29 Poems

 

#1 Memory of V.I. Ulianov

3 Aug. 1925/ The Exile 4 (Autumn 1928)

 

Commentary

Hass, Robert. “Zukofsky at the Outset.” American Poetry Review 34.5 (Sept.-Oct. 2005): 59-70.

Woods, Tim. The Poetics of the Limit: Ethics and Politics in Modern and Contemporary American Poetry. NY: Palgrave Macmillan, 2002. 38-39.

 

Title: V.I. Ulianov: = Lenin (1870-1924). When this poem was originally published in The Exile 4, it had the title “Constellation” and an epigraph from John Bunyan’s Pilgrim’s Progress (1678): “—wherefore being come out of the River, they saluted them saying, We are ministering Spirits, sent forth to minister for those that be heirs of salvation—.”
            At one time this poem was part of a grouping entitled 18 Poems to the Future, which included a preface, that LZ sent to EP on 20 Feb. 1928 (EP/LZ 9). The preface was published in The Exile 4 immediately following the Lenin poem. As originally conceived, each poem was accompanied by a quote from Pilgrim’s Progress, which also provided the underlying pattern for E.E. Cummings’ novel, The Enormous Room (1922); a point alluded to by LZ in his review of Cummings’ Him, which was originally entitled, “Mr. Cummings and the Delectable Mountains” (see Prep+ 84-85). The only Bunyan quotation to ultimately survive was that for “During the Passaic Strike of 1926” (#7 below; see also #11).
            It seems likely that LZ also has in mind a passage from Chap. XXVII of The Education of Henry Adams (1918), which is in part quoted at “A”-8.82.11f: “Very likely, Russia would instantly become the most brilliant constellation of human progress through all the ordered stages of good; but meanwhile one might give a value as movement of inertia to the mass, and assume a slow acceleration that would, at the end of a generation, leave the gap between east and west relatively the same.”

21.16    hegira: a journey to escape danger, from Muhammad’s flight from Mecca to Medina in 622, marking the beginning of the Muslim era.

 

#2 “Not much more than being”

24 Jan. 1924/ Blues (Fall 1930)

 

Commentary

In his 1968 interview with L.S. Dembo, LZ comments on this poem (Prep+ 237-238).

Ahearn, Barry. Zukofsky's "A": An Introduction. Berkeley: U of California P, 1983. 16-18.

Conte, Joseph M. Unending Design: The Forms of Postmodern Poetry. Ithaca, NY: Cornell UP, 1991. 144-145.

Stanley, Sandra Kumanoto. Louis Zukofsky and the Transformation of a Modern American Poetics. Berkeley, CA: U of California P, 1994. 112-115.

 

22.11    The Dragon: Draco, a northern circumpolar constellation between Ursa Major and Cepheus. See CSP 64.2.

 

#3 “Cocktails”

7 June 1928/ Transition (Feb. 1929)

 

Commentary

Scroggins, Mark. Louis Zukofsky and the Poetry of Knowledge. Tuscaloosa: U of Alabama P, 1998. 152-153.

Stanley, Sandra Kumanoto. Louis Zukofsky and the Transformation of a Modern American Poetics. Berkeley, CA: U of California P, 1994. 118-124.

 

22.6      Bacchae: female followers of Bacchus, Greek god of wine; perhaps not irrelevant that the Bacchae or Maenads tore the legendary poet Orpheus to pieces in one of their frenzies.

23.7      thyrsus: a staff entwined with ivy and tipped with a pinecone associated with Bacchus and his revelers.

23.19    elevated: the elevated railway or El in NYC.

 

#4 “Buoy—no, how”

1 Nov. 1928/ Pagany (Jan.-March 1931)

 

Commentary

Perloff, Marjorie. "Barbed-Wire Entanglements: The New American Poetry 1930-32," Modernism/Modernity 2.1 (Jan. 1995): 158-160.

Scroggins, Mark. Louis Zukofsky and the Poetry of Knowledge. Tuscaloosa, AL: U of Alabama P, 1998. 152-153.

 

#5 Ferry

16 Jan. 1925/ Poetry (June 1929) and Contact (Feb. 1932)

 

Commentary

Conte, Joseph M. Unending Design: The Forms of Postmodern Poetry. Ithaca, NY: Cornell UP, 1991. 145-146.

 

Given the title “North River Ferry” when published in Poetry. 

 

#6 “How many”

19 July 1926/ Negro Anthology (1934)

 

#7 During the Passaic Strike of 1926

18 April 1926

 

Title:     Passaic Strike: Textile workers in Passaic, NJ began a strike in Jan. 1926 organized under the leadership of Albert Weisbord over wage cuts and better working conditions. Eventually, 15,000 workers were out on strike, which lasted through most of the rest of the year and involved numerous clashes with police and arrests of strikers.

26.1      St. Mark’s-on-the-Bouwerie: Episcopal church, one of the oldest in NYC, located at the corner of Second Avenue and East 10th Street in the Bowery on the Lower East Side, near where LZ grew up. A good many well-known figures are buried there, so would be a prestigious place to be interred.

26.2      S.T.H.: S. Theodore Hecht (1895-1973), long-time friend of LZ from their student days at Columbia University, and one of his poems was included in the “Objectivists” issue of Poetry (1931). Hecht became an educator.

26.13    “I was born indeed in your dominions…: from Part I of John Bunyan, Pilgrim’s Progress, when Christian is in the Valley of Humiliation; the sentence LZ quotes continues with a quotation from the bible: “for the wages of sin is death” (Romans 6:23). See note to “Memory of V.I. Ulianov.”

