C. Derick Varn of Former People: A Journal of Bangs and Whimpers interviewed me with a series of complex questions on modernity and modernism in and about China. And of course, I couldn’t resist talking about Xi Chuan and Chinese and international poetry. Here’s an excerpt:
So that’s the problem. But as I’ve argued in a piece that’s forthcoming, modernism in literature is postmodernist in its philosophical implications … And I don’t think I’ve ever believed in modernism so much as modernisms. An interesting observation is that modernist writers who come from countries that claim an ownership of tradition—modernists from France or Italy or Russia—are often the ones to say, like Marinetti, “Museums, cemeteries!” while the modernists from countries that cannot claim such ownership—Pound and Eliot from the US, Joyce from Ireland—are the ones who want to revivify the ancient amidst the machinations of the modern (this isn’t foolproof, of course: William Carlos Williams and Gertrude Stein stand against such generalizations). As for whether there’s a Chinese modernism, the interesting thing is that after the Cultural Revolution, you get both: those feeling like their country has too much a claim on tradition, and is overwhelmed and stifled by it, as well as those who feel like their country is too displaced from tradition, and needs to re-own it and re-define it. So at any given moment Bei Dao might read like a shrugging off of tradition, and Yang Lian might read like a refitting of it, and Xi Chuan a refitting of that refitting, but they’re also specific responses to the relationship between tradition and modernity as have played out in China in the past hundred years and more.
To begin with, Jacob Edmond’s new book, A Common Strangeness, is anything but common and signals what I hope will be a new trend toward more ambitious studies of late-modernist to contemporary poetics on a global scale. While it might be premature to announce the arrival of a “global poetics,” there is a pressing need for a space to explore this genre specific cognate of World Literature, a space to reimagine what in China operates under the title: comparative poetics (比较诗学). This is a robust area of academic research in China, yet it tends to reduce poetry and poetics to the pre WWII traditional canon: Plato, Aristotle, and Longinus; Sidney, Pope, and Johnson; Wordsworth, Coleridge, and Emerson; Poe, Arnold, and Eliot; and perhaps Frost, Williams, Hughes, and, because it is China, Pound. In English literary criticism today, however, the term “poetics” often demarks poetry discourses consciously connected to avant-garde practice along the vectors of a more radical canon: Blake, Whitman, Stein, Pound, Zukofsky, Olson, Mac Low/John Cage to Susan Howe, Lyn Hejinian and others associated with the so-called LANGUAGE poets from the 1970s forward through neo-conceptual poetry, etc … One should also mention that scholars tracking trends in contemporary poetics in the West have remained problematically Anglophonocentric and have largely failed to attend to poetic shifts on a global scale unless such shifts are explicitly conversant in the idioms of innovative English-based poetics (including those within the Sinophone sphere). So while no single volume could ever hope to connect the multitudinous and heterogeneous threads of a “global poetics,” A Common Strangeness succeeds in moving in this direction in part by offering a critical lens (strangeness) through which to view poetry on a global scale.