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In Haecceities, Michael Cross has made an interim language, his invention a relation between the words---as if this unknown relation or "noumenon" is "a hide enthinned" of futuristic Elizabethan single words each at once tactile, optical, aural simultaneously traces and events of reinterpreted future-present spurred in "the many hundred wing-lit hives."---Leslie Scalapino
Extending his engagement with a metrics of the word into a prosody of the lexicon, Michael Cross's Haecceities is shaped by the torsions of a space where the word is both unit of measure and the quiddity on which measure bears, these poems push Zukofsky's word-count line toward an encounter with Duncan's sense of prosody as "open possibilities of design." There is a difficult joy in rhythms that strain and spring (Hopkins-like?) to work that openness in fields of what we might have thought otherwise enclosures and foreclosures. Vocabularies of heraldry mark the passage, through the vanishing medium of the emblem, of practical magics of interchange with land, animal, kinship and dwelling, into the symbolic obduracy of nation, property, inheritance and fortification. Words, arising weed-like in the interval of that vanishing---in the abeyance of their legislated meanings---, occur as sound, or as song.
Prompted by the force of this outlaw song, one reads etymologies and source texts not as authorities, but as an outside located within the articulation of the poem itself: rhythmic duration as extimacy. What emerges for me in this digging---research as song, singing as search---is how densely the domain (or demesne, to give the poems' lexicon its due) of these words is packed with sites of emergence, points at which the abstraction of meaning from song, law from custom, value from use, army from body, state from commune, first proposes itself as possibility but has not yet installed itself as the inevitable. The lexeme of these poems' measure lives in imagination as both word-unit and law-unit. To drive a wedge---to disenclose the space---between these two powers, discovering the field of words' public illegality, is a central task for poetry, and this gap of historical closure's not-yet might be the waste margin in which to glean a new life in common with words.---Taylor Brady
Extending his engagement with a metrics of the word into a prosody of the lexicon, Michael Cross's Haecceities is shaped by the torsions of a space where the word is both unit of measure and the quiddity on which measure bears, these poems push Zukofsky's word-count line toward an encounter with Duncan's sense of prosody as "open possibilities of design." There is a difficult joy in rhythms that strain and spring (Hopkins-like?) to work that openness in fields of what we might have thought otherwise enclosures and foreclosures. Vocabularies of heraldry mark the passage, through the vanishing medium of the emblem, of practical magics of interchange with land, animal, kinship and dwelling, into the symbolic obduracy of nation, property, inheritance and fortification. Words, arising weed-like in the interval of that vanishing---in the abeyance of their legislated meanings---, occur as sound, or as song.
Prompted by the force of this outlaw song, one reads etymologies and source texts not as authorities, but as an outside located within the articulation of the poem itself: rhythmic duration as extimacy. What emerges for me in this digging---research as song, singing as search---is how densely the domain (or demesne, to give the poems' lexicon its due) of these words is packed with sites of emergence, points at which the abstraction of meaning from song, law from custom, value from use, army from body, state from commune, first proposes itself as possibility but has not yet installed itself as the inevitable. The lexeme of these poems' measure lives in imagination as both word-unit and law-unit. To drive a wedge---to disenclose the space---between these two powers, discovering the field of words' public illegality, is a central task for poetry, and this gap of historical closure's not-yet might be the waste margin in which to glean a new life in common with words.---Taylor Brady
作者簡介
Michael Cross's critically acclaimed debut, In Felt Treeling, was published by Chax Press in 2008. Haecceities is his second collection of poetry. He is the editor of Involuntary Vision: after Akira Kurosawa's Dreams (Avenue B, 2003) and The George Oppen Memorial Lectures at San Francisco State University (forthcoming). Cross lives in Oakland.
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