sequence

Marjorie Perloff on Sunset Debris

"Sunset Debris" [is] a thirty-page text made up entirely of questions. In a 1985 interview with Tom Beckett, Silliman explains:

My idea with Sunset Debris was to explore the social contract between writer and reader. As sender and receiver do not exist in vacuums, any communication involves a relationship, an important dimension of which is always power. In writing as elsewhere, this relationship is asymmetrical--the author gets to do the talking. The reader can shut the book, or consciously reject its thesis, but an actual response is not normally available. As advertisers have known for decades, the process of consuming information is an act of submission. To have read these words is to have had these thoughts, which were not your own.

... It was this aspect of intersubjectivity which caused me to introduce so much explicitly sexual language....Every sentence is supposed to remind the reader of her or his inability to respond.

Every poem is, of course, a "social contract between writer and reader," but what makes "Sunset Debris" distinctive is that, in Wittgensteinian terms, the "psychological I" is replaced by the "metaphysical subject, the limit--not a part of the world" (T #5.641), the limits of the poet's language becoming the limits of his constructed world. In Wittgenstein's words, "solipsism strictly carried out coincides with pure realism" (T #5.64). Consider the prose poem's first forty-four questions:

Can you feel it? Does it hurt? Is this too soft? Do you like it? Is this how you like it? Is it airight? Is he there? Is he breathing? Is it him? Is it near? Is it hard? Is it cold? Does it weigh much? Is it heavy? Do you have to carry it far? Are those hills? Is this where we get off? Which one are you? Are we there yet? Do we need to bring sweaters? Where is the border between blue and green? Has the mail come? Have you come yet? Is it perfect bound? Do you prefer ballpoints? Do you know which insect you most resemble? Is it the red one? Is that your hand? Want to go out? What about dinner? What does it cost? Do you speak English? Has he found his voice yet? Is this anise or is it fennel? Are you high yet? Is your throat sore? Can't you tell dill weed when you see it? Do you smell something burning? Do you hear a ringing sound? Do you hear something whimpering, mewing, crying? Do we get there from here? (AH 11)

"In the language of everyday life," says Wittgenstein in the Tractatus, "it very often happens that the same word signifies in two different ways ... or that two words, which signify in different ways, are apparently applied in the same way in the proposition" (T #3.373). "Sunset Debris" seems to carry this process to its furthest possible limit. The first question--"Can you feel it?"--normally refers to a sensation: can you feel the cold? the pain? the touch of something? The second question, "Does it hurt?" would seem to support that view. But we have no way of knowing what "it" is or whom the poet is addressing as "you," and so, when "it" changes to "this" and we have the sequence:

Do you like it? Do you like this? Is this how you like it?

the simple shift from "what" to "how" and the predication relating "this" to "it' produces an erotically charged sexual reference, reinforced by "Is it airight?"

One of the central subjects of the Tractatus is the question of identity, the verb "to be" being endlessly ambiguous. "The word 'is,'" writes Wittgenstein, "appears as the copula, as the sign of equality, and as the sign of existence" (T #3.323). And in the later writings, Wittgenstein poses again and again the question of how it is we know that the "is" in "The rose is red" is different from the "is" in "twice two is four" (see PI #558-561). This conundrum is expressed in the opening passage of "Sunset Debris," in the triad

Is he there? Is he breathing? Is it him?

where the seemingly similar constructions signify quite differently: the first demands simple information, the second requires judgment on someone's part, while the third is one of identification--who is "he"?

Throughout the passage, indeed throughout the poem, such syntactic indeterminacy plays with the reader's expectations and forces him/her into submission. Consider the pairs "Has the mail come? Have you come yet?" or "Do you prefer ballpoints? Do you know which insect you most resemble?," where a neutral question suddenly gives way to a very personal and, in the second case, nasty one. Or again, the triad

Do you smell something burning? Do you hear a ringing sound? Do you hear something whimpering, mewing, crying?

where the questions are deceptively parallel: the first doesn't necessarily implicate the "you" at all, the second implies that there's something wrong with "you" (i.e., "you hear things!"), and the third implies that someone--you?--is failing to show concern for a lost cat, or a cat in distress.

So far as I can tell, not one of the approximately three thousand questions of "Sunset Debris" is repeated, except for the penultimate one "Can you feel it?"--which takes us back to the beginning. Silliman's prose poem is an extraordinary tour de force: it takes ordinary language and everyday events--eating, working, talking, making love--and, by means of the seemingly simple rhetorical device of turning statement into question, creates a verbal vortex that becomes increasingly explosive as the reader becomes increasingly disoriented:

Is it time to think time? Do the words time? How many times? Is it locatable? Has it a space? Does it have a secret? When will you tell it? Are you anxious? Are you ready? Is it simply because you do it? (AH 38)

Since the questions remain entirely uncontextualized, the "you" continually shifting from self to lover to friend to reader--a reader who cannot know what language game is being played. "How is it," asks the poet on the last page, "[that) with all this language there is still this thing so vast that we have no name for it, even if we sense it as a thing we have seen?" (AH 40). And neither he nor the reader can formulate an answer. There are, it seems, no more romantic sunsets, only "sunset debris." As for the poem's readers, "Is not communication an act of violence? Is not writing an act of privacy?" (AH 34).

By Marjorie Perloff. from Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary. Chicago: University of Chicago press, 1996. Copyright © 1996 by the University of Chicago Press.

John Berryman

[Lowell’s review was important for Berryman: it appeared in the New York Review of Books and at the height of Lowell’s own achievement – For the Union Dead had just been published. Lowell was at times baffled, irritated and dismayed by the poems, and when he offered support, it was remarkably tentative.. His descriptions would set the tone for other reviewers. When eulogizing Berryman in 1972, Lowell blurted out: "77 Dream Songs are harder than most hard modern poetry, the succeeding poems in His Toy are as direct as a prose journal, as readable as poetry can be. This is a fulfillment, yet the 77 Songs may speak clearest, almost John’s whole truth. I misjudged them, and was rattled by their mannerisms."]

… [Berryman’s previous long poem,] Homage to Mistress Bradstreet is the most resourceful historical poem in our language.

Dream Songs is larger and sloppier. The scene is contemporary and crowded with references to news items, world politics, travel, low life, and Negro music. Its style is a conglomeration of high style, Berrymanisms, Negro and beat slang, and baby talk. The poem is written in sections of three six-line stanzas. There is little sequence, and sometimes a single section will explode into three or four separate parts. At first the brain aches and freezes at so much darkness, disorder and oddness. After a while, the repeated situations and their racy jabber become more and more enjoyable, although even now I wouldn’t trust myself to paraphrase accurately at least half of the sections.

The poems are much too difficult, packed, and wrenched to be sung. They are called songs out of mockerym because they are filled with snatches of Negro minstrelsy, and because one of their characters is Mr. Bones [Lowell corrected this error in a later issue: "Mr Bones is not ‘one of their characters’ but the main character, Henry."], who keeps questioning the author and talking for him. The dreams are not real dreams but a waking hallucination in which anything that might have happened to the author can be used at random. Anything he has seen, overheard, or imagined can go in. The poems are about Berryman, or rather they are about a person he calls Henry. Henry is Berryman seen as himself, as poète maudit, child and puppet. He is tossed about with a mixture of tenderness and absurdity, pathos and hilarity that would have been impossible if the author had spoken in the first person.