 

#8 “And to paradise which is a port”

29 Oct. 1928/ Blues (May 1929)

 

#9 “A dying away as of trees”

19 April 1927/ Blues (Spring 1930)

 

#10 “Passing tall”

12 April 1925/ Pagany (Jan.-March 1931)

 

#11 “Stubbing the cloud-fields—the searchlight, high”

3 May 1926

 

This poem originally had an epigraph from John Bunyan’s Pilgrim’s Progress (see “Memory of V. I. Ulianov”): “—the reflection of the Sun upon the City (for the City was pure gold) was so extremely glorious, that they could not as yet with open face behold it, but through an Instrument made for that purpose.”

 

#12 “Millennium of sun—“

22 Feb. 1924/ Blues (Feb. 1929)

 

#13 “We are crossing the bridge now”

10 Jan. 1926

 

28.7      brume: mist, fog, vapor.

 

#14 “Only water—“

30 Aug. 1926/ Pagany (April-June 1930)

 

#15 “And looking to where shone Orion”

28 April 1925/ Pagany (April-June 1930)

 

29.1      Orion: the Hunter, a constellation lying on the celestial equator between Canis Major and Taurus, containing the stars Betelgeuse and Rigel.

29.4      “As to taste there’s no dispute…: from the L. proverbial phrase, de gustibus non est disputandum; see “A”-6.27.18.

 

#16 Aubade, 1925

24 Sept. 1925/ Hound & Horn (Winter 1931)

 

Title:     Aubade: a poem or song of the dawn, especially of parting lovers; the form is particularly associated with the medieval Provençal troubadours.

 

#17 “Cars once steel and green, now old”

29 Dec. 1924/ Poetry (June 1929)

 

Commentary

Conte, Joseph M. Unending Design: The Forms of Postmodern Poetry. Ithaca, NY: Cornell UP, 1991. 147.

 

31.2      Cedar Manor: a neighborhood in Queens, NYC.

 

#18 “Tall and singularly dark you pass among the breakers—“

6 July 1924/ Pagany (Jan.-March 1931)

 

#19 “Run on, you still dead to the sound of a name”

15 Oct. 1925/ Fifth Floor Window (May 1932)

 

#20 “Close your eyes”

21 Dec. 1925

 

#21 “O sleep, the sky goes down behind the poplars”

21 Dec. 1925

 

#22 “Cactus rose-mauve and gray, twin overturned”

29 Jan. 1928/ Pagany (1930)

 

33.7      nescience: lack of knowledge, ignorance.

33.8      mortmain: real property held inalienably, perpetual holding of land; the oppressive influence of past events or decisions.

33.10    Hannah: from Heb. means grace or favor (of God).

 

#23 Song Theme

26 Jan. 1927/ The Dial (Dec. 1928)

 

#24 tam cari capitis

27 Nov. 1923/ The Dial (Dec. 1928)

 

Title:     tam cari capitis: proverbial L. phrase from Horace: Quis desiderio sit pudor aut modus / tam cari capitis? (What shame or bound can there be in longing for so dear a person?; trans. Andrew Lang), the opening of Ode 1.24, “To Virgil on the Death of Quintitius.”

 

#25 “Like the oceans, or the leaves of fine Southern”

Jan. 1926

 

#26 “Ask of the sun”

2 June 1928/ Front (Dec. 1930)

 

35.15    Brueghel: Pieter Brueghel the Elder (c.1525-1569), Flemish painter; LZ here refers to “The Harvesters,” which depicts a peasant prominently sprawled out having a nap. LZ also mentions this painting at “A”-8.66.15

 

#27 “Blue light is the night harbor-slip”

11 Nov. 1928/ Pagany (April-June 1931)

 

#28 & 29 Two Dedications

5 & 2 Feb. 1929/ Blues (Fall 1930) and Morada (1931)

 

Commentary

Stanley, Sandra Kumanoto. Louis Zukofsky and the Transformation of a Modern American Poetics. Berkeley, CA: U of California P, 1994. 91-97.

 

LZ comments on the use of a two and three count (word) line respectively in these poems, claiming that “[…] in this manner necessarily restricting the number of syllables but allowing for variations that might make the quantity interesting,” as well as pointing out that WCW used this technique, “perhaps not too consciously,” in Spring and All (see original version of “American Poetry 1920-1930” in The Symposium 2.1 (Jan. 1931): 64).

                                                                                                                     

Title      Tibor Serly: (1901-1978), Hungarian-American violinist, violist and composer, who lived much of his life in the U.S. He was closely associated with Béla Bartók (1881-1945), particularly after the latter fled to the U.S. in 1940, arranging and promoting his works. Serly met LZ in the late 1920s, who introduced him to EP and subsequently Serly participated in many collaborative projects with EP in Rapallo. Also via LZ, Serly met WCW, with whom he attempted to compose the music for the latter’s The First President opera, but the project eventually fell through.

                                   

Title      D.R.: Diego Rivera (1886-1957), Mexican painter and muralist closely identified with revolutionary leftist politics throughout his career. The composition date of this poem indicates it preceded Rivera’s major mural projects in the U.S., including the contentious Rockefeller Center murals of 1933 and his enormously successful retrospective exhibition at the Museum of Modern Art in NYC in Nov. 1931. It is possible LZ is working from illustrations of the huge mural and fresco project at La Secretaría de Educación Pública in Mexico City, which Rivera worked on from 1923-1928.