Red Epic invents a volatile poetry for a world on fire, written to illuminate the wreckage of the most recent gilded age. Leaping levels from global systems to street fights and back again, accompanied by a Top 40 soundtrack full of Robyn and M.I.A., it remixes utopian hope and revolutionary antagonism. Lauded by sources from Judith Butler to Entertainment Weekly , Joshua Clover 's poetry has received multiple honors including a Village Voice book of the year. He has written four books and contributed to the New York Times , the New Yorker , and GQ ; his column "Pop and Circumstance" appears in the Nation . He teaches at the University of California Davis.
"Spring Georgic" is a shamanistic text with a fascinating magic: "to say it is a new era is to say | it has discovered a new style of time | we do not do this in language | but first in terrain we have not chosen and do not yet | understand | language meets us there and must be cajoled | into open air | by dangling old forms | in their wrack and wreckage" -- so this triadic, "open field" stanza (un-representable in this format), out of Williams, is just such a "dangling old form," I take it, trying to intervene upon the Unconscious of two texts about capital that Clover perceives as having divided up the long from the short Twentieth Century: these are Benjamin's Arcades Project and Bachelier's Theory of Speculation. We see in this techne a very old theory of poetry -- poetry as a magic, trying to enter the mythographical slipstream of culture.
I find Clover's poetry a bit cold, though erudite and linguistically intriguing. Not many modern poets, however, have the guts to be straight-up political in their work, and though Clover hasn't blended his political angst within the larger context of the Poem evenly, as in the work of Clayton Eshleman, I admire his attempt and will be paying attention to his work in the future. At this point in history we can't, as poets, sit in our ivory towers and write poems about birds without also mentioning the birds falling out of the sky.
I really liked this collection, maybe not for everyone, but my perfect poet. The layers upon layers of references to pop culture, literary figures, communist theory, and social struggle. I've gone back to it a number of times and each time found new pieces, but best read with your phone open to explore references to unlock more meaning from them all. that is, unless your some brainy super-freak whose familiar with all the obscure stuff brought up.
I appreciate the language of anarchic revolution and the variant forms of cultural critique. I'm at the same time always suspicious of academic calls for perpetual bloodshed and talk of 'enemies' as some sort of pathway to utopian liberation.
This is a hugely important way of thinking of writing politics and poetry. As part of this, there is always the desire to demand more; but, in reality, it does more than it needs already.