Ernest Hilbert is founder of E-Verse Radio. Ticking through our shirts. I wont to knw sir if you please Every poet has more than three “strange angels” — and by angels I mean something like obsessions, following Smith’s lead — knocking at the threshold of the house of their work. This poem shares a spirit with “History” from Duende, in which Smith admits that “there are victims” that can be found within her poem’s body and describes her poem as “the army / left behind.” The same could be said of the speakers of Wade in the Water. My colleague Kate Lewis carefully studied and documented the original projectors — their brightness, throw distance, and fundamental method of projection (in this case, LCD). Smiling, and ever patient, Takatani, who had stewarded this work for years, explained that the timing of Lovers had been reviewed and refined nearly every time the work was installed. Learn how your comment data is processed. Lovers had not been exhibited since being acquired by MoMA in 1998, and when it was first shown in 1995 (prior to acquisition), the Museum hadn’t yet established its internationally renowned program of media conservation. More broadly, Smith’s speakers often find themselves misunderstanding their surroundings, which is rendered simply as part of the daily work of existence rather than as a catastrophe. “[M]y head,” reports this first speaker, “is blossaming.” The poem ends with its many speakers introducing themselves to us in phrases that trail off, ending with em dashes, like so: “I am on the rise of 80 years of age — ” And what are those em dashes? So much That would have saved us, but lived, Instead, its own quick span, returning To uselessness with the mute acquiescence Of shed skin. To tell one’s name — the livelong June — In the end, it was this direct observation that allowed us to reverse engineer the basic algorithm. There is, however, a rich tradition at The Museum of Modern Art of offsetting this trend through collaborations with academics and researchers. In fact, one thing about love is certain to this speaker: it is a discourse, since — as Smith writes in “Wintering,” a poem that shares its title with an earlier poem by Sylvia Plath — to love is to “speak another language.”. The transcript from a lecture examining the idea of Obsolescence as a paramount twenty-first century concept and perhaps a trauma, and a sketch for what a Museum of Obsolescence might look like. Ticking through our shirts. But it also finds Smith at a turning point: one in which her speakers believe it imperative to enter into those underground waters, even though this labor will never promise security, and even though those waters are likely saturated with poisons. The Museum of Obsolescence Lyrics. Four LARB-selected books + access to conversation on each book with LARB editors + all the perks of the print membership. At first blush, “Unrest in Baton Rouge” may give the impression that it believes love might unite all humans, even “the men in black armor” with Evans: Even the men in black armor, the ones The metal tower full of video projectors sputters as its robotics begin spinning the video projectors around on their axes. This not only provided us with a preservation master of the original hard drives, but also gave us a safe copy to work from, so that we could closely inspect the original software without needing to touch the original computers. So much. To capacity. But while Smith is playfully making earthly the Garden of Eden (as she does elsewhere with other divine tropes), the chuckle in the lines doesn’t erase the profundity of their desire, since we often do keenly desire that which is mundane. whether I can have my son relest Slowly, the motion of the figures fell more and more out of sync with the motion of the robotics. My thirties. Life on Mars’s speakers are full of uncertainty, as seen in the many poems that try to figure out the best metaphor for the universe, or in the volume’s preponderance of questions, like, “Who understands the world, and when / Will he make it make sense? If yearning is the connective tissue of The Body’s Question, it’s everything to Duende. So much we once coveted. The Los Angeles Review of Books is a 501(c)(3) nonprofit. This site uses Akismet to reduce spam. We could let ourselves feel, knew Donate to support new essays, interviews, reviews, literary curation, our groundbreaking publishing workshop, free events series, newly anointed publishing wing, and the dedicated team that makes it possible. Who is he? It watches us watch it:Our faulty eyes, our telltale heat, hearts. What Milton calls “Man’s first disobedience” isn’t too removed from the more ordinary pleasures