Kermit Roosevelt, Noam Chomsky & the East Side Monthly

Poets & spies... the links go back a long way (to Christopher Marlowe, if not before). The recent turmoil in Iran, and the sense that the Iranian Revolution may be coming full circle, got me digging around in my old cardboard files - since the Iran hostage crisis of 1979 set the stage for my own slight, indirect (& comical) brush with cloak-&-dagger.

In 1979 I was hanging around Providence after graduation from Brown, running a food coop & trying to write. One day I was behind the counter at Kneecap (the storefront coop) when I was approached by one of our volunteer members, a grad student and film maker. He told me he had been working as a graduate assistant for one of the elder professors at Brown (possibly in the Poli Sci or History depts, I can't remember which) - a professor who had retired previously from a long career with the CIA.

The student told me that the professor had received the proofs of an unpublished book from one of his former colleagues, a career CIA man named Kermit Roosevelt (the grandson of Theodore). The book was titled Countercoup. The book was ready for publication and distribution when the hostage crisis suddenly erupted, in November 1979. At that point, publication was halted : the copies were warehoused. Roosevelt's story of his role in the overthrow of the Mossadegh government, and the installation of the Shah, while not completely new and unknown, was explosive.

Anyway, this student told me he had surreptitiously made a copy of the proof version of Roosevelt's book, and he would relay it to me. We both felt at the time that the truth should come out, though in retrospect our motives seem naive and self-interested (grandstanding, in a situation where hostage lives were endangered). I felt like I was playing an exciting bit part in a spy drama.

After receiving the xerox copy of the proofs, I read through the book and wrote a long "expose" in the local neighborhood paper (probably one of the most unusual articles which the very parochial East Side Monthly has published in its 40-yr history). I also contacted Noam Chomsky, and eventually sent him a copy of the ms. I have Chomsky's correspondence with me from that time : in retrospect he seems prudent (warning against doing something rash in that overheated situation).

That, I think, is the extent of my spy experience, at least up to now... (I suppose it was also the last time the elderly Brown prof - ex-Company man - was himself the object of an espionage attack...)

p.s. on 2nd thought, maybe I'm being too hard on myself & the young grad student. At the time, we thought the Kermit Roosevelt book might simply be deep-sixed, shredded. That's why he passed it to me in the 1st place. & that's why I wrote the whistleblowing article for the East Side Monthly. "Shout it from the rooftops". God is Great. Death to the Dictator.

(p.p.s. I'm reading old Graham Greene novels these days. A high school favorite. My father's favorite movie : Our Man in Havana (reading that now). He's great... so much better than John le Carre...)

Erwin Schrodinger, science & poetry...

Finished the Schrodinger book (Nature and the Greeks ; and, Science and humanism). This physicist makes an unlikely ally for the artist, in that he maintains a strict sense of the limits of science. He emphasizes (in reflections on early Greek science & its legacy) how the scientific model of objectivity is just that - a model : insofar as consciousness - the consciousness of the observer - is detached from the agreed-upon common worldview which develops along with the development of science. Schrodinger's philosophic attitude maintains an awareness of both dimensions, without confusing them. He reiterates that science has not answered (and cannot) the most basic question : "Who am I? Where did I come from? Where am I going?" (and all the subjective, personal, spiritual experience that consciousness and identity entail). In this he seems to stand in opposition to much current scientific thinking (brain science, biological determinism). His thinking is dense, sophisticated, & deeply informed in philosophy, history of science, & scientific practice per se (he was, remember, one of the greatest physicists of the 20th century). & a pleasure to read - though so subtle & complex (as when he gets into old issues of free will & determinism) I sometimes have trouble following... Want to find his book Mind & Matter now.

Since I was a teenager I've had this bent toward cosmology, metaphysics... & have tended to think of poetry as a different way of being & thinking - in rivalry, that is, with scientific positivism & determinism... but not necessarily irreconcilable (same with religion & science)...

On Form & Infinity in Poetry

Have been reading some beautiful things by 20th-cent. physicist Erwin Schrodinger (Nature and the Greeks). What a witty, wonderful writer he is! Philosopher-scientist. Interesting how the crisis of the 2 world wars & the Nuclear Age sent so many different kinds of thinkers & personalities back to origins of civilization (Schrodinger, TS Eliot, Chas. Olson, to name just a few...).

Anyway, reading his description of the encounter of earliest Greek science (Pythagoras, Thales, others) with the riddles of mathematics... it occurred to me that this all might have some pertinence in relation to poetry wars...

The thrust of the "new" (contemporary) formalists - & beyond formalism, the thrust of Poetry-as-Craft in general - is grounded in a concept of elegance : elegance, rooted in "number" in the poetic-mathematical sense. The poem is a sleek sort of toy - a verbal isometry between the concept & its expression (wit) - in which the evidence of mastery takes the form of elegant numbers...

