Pierce-Arrow (英語) ペーパーバック – 1999/6/1
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Through Peirce and his wife Juliette, a lady of shadowy antecedents, Howe creates an intriguing nexus that explores the darker, melancholy sides of the fin de siècle Anglo-American intelligentsia. Besides George Meredith and his wife Mary Ellen, Swinburne and his companion Theodore Watts-Dunton are among those who also find a place in the three poem-sequences that comprise the book: "Arisbe," "The Leisure of the Theory Class," and "Rückenfigur." Howe's historical linkings, resonant with the sorrows of love and loss and the tragedies of war, create a compelling canvas of associations. "It's the blanks and gaps," she says, "that to me actually represent what poetry is-the connections between seemingly unconnected things-as if there is a place and might be a map to thought, when we know there is not."
Author of more than a dozen books of poetry and two of literary criticism, Susan Howe's recent collection of poems That This, published by New Directions won the Bollingen Prize in 2011. Her earlier critical study, My Emily Dickinson, was re-issued in 2007 with an introduction by Eliot Weinberger. Three CDs in collaboration with the musician/composer David Grubbs, Thiefth, Souls of the Labadie Tract, and Frolic Architecture were released on the Blue Chopsticks label (2005; 2011). Howe held the Samuel P. Capen Chair in Poetry and the Humanities at the State University New York at Buffalo until her retirement in 2007. The recipient of a Guggenheim Fellowship, she was elected to the American Academy of Arts and Sciences in 1999 and served as a Chancellor to the Academy of American Poets between 2000-2006. In fall, 2009 she was awarded a Fellowship to the American Academy at Berlin. Grenfell Press published a fine press edition of "Frolic Architecture with photographic prints by James Welling in 2009. Recently she was an Artist In Residence at the Isabella Stewart Gardner Museum in Boston. In October, 2013 her word collages were exhibited at the Yale Union in Portland, Oregon, and in the Whitney Biennial Spring, 2014. A limited press edition of Tom Tit Tot (the word collages which amount to a series poem) with art work by R.H. Quaytman has just been published by MoMA in New York, and Spontaneous Particulars: The Telepathy of Archives, (2014) published by Christine Burgin and New Directions.
Howe's out to bring the archives to life in a way that recovers one of the poet's most ancient roles: to give a voice to the dead. But the connections she makes can seem so eccentric, so much like facts pulled out of a hat, that the work risks becoming a celebration of her own enthusiasm rather than an insight into her subjects' lives. In the end, I learned a lot more about Susan Howe's obsessions than I did about Charles Pierce's. That's certainly Howe's right as an author, but it tends to unfairly reduce Pierce's life and work to a pre-text for her own poetic concerns. Then again, I can't think of a poet since Pound or Olson doing anything this audacious with the archives. Her book is an absorbing, sometimes maddening attempt to transform neglected microfilm into myth.