Meanwhile: The Critical Writings of bpNichol
Format: PDF / Kindle (mobi) / ePub
Finally, after years of readers struggling to find or access many of Nichol’s innovative critical writings, this much needed and anticipated volume makes it possible to follow Nichol through his thirty-year-long thoughtful engagement with the process of creation. With essays, reviews, talks on poetics, letters, notes, photographs, and excerpts from interviews, editor Roy Miki has put together a provocative record of bpNichol’s always explorative approaches to the material conditions of textual production.
Representing a substantial collection of Nichol’s critical writing from the mid-1960s up to the year of his death in 1988, Meanwhile: The Critical Writings of bpNichol puts him, rightfully, on the vanguard of Canadian literature and critical theory. This collection is essential to our sense of Nichol not only as a writer, but also as a person of exemplary generosity, imagination, and intellectual range.
statements of the texts, a notion of knowing is constantly put forward, that all this (i.e. poetry and what we knowte down) is partial knowledge, rests on a dumb foundation that we cannot, finally, articulate (as noted in the titling of “SKETCH: End of a day: OR, I as a blurry” (it’s important to focus on that title since the first line of the poem makes “I as a blurry” part of a longer descriptive phrase, thus very deliberately altering its meaning, and the too hasty reader might judge the title
paint often delete a prior writing, but also proliferate to become atmospheric, and the meaning of their movements and eruptive occurrences can’t be fixed or explained. This is very similar to the implications of the eruptive wordplay in The Martyrology. But this wordplay too established a rhetoric of “walking.” Let me quote a short phrase of Michel de Certeau: “To walk is to lack a site.” The site/non-site opposition in your work links it to some of the work of Robert Smithson. (This connection
criticism of his work (which missing of the point i have never been able to articulate clearly enough to have my words carry conviction) so that it was in mulling over in my mind my sense of his most recent work White that i happened to pick up my copy of Moments of Rising Mist (a collection of landscape poetry from the Sung period of Chinese history) & the two things came together in my mind i’m going to try to make this as clear as possible to my mind Doug Barbour’s poetry is concerned with
a certain kind of shaman figure at a certain time of ceremony involving an animal configuration with a kind of performance, that something was going on there that would have been collected by someone at some point. Well no. It turns out that James Teit had collected some very obvious things like bear prints, mountains, river, fish, obvious graphic images. So I didn’t have any material there.Yet I was very attracted to these. The first ones were very, very small, like the “turtle canoe baby
utanniki is a mixture of prose interrupted by poetry, interrupted by prose, interrupted by poetry, interrupted by prose, and that linkage goes on. Though that is obviously not precisely what happens in The Martyrology, what does happen is a constant formal interruption; that is to say, I’m dealing with form this way, then I’m dealing with form that way I try to get very articulate when I’m revising, so I know what I’m doing when I revise, but in the moment of writing it’s a much more subjective