Well, the problem I'm having with all this at the moment is that the idea of number... allied with the notion of craft & finish... & connected thus with the idea of elegance, mastery &, basically, success... (or authority)... well, all this runs head on into an aspect of Nature (that Nature with which Art is supposed to be elegantly married) which we might call either the Continuum... or Infinity... or Irrational Numbers...

an aspect of number which was a conundrum & embarrassment for the Greeks, & a mystifying puzzle for Cantor & other great mathematicians...

In my book, poetry is connected very substantially with the diagonal to the square of value "1" (ie. sq root of 2) - an irrational number... - & infinity - which scares & has frightened so many sophisticated poets, craftspeople, thinkers, calculators & operators - since it seems to open up again what they thought they had so elegantly counted out, measured, numbered, & closed off -

& why so? because infinity & the irrational are connected with the much-maligned "I" - that mysterious Subject - Shakespeare behind the arras - God - Keats' (negatively-capable) negrido - the Soul... & the great inimitable poets of all times are searching (elegantly, sublimely) beyond elegance... toward the (irrational square) root, the supra-elegance of... the ultimate Workshop (of the supernatural Author's... spiral jetty, or... Book of J...)... ie. the steep, the vertiginous, the vanishing point, that dimensionless point in Dante (& Joyce) wherefrom all the elegant magnitudes of creation proceed...

&, paradoxically, the oh-so-fumbly-stumbling quality of their (metaphysical, experiential) searching is precisely that dimension which allows the personal, the characteristic, the improvisational, to shine forth (very American) in their poetry... & make it inimitable & great... what they used to call Sublimity...

You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it...

"Programs are for lemmings."

HAPPY BLOOMSDAY !

Way Stations, Island Road, Dove Street, Stubborn Grew, Grassblade Light, July - all available now (from Lulu.com) via Amazon. Still waiting on Rest Note.

Deleted previous post. Tired of wearing my religion on my sleeve. Or maybe it's just Monday morning.

Lanthanum civics lesson for today.

Lanthanum get a little stranger, Pilgrim.

Local Things - In Loco Kenosis

Speaking of long poems... thinking about Chicagoan Robert Archambeau's recent digest on manifestos, and how, for Robert, style, and the politics of style, seems to be the prime function of poetry, & the pivot of its analysis...

& thinking about Stephen Burt's recent "New Thing" quasi-manifesto, detailing the swing back to restraint, impersonality, objectivism, the thingness of (poem) things... & yet the framework seems to be, again, a focus on the pendulum of style...

which got me thinking of another Chicagoan, Peter O'Leary, who manages to inject a Catholic-spiritual dimension into the consideration of "objectivity" (see his articles etc. on poet Frank Samperi)...

But couldn't it be said that the style of objectivity in American poetry has a lineage in Puritan poetics (Edw. Taylor) & Transcendentalism (Emerson, Thoreau)... & that Emerson, Whitman et al. carried this into a kind of (Romantic) quasi-divinization of the human mind & imagination... setting it free from the Bonds of antiquity & Europe, into the primal wilderness of new "local" discovery (Wallace Stevens, WCW, Olson, Dorn, so many others)...

The thing I keep coming back to is the historical aspect of Christianity... the absolute local "thingness" of the Incarnation... & how the Eastern Orthodox concept of "divinization" somehow echoes, yet corrects & resolves the Faustian egoism of Western Renaissance-Romantic consciousness (precisely because that divinization is dependent on the unique history - the abject-glorious historical actuality - of Incarnation)... as one scholar recently paraphrased the famous formula of Irenaeus - Cur Deus homo? (why did God become man?) "God became man so that man might become God" : "A human being becomes god only insofar as God becomes this particular human being [ie., Jesus. & my italics]." (Arkadi Choufrine, Gnosis, Theophany, Theosis)...

This comes up in my brief essay on the long poem... & reminds me of the tremendous historical-Roman thinginess of long-poem poet David Jones... a local kenosis...

& these theological things might provide a conceptual frame for aesthetics... which transcends the boxed-in artiness of American style-for-its-own sake...

& my own endless unfinished Opusses, lost in Rhode Island... the infinite quatrainian guitar-solos - tending toward the vanishing point of Apocalypse, Eschaton... Golden Age... this is my framework... (& I guess you might even say that this ecstatic see-saw logic of Incarnation - "God became man so that man might become God" - this historical/pivotal, scriptural/anti-scriptural, word/flesh balancing act - is at the root of a style of the "plumbline"...)

(Perhaps the best summa of all the issues raised in this post can be found in Joseph Brodsky's great poem of thingness & crucifixion - "Nature Morte".)

In RI

In RI, the bilingual English-Italian long poem, translated by Anny Ballardini, is now available on Amazon.