Poetry Salzburg Review #18

Twenty-First Century Poetry and Poetics by Adam Fieled in Poetry Salzburg Review #18, from University of Salzburg Press. 

Lyricism and Deconstruction

Whether Deconstructionism happened to be a cohesive, authentic intellectual juggernaut movement or not is up for debate. What is not up for debate is that the central tenets of Deconstructionism— the evanescence and arbitrary nature of language, and the dichotomous push-pull both away from and towards the text and textuality— inform Posit, and The Posit Trilogy, to a very significant extent. That Deconstructionism can also apply to painting— that there is also, proverbially, nothing outside the image— makes Deconstructionist thought relevant also to the Philly Free School and Neo-Romanticism in totem. What Posit seems to signal, as a literary talisman initiating the Neo-Romantic endeavor (encompassing also, what Abby had already painted), was the reemergence of non-arbitrary language, of a kind of lyricism-within-Deconstruction, one that attempted (and attempts) to make aesthetic its own contradictions:

“I” must climb up
from a whirlpool
swirling down,
but sans belief
in signification.

“I” must say I
w/out knowing
how or why
this can happen
in language.

“I” must believe
in my own
existence,
droplets stopping
my mouth—

alone, derelict,
“I” must come back,
again, again,
‘til this emptiness
is known, and shown.

To what extent can form and formality (lyricism) redeem the arbitrary nature of the signifier? Is the lyrical signifier arbitrary? An empirical answer would have to put the truth in the middle of things— that, for instance, with “known” and “shown” in the poem’s concluding line, the sonority of the two words together (that they rhyme) makes for an effect meant to engender pleasure, and not to be arbitrary; yet, why k-n-o-w-n and s-h-o-w-n mean what they mean, rather then meaning something else, is as arbitrary as any other word, or words, meaning what they mean. Bring in, or draft, so to speak, the issue of subjectivity-in-text, the first person singular, and you see how lyricism drafts Deconstructionism, also, away from corrosive nihilism and towards some discrete affirmations: of form and formality in art as redemptive, of formal effects as meaningful against the arbitrary, and of the first person singular as a potential textual meeting place or median point around which all these imperatives assemble.

Neo-Romanticism and Lyrical Ballads

The sound recording I have circulating now called Live In Brooklyn features Amy King, in her introduction, mentioning the imminent release of my chapbook Posit. Its official release date, when I mailed out the first copies, was June 9, 2007. Just the mention of Posit, for me, makes Live in Brooklyn more important than the video taped at Goodbye Blue Monday in Bushwick in August 2009, of me reading some When You Bit… sonnets. The reason is simple: for Neo-Romanticism, for the Philly Free School, Posit has prescience in it which can effectively make it our Lyrical Ballads. It provides an intellectual spine and framework which supports the entire Neo-Romantic endeavor: from defining Neo-Romantic subjectivity, establishing an engagement with Deconstructionism and other forms of philosophy, re-affirming, past the English Romantics, the power of the personal, the first-person singular in art, and also incising into our gestalt sensibility a warm, humanistic approach to human sexuality, in defiance of English Romanticism’s wonted frigidity and more in line with Neo-Classicist painters Ingres and David, Posit stands as a document which leaps past 2007 (just as The Posit Trilogy leaps past '17, Volo '23) and establishes what the twenty-first century might hold for high art, from Philadelphia on out. For me, Posit is the most seminal text with my name on it until Apparition Poems and the Cheltenham Elegies. The likability factor, huge in work like the Dancing With Myself Sonnets and Chimes, may not be as omnipresent, but Posit was not channeled specifically to be likable: it is there, as Lyrical Ballads was, to lay the groundwork for a revolution in consciousness, away from the vacuity of previous American art and towards creating representative American work which could stand comparison with anything produced in Europe in the last thousand years. The dialogues with Wordsworth, specifically, have continued into the present day.

Adam Fieled at Muse Gallery, Olde City Philadelphia, 2011

Stress Fractures: Essays on Poetry

 Stress Fractures: Essays on Poetry includes Post-Avant: A Meta-Narrative by Adam Fieled. From Penned In the Margins, London, UK.

The & Now Awards: The Best Innovative Writing

The & Now Awards: The Best Innovative Writing, released by Lake Forest College Press in conjunction with Northwestern University Press in 2009, features Apparition Poems from Beams by Adam Fieled. 

Sex as Dialectic

William Wordsworth leaves out of his Preface to Lyrical Ballads any particular approach to physicality, to the body, or to bodily awareness in general. By doing so, he leaves a certain critical door wide open to accusations that both Lyrical Ballads and the rest of his oeuvre lack the visceral quality born of rigorous physicality. When the mind, for example, associates ideas in a state of excitement, Wordsworth seeks to document the process in his poems; yet what the mind is reacting to is (Wordsworth suggests) a kind of perceptive consciousness of the durable permanence of natural forms and the human mind’s chiasmus with them. What if, however, we engage the durable permanence of the human body itself, as Renaissance humanism likes to suggest? Or, even better, engage texts and textuality which assume that the body itself is an idea, and associations and entanglements of bodies are associations and entanglements of ideas as well? This is in Keats’ Odal Cycle, and in Apparition Poems as well, especially in 1070, which forms a palimpsest over Wordsworth’s Solitary Reaper:

I said, “I can’t

even remember

the last time I

was excited, how

can I associate

ideas?”

            She pulled

out a gun, a tube

of oil, and an air

cushion,

            and it was

a spontaneous

overflow,

            powerfully

felt, in which we

reaped together—

 It is a backbone of one of the strains of my work, which includes (also) Equations and When You Bit…, that sexuality is not only an expression of our physical selves but also an idea. A tangential thought is that, as is expressed in 1070, the human body itself is an idea, and sex itself can be a kind of physical dialectic, a movement in three parts.