His or hearse?

----- Original Message ----- 
From: "Ken Armstrong" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, November 13, 2006 9:20 AM
Subject: Re: Eliot Parody


  Is this for real? If so, it is pitch perfect self parody, so bad it could
not be rendered any more comical:

"Bachinsky should be lauded for raising big questions. We should also
applaud her sheer moxie - who among us would have the courage to translate
'The Wasteland?'"

  Someone quite that whinnying horse. Defamilarization, anyone?

Ken A.

At 08:59 AM 11/13/2006, you wrote:
>Dear listers: any thoughts you have on the following will be most
>appreciated. I am so apoplectic about this reviewer's inane comments on
>Eliot I cannot think. I am reviewing Bachinsky for The Modern Review. Note
>where Lynes says Bachinsky's riff on TWL puts her in the company of Eliot
>himself. Give me strength! Diana Manister
>The Fine Art of Collage or; T.S. Eliot Hits the Mosh Pit: Curio:
>Grotesques and Satires from the Electronic Age by Elizabeth Bachinsky
><>Jeanette Lynes
>Curio: Grotesques and Satires from the Electronic Age. Elizabeth
>Bachinsky. Toronto: BookThug, 2005. ISBN 0 9737181 8 8. 111 pp. Pbk.
>Published under Jay MillAr's very cool BookThug imprint, Elizabeth
>Bachinsky's Curio is an energized, endlessly inventive, often brilliant
>collection - a memorable collage of shifting poetic stances and rhetorical
>Curio seems strongly invested in a critique of language and literary
>tradition. The range of diction in these poems is wild, the diversity of
>influence deliciously idiosyncratic. How often have we seen John Milton
>and Lisa Robertson acknowledged between the same covers? Bachinsky's
>willingness to range fearlessly through history sets her writing apart -
>or, at least places it in the company of equally daring poets like
>Robertson, Maine's Jennifer Moxley, and Eliot himself. Bachinsky's poems
>also remind me, at times, of work by American writer Karen Volkman.
>Bachinsky forages through the past, defamiliarizing contemporary poetic
>language in poems like "She is Blond Sin." I love the linguistic cognitive
>dissonance and sly eroticism created here when words like "dandy kid"
>(evocative of the nineteen forties Jimmy Stewart movies) and "wanton
>hidden clit" (a morphing of archaic and contemporary diction) bump up
>against each other and share poetic proximity. Curio is an exciting
>linguistic mosh pit of language derived from the past five hundred years.
>Bachinsky's "Lead the Wants" is a tour de force, a madcap 'translation' of
>Eliot's "The Wasteland," one of the great collage poems in western
>literature. Bachinsky's poem, with its inclusion of K-Mart and R.E.M.
>seems, in a way, the logical conclusion of "The Wasteland." To cite two
>examples from Bachinsky:
>O O O O shat takes pear he tang hi -
>Witt witt witt
>Guj guj guj guj guj guj
>Record duos fly
>Re: e, tu
>I have to admit, it took me awhile to discover Eliot's "O O O O that
>Shakespeherian Rag" from Bachinsky's "O O O O shat takes pear he rang hi"
>(and even longer to track down Eliot's Shakespeherian riff to Ziegfeld's
>Follies of 1912). But echoes emerge; we begin to hear the past. Same with
>Eliot's transplanted classical bird calls - "Twit twit twit/Jug jug jug
>jug jug jug," transplanted still further by Bachinsky as "Witt witt
>witt/Guj gujā?¦." etc. Language is historicized, contextual. T. S. Eliot's
>"Wasteland," which sounded so strange to most of us who first studied it
>as undergraduates, comes to appear normalized, in time. Is this - ending
>up in a kind of linguistic suburbs - the fate of all poetic language?
>Hopefully not since, as Pound said, the poet's job is to 'make it new'. As
>part of her procedure for making it new, Bachinsky's driving questions
>seem to be: what can the status of poetic language be in the age of
>K-Mart, R.E.M., and the electronic revolution? Can the poet create
>anything more than a collage? What happened to Keats' well-wrought urn (or
>was that only ever a dream?). Will the Tower of Babel tip once and for all
>in the electronic age? Is the poetic past destined to be relegated to the
>status of mere Curio? Will the electronic revolution democratize language,
>or destroy it? Bachinsky is, I think, more interested in the process of
>exploring these questions than answering them - and, since she's a poet, I
>think this is as it should be.
>Bachinsky should be lauded for raising big questions. We should also
>applaud her sheer moxie - who among us would have the courage to translate
>"The Wasteland?" For poets of my (slightly older) generation, Eliot's poem
>remains too canonically enshrined to touch. I don't think Bachinsky's
>conversation with Eliot in Curio shows disrespect; if anything, it bodes
>well for the future, bespeaks a revitalized dialogue, suggesting as it
>does that Canada's new poets are willing to venture where some of us more
>tyrannized by canonicity (and a residual colonialism? We just assumed
>Eliot was British, he seemed British!) dared not go. Great to see our new
>wave of poets decolonize their imaginations. Elizabeth's Bachinsky's
>'conversations' with literary tradition, an integral part of Curio, are
>lots of fun. Her willingness to engage in them carries forward the energy
>of some of Canada's most interesting poetry; George Bowering has had some
>pretty nifty conversations with Keats and Rilke, to cite only one example.
>Elizabeth Bachinsky is one of our new bright lights. Next year, I'm going
>to assign my college students "The Wasteland" by Eliot and "Lead the
>Wants" by Bachinsky. I can't wait already.
><>Use your PC to make calls at
>very low rates

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