above/ground
press, 2020
The poetry
chapbook, A General History of the Air,
by J. R. Carpenter (published by above/ground press, 2020) contains a single
poem divided into several chunks (‘stanzas’ being, perhaps, a tad too formal a
designation, here, but) with one sentence acting as a more-or-less ‘heading’
followed by a short list of descriptors, facts, or examples of behaviour. The vocabulary
of the poem is non-scientific, even plain-speaking, somewhat lyric, somewhat
romantic (considering the studious title, which might suggest a text that is
otherwise inclined), the authorial voice even admitting early on in the poem:
“I desire to be understood in a familiar sense.” In fact, this is what I
enjoyed most about the poem, that the author allowed the language (the ideas,
the images, the descriptors) to stand on its/their own, to tell its/their own
story, without the author forcing meaning or sentiment upon either the text or
the reader.
And yet, there
are clues within the vocabulary to indicate that something else is going on.
Suddenly the reader is met by the phrase “ointments verminous” which sounds a
bit out of place, even archaic, given the earlier admitted ‘desire’ by the
author to keep things ‘familiar.’ Near the poem’s end are the lines:
“promiscuous experiments and observations of the air // desiderata in the
history of the air.” Webster’s dictionary provides us with its foremost
definition of promiscuous: “having or characterized by many transient sexual
relationships.” Yet, this hardly seems to suit the context of the sentence.
However, if we entertain a less popular (by today’s standards, I mean) and more
historical definition, we find: “indiscriminate or casual; consisting of a wide
range of different things.” Desiderata means ‘needs’ or ‘requirements.’ Why
didn’t the author merely alter/simplify the terms to better suit the previously
described intent?: “casual experiments and observations of the air //
requirements in the history of air.”
Why, indeed?
As it turns
out, the ‘author’ of the poem is not exactly the ‘author’ of the vocabulary
contained in the poem. J. R. Carpenter tells us in her acknowledgments: “The
cover image and all of the text in this poem are borrowed from The General History of the Air, Designed
and Begun by the Honourable Robert Boyle Esq., printed in 1692.” I love the
fact that Carpenter says the text is ‘borrowed’ (altered, somewhat [as with the
title?], or…?) suggesting somehow the poem’s temporal or temporary state, and
that the text will at some point return to the original author (or to another
author?) under… what? the correct or necessary circumstances? Hmmm… Something
to consider.
And so, is this
a found poem, an erasure, a cento, a mixed bag including the bastardization of
an obscure or forgotten publication or what? Unless one has an itch to return
to the original volume, it’s not certain, and what does it matter? It’s an
original text created from an original (it’s assumed original, even actual, though…) text. What is certain is
that Carpenter chose to leave, un-edited, particular words (perhaps to suit the
self-imposed conditions or rules of her exercise, it’s not explained), which
then act as disruptors in the text, offering an insight into her process, as
well as sounding a slight grating of sensibilities to occur between the past
and the present, between the ‘author’ and the ‘author.’
In short, she
lets the poem do the talking, and allows the reader to make of the experience
what they will. Check it out.
IN/AIR/OR
after J. R. Carpenter
what we understand by the air
the constant & permanent ingredients of the air
the destruction, generation & absorption of the
air
of the moisture & dryness of the air
of mists
of terrestrial steams
of lightning
of the air as medium of sounds
of the motion of the air & the winds
of the heat & the coldness of the air
of the air in reference to light
of the air in reference to fire & flame
of the operation of the air on the odours of animal
substances
of the operation of the air on the colours of animal substances
of the operation of the air on the colours of mineral
substances
of the operation of the air on the colours of
vegetable substances
of the air introducing other less obvious qualities
into vegetable substances
of the air in reference to the propagation of plants
of the air in reference to the life & health of
animals
of heavy bodies sustained or taken up into the air
…
of dew
…
of rain
…
of hail
…
of snow
…
of other things falling out of the air
…
promiscuous experiments & observation of the air
…
desiderata in the history of the air
…
& proposals for supplying them
…
(nota bene: the remaining pages have been
left [intentionally] blank)
* The text is borrowed from A General History of the Air,
by J. R. Carpenter, published in 2020, whose text in turn is borrowed from The General History of the Air, designed
and begun by the Honourable Robert Boyle Esq., published in 1692.
Stan Rogal's natural habitat is the wilds of Toronto where he exists
mainly on a diet of roots, berries and red wine. His work has appeared in
numerous magazines and anthologies throughout the known (and lesser known)
world. He is the author of 26 books, the most recent being a novel, titled The Comic (Guernica Editions), not so funny given its arrival coincides with
the "Age of Isolation and Physical Distancing," a Kafka-esque sort of
humour.
