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Spontaneous Particulars: The Telepathy of Archives (New Directions Books), by Susan Howe

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Review

“A near-mystical account of a subject researching and reveling in the sanctuary of the library, alongside the forceful expression of a modernist will, one collecting the detritus of effaced histories to construct a shimmering new plane of knowledge and engagement.” - Brooklyn Rail“Susan Howe has often referred to herself as a ''library cormorant'' but in this gorgeously produced book, her extraordinary telepathyof archives is the very opposite of passive absorption. Hers is a carefully constructed textile world, where the spirit of Keats' ''Ode to a Nightingale'' enters Henry James' Milly Theale, a world where William Carlos Williams's prescription blanks oddly echo the fragments of Emily Dickinson, and where Charles Sanders Peirce's 'blue' doodles open up the charged lexicon of Jonathan Edwards. Howe knows that text never reflects or merely matches image; each page constructs its own ghostly skein to be woven into what becomes an increasingly mysterious figure in the carpet. What begins as archival study becomes nothing less than mesmerism.” - Marjorie Perloff“As they evolve, electronic technologies are radically transforming the way we read, write, and remember. The nature of archival research is in flux....While I realize that these technologies offer new and often thrilling possibilities for artists and scholars, Spontaneous Particulars: The Telepathy of Archives is a collaged swan song to the old ways.” - Susan Howe

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About the Author

Author of more than a dozen books of poetry and two of literary criticism, Susan Howe's recent collection of poems That This, published by New Directions won the Bollingen Prize in 2011. Her earlier critical study, My Emily Dickinson, was re-issued in 2007 with an introduction by Eliot Weinberger. Three CDs in collaboration with the musician/composer David Grubbs, Thiefth, Souls of the Labadie Tract, and Frolic Architecture were released on the Blue Chopsticks label (2005; 2011). Howe held the Samuel P. Capen Chair in Poetry and the Humanities at the State University New York at Buffalo until her retirement in 2007. The recipient of a Guggenheim Fellowship, she was elected to the American Academy of Arts and Sciences in 1999 and served as a Chancellor to the Academy of American Poets between 2000-2006. In fall, 2009 she was awarded a Fellowship to the American Academy at Berlin. Grenfell Press published a fine press edition of “Frolic Architecture with photographic prints by James Welling in 2009. Recently she was an Artist In Residence at the Isabella Stewart Gardner Museum in Boston. In October, 2013 her word collages were exhibited at the Yale Union in Portland, Oregon, and in the Whitney Biennial Spring, 2014. A limited press edition of Tom Tit Tot (the word collages which amount to a series poem) with art work by R.H. Quaytman has just been published by MoMA in New York, and Spontaneous Particulars:The Telepathy of Archives, (2014) published by Christine Burgin and New Directions.

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Product details

Series: New Directions Books

Hardcover: 64 pages

Publisher: New Directions / Christine Burgin; 1 edition (October 14, 2014)

Language: English

ISBN-10: 0811223752

ISBN-13: 978-0811223751

Product Dimensions:

5.7 x 0.5 x 8.2 inches

Shipping Weight: 9.6 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

1 customer review

Amazon Best Sellers Rank:

#930,513 in Books (See Top 100 in Books)

SPONTANEOUS PARTICULARS is an ode to the insights, connections, and discoveries available to those who dig through archives the old-fashioned way -- personally examining and handling the actual artifacts rather than viewing digital renditions of them on a computer screen.Susan Howe has had a great deal of experience in archives and research libraries. In SPONTANEOUS PARTICULARS, Howe examines such odds and ends as drafts of poems on envelope scraps by Emily Dickinson; first-draft lines of "Paterson" that William Carlos Williams scrawled on pages of prescription pads; handwritten notes Noah Webster made in connection with his 1828 "Dictionary"; and manuscript books that Jonathan Edwards fashioned from discarded semi-circular pieces of silk paper his wife and daughters had used for making fans. (Similar doodles and scribbles from Hart Crane, Charles Sanders Peirce, and Gertrude Stein also are included.)The various artifacts that Howe comments on are presented to the reader via full-color facsimile images. The book as a whole -- it is a co-publication of New Directions and New York gallery director Christine Burgin -- is handsome and thoughtfully designed. It is a small gem of a book (one that, appropriately, could not be replicated electronically without immeasurable loss).But Susan Howe also is a poet, and her text often is poetic in nature rather than expository. Although I found some of her comments rather abstruse, all invariably were evocative.The concluding paragraph is worth quoting in full as it gives a good sense of the mission and spirit of the book and its singular admixture of archival scholarship and poetry: "Poetry has no proof nor plan nor evidence by decree or in any other way. From somewhere in the twilight realm of sound a spirit of belief flares up at the point where meaning stops and the unreality of what seems most real floods over us. The inward ardor I feel while working in research libraries is intuitive. Its a sense of self-identification and trust, or the granting of grace in an ordinary room, in a secular time."P.S.: For an otherwise carefully produced book, there are two surprising errors. (1) The typed-transcription in the endnote on page 77, presumably of the Emily Dickinson penciled text fragment reproduced on page 57, is a transcription of something else altogether. (2) There is no endnote or other citation for the image on page 62.

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