In Memoriam Ezra Pound<\/em> [excerpt]:<\/strong><\/p>\nTranspontine Ovid made his ovoid obsequies
\nunto the only emperor, the emperor of ice-cream.
\nIn his elegies Teddy Bear is having picnics.
\nCan you find four ice-cream cornets hidden
\nin this elegiac picture? I pasture the pastel
\ncolours of the heart, a part from and partial sense
\nof lethal elegies hidden in the provinces
\nof desolation and ice-cream, \u201cthe lost land
\nof Childhood\u201d, and the defeated past.<\/p>\n
[\u2026]<\/p>\n
He is not here he has outsoared the shadow
\nof our right. \u2019Tis life is dead not he. And
\nghastly through the driveling ghosts on the bald
\nstreet breaks the bland day of critical interpretation
\nstaining the white radiance of eternity [\u2026].<\/p>\n
<\/p>\n
Veronica Forrest-Thomson, Cordelia: or, \u2018A Poem Should not Mean, but Be\u2019<\/em> [excerpt]:<\/strong><\/p>\nBut first and last read me, the beloved
\nWho was killed in the general slaughter.
\nBut rise again like John Donne
\n(read him too) I, Helen, I Iseult, I Guenevere,
\nI Clytemnestra and many more to come.
\nI did it, I myself, killing the King my father
\nKilling the King my mother, joining the King my brother.
\nIt is the kick, my love, and not the nightingale
\nI like larking up kicks myself
\nBut not kicking.
\nThey that have power to hurt and do so
\nShould not be blamed by Shakespeare or anyone else
\nFor hurting though such is the race of poets
\nThat they will blame them anyway.
\nHowever it is a pretty productive process
\nEspecially if one may be plumber as well as poet
\nAnd thus unstop the drain as well as writing
\nPoetic Artifice<\/em> \u201cPain stopped play\u201d and
\nSeveral other books and poems including
\n1974 and All That <\/em>(seriously though)
\nI, Veronica did it, truth-finding, truth-seeking
\nMuck-raking, bringing victory.<\/p>\n <\/p>\n
Susan Howe, Noncomformist\u2019s Memorial<\/em>, from \u201cA Bibliography of the King\u2019s Book or, Eikon Basilike\u201d:<\/strong><\/p>\nOn the day of the execution [of King Charles I] The Eikon Basilike, The Pourtraicture of His Sacred Majestie in his Solitude and Sufferings<\/em>, was published and widely distributed throughout England, despite the best efforts of government censors to get rid of it.
\nThe Eikon<\/em> was supposed to have been written by the King. It consists of essays, explanations, prayers, debates, emblems and justifications of the Royalist cause. [\u2026]
\nThe Eikon Basilike <\/em>is a forgery. (55)<\/p>\n*<\/p>\n
One of Milton\u2019s chief points of attach on the Eikon<\/em> [in his 1649 pamphlet The Tenure of Kings and Magistrates<\/em>, a defense of regicide] concerned \u201cA prayer in the time of Captivity,\u201d said to have been delivered to Bishop Juxon, by Charles on the scaffold. The prayer, a close paraphrase from \u201cno serious Book, but the vain amatorious Poem of Sr Philip Sidney\u2019s Arcadia<\/em>,\u201d was the prayer of a pagan woman to an all-seeing heathen Deity. (56-7)<\/p>\n*<\/p>\n
In 1680, an official edition of the Eikon<\/em>, sanctioned by King Charles II, subtracted all the prayers. Other post-Restoration Basilikas <\/em>and Reliquae Sacrae<\/em><\/strong>, some dedicated to the new monarch, included the seven prayers with Pamela\u2019s leading the file. A great deal of energy and confusion has been expended and expounded since then; by bibliographers, scholars, poets, critics, and other impassioned crusaders, including Samuel Johnson, Christopher Wordsworth, and William Empson, over correctly identifying the first edition to carry the \u201cforged\u201d prayer. (57)<\/p>\n*<\/p>\n
The Eikon Basilike<\/em> is a puzzle. It may be a collection of meditations written by a ghostly king; it may be a forged collection of meditations gathered by a ghostwriter who was a Presbyterian, a bishop, a plagiarizer, and a forger. (57)<\/p>\n*<\/p>\n
Pierre Macherey\u2019s description of the discourse in a fiction applies to the discourse in this bibliography: \u201csealed and interminably completed or endlessly beginning again, diffuse and dense, coiled about an absent center which it can neither conceal no reveal.\u201d<\/strong>
\nThe absent center is the ghost of a king. (58)<\/p>\n <\/p>\n
Susan Howe, Noncomformist\u2019s Memorial<\/em>, from \u201cMelville\u2019s Marginalia\u201d:<\/strong><\/p>\nWilson Walker Cowen, using Merton Sealt\u2019s checklist (Harvard Library Bulletin<\/em> 1948-50) as a guide, collected and transcribed every page from every known volume of Herman Melville\u2019s library that Melville had marked or annotated. Only the pages Melville marked in each book are included so there is little forward trajectory to whatever novel, narrative, or poem. Each marked passage is a literal transcription from the particular edition Melville used. Because Cowen used each original\u2019s type-set line-lengths, prose often looks like poetry. (98)<\/p>\n*<\/p>\n
A
\npoet
\ndoes not relate
\nreal
\nevents
\n2. For then
\nshe would clash
\nwith the histo-
\nrian\/connecting
\nthem
\nby a verbal
\nassociation
\nin a strange
\norder (102)<\/p>\n
*<\/p>\n
If there are things Melville went looking for in books so too there were things I looked for in Melville\u2019s looking. (114)<\/p>\n
*<\/p>\n
Because he stole the light
\nmy heart is feminine
\nWhat meaning is there
\nIn my head my clothing
\nUnconfined as an ocean
\nnerves are what they are
\ndelusions of imagination
\nHero of authentic poetry
\nI can compose my though
\nan excursus on Tradition
\ntrace of the word city<\/em>
\nI will dismember marginalia
\n\u2018l\u2019 for \u2018i\u2019 and \u2018i\u2019 for \u2018l\u2019
\nOphelia Juliet Cordelia (155)<\/p>\n","protected":false},"excerpt":{"rendered":"Anna Moser The essay Anna presented this evening can be found under scholarly texts. Electric Text Case Studies: Veronica Forrest-Thomson, In Memoriam Ezra Pound [excerpt]: Transpontine Ovid made his ovoid obsequies unto the only emperor, the emperor of ice-cream. In his elegies Teddy Bear is having picnics. Can you find four ice-cream cornets hidden in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","date_recorded":"","explicit":"","block":"","filesize_raw":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/posts\/249"}],"collection":[{"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/comments?post=249"}],"version-history":[{"count":14,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/posts\/249\/revisions"}],"predecessor-version":[{"id":264,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/posts\/249\/revisions\/264"}],"wp:attachment":[{"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/media?parent=249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/categories?post=249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.electrictext.net\/wordpress\/wp-json\/wp\/v2\/tags?post=249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}