Review, The G. W. Review, Mississippi Review, Mid-American Review, New Delta Review, New Zoo Poetry Review, Orange Coast Review, Portland Review, Rockhurst Review, San Pedro River Review, Santa Clara Review, South Carolina Review, Sugar House Review, Swarthmore Review, and many other journals that don’t have “Review” in their name. His current prose writing efforts about wine, poetry book reviews, and poetry can be found at his blog, The Line Break.
Editor’s Note: Today’s poem contemplates what it is to be human, to have human urges and desires, and how original those desires are. How instinctual, how elementary, is love, sex, art, the hunt and the kill? How can poetry bring us back to that other version of ourselves that exists in an ancient cave, and what elements of our prehistoric selves remain a part of us now?
Editor’s Note: Welcome to the special Halloween edition of the Saturday Poetry Series here on As It Ought To Be. Today’s haunting is by the incredibly talented Kate Durbin, who inspires me to live every day in costume. Featuring Ms. Durbin on this series would be an honor for me any day of the year, but I couldn’t think of a more perfect occasion than Halloween. Her book The Ravenous Audience gives a nod to zombies, and Durbin herself can often be found inhabiting others and reanimating the dead.
Be afraid. Be very afraid. And like it.
LITTLE RED’S RIDE By Kate Durbin
Spring-stink, the world heaves with lust.
Mother sniffs sex from the kitchen window:
Sivan:The Ravenous Audience is, in part, a zombie reference, and the book features original zombie art by Marnie Weber on the cover. What are your thoughts on zombies and their role in your work?
Kate: These ancient archetypes of women that are constantly resurrected and projected upon women in our society—celebs in particular—are very much zombies. We re-animate dead ideas all the time. I say dead ideas namely because many of these notions of what a woman is and can be should be over and done with, as far as I’m concerned (such as the doting housewife—I mean, come on), but they aren’t. And not only are they not “over,” when they resurrect, things are bound to get as ugly as a zombie attack. I mean, just look at Lindsay Lohan, Anna Nicole Smith, Britney Spears, etc. And yet, zombies can do a lot of necessary destruction to a culture that is in desperate need of mutation and evolution. So bite on, zombie babes. Maybe we need you to destroy us.
Kate Durbin is a Los Angeles-based writer and artist. She is author of The Ravenous Audience (Akashic Books, 2009), E! Entertainment (Blanc Press, diamond edition, forthcoming), ABRA (Zg Press, forthcoming w/ Amarant Borsuk), as well as the conceptual fashion magazine The Fashion Issue (Zg Press, forthcoming), and five chapbooks: Fragments Found in a 1937 Aviator’s Boot (Dancing Girl Press, 2009), FASHIONWHORE (Legacy Pictures, 2010), The Polished You, as part of Vanessa Place’s Factory Series (oodpress, 2010), E! Entertainment (Insert Press, forthcoming), and Kept Women (Insert Press, forthcoming). She is founding editor of Gaga Stigmata, which will be published as a book from Zg Press in 2012. She co-curated a forum on women writers and fashion for Delirious Hem, SEAM RIPPER. Her performance Prices Upon Request was performed at Yuki Sharoni Salon in Beverly Hills, and Pardonmywhoremoans at BELLYFLOP gallery in L.A. She writes for Hollywood.com.