[In constructing an assemblage of “outsider” poetry there is a point finally at which the work of contemporaries has also to be considered. I have felt constrained here by a determination not to confuse “outsider” with some sense of the “marginal” or “alternative” as defined in contrast, say, to another assumption of “mainstream” or “normative” or even (god help us) “canonical.” Here, it seems to me, one principal characteristic (but only one) of outsiderness, as I’ve come to understand it, is a difference of mind or body that results in a range of differences in language & poetic forms that might otherwise be hard or impossible to come by. It is in this sense too that “outsider art” and by extension “outsider poetry” has had as one of its anchors what Dubuffet & others defined as art brut & brought into prominence the work of artist/poets such as Adolf Wölfli & Aloise Corbaz. In line with that I can imagine the place among outsiders of “canonical” or near-“canonical” figures such as Blake & Smart, Hölderlin & Artaud, whose skewered view of language & poetic form was both a cause & consequence of their historical isolation. Coming closer to the present, however, I have hesitated to bring the work of my contemporaries & acquaintances into play. With Hannah Weiner (1928-1997), as a key instance, the turning in her work followed an extreme perceptual shift in which words & letters appeared to her in air & on the surfaces of objects & people, to be incorporated into the written works she was then composing. In her own well known accounting: “I SEE words on my forehead IN THE AIR on other people on the typewriter on the page These appear in the text as CAPITALS or in italics” The results of that, through her own efforts, were nothing short of extraordinary.
[The following poem & many others, some still more radical, can be found at Weiner’s web site: http://epc.buffalo.edu/authors/weiner/]
LITTLE BOOK 125
OCT POWER DAY Oct 12 78
OCT POWER DAY Oct 12 78
OCT POWER DAY
11 SHEETS 3
correctly
ohs hannah SPEL
b
e
s
m
o
r
e
p
r
a
c
tical
Jimmie cant spell
corrected
date
12
JIMMIE STANDS
BIS PRINT
I HAVE POETS
HIS MIND IN
MY POEMS
Hannah
I CANS WRITE
I correct
BIS PRINT
MYSELF CORRECT
S P E L L I N G
I JUST HAVE ONE
MIND
c j e
o I I
u m m
n t
t o
s l
a
To OFFER MY
OTHER
M I N D
please Jimmy prints
HIS LETTERS
HIS SECRETS
HIDES
R U S S spell
Jimmy is spelled
correctly
HOME
ON 9th STREET
of
COURSE
I just couldn't write
it about myself
BIG P about it
I JUST RUSSEL
I canst spell
MEANS
walks with him
INS NOV
FEBR complete
I JUST DONT WANT
signed date 12
ohs hannah spelled
a y
w l
kward
SILENCE
THISBOOKCOMPLETED
SAY TONIGHT
JIM spell
ERROR
I just want to write
about
WHATS A NAME
standing up
all
THE STEPS
SHEETS
ha SKIP TOP LINE
hannah forgot
STRUCTURE
ins my SILENCE
S E N T E N C E
I may just become
Jimmie scribbles
a
RUSSELL MEANS
writer soon
TWO PAGES
hannah this is our
forehead
secret
SILENT
3 people split
before forgets
message
PAGE ONE
you feel PRINT
WONDERFUL AFTER
THIS BOOK IS
SOLDS
I meant a message
silent messenger
secret
two pages lost
INS SHEETS
E X P E N S I V E
and I
BIS PRINT
forgot
BRUCE
W
H
A
S
A
S
E
N
TBRUCE
what writers
remember I am me
ALWAYS
M E A N S
I always forget to
spell his name
b a c k w a r d s
SPEAK
STONED
correctly Jimmie call
please f
o
r
g
e
t
s
e
n
t
e
n
c SILENCE
e HANNAH
THATS OCT 12
Jimmie thinks
SECOND PAGE
I'm a fool not
to
MISS A PAGE
write a second book
Bernadette closes
about him
explain
suspended
sentence
please be silent
structure
I ams giving away
all my secrets
darling
B E R N A D E T T E
I am also a writer
Jimmie signed
[The preceding is from Weiner’s Little Books/Indians, Roof Books, 1980.]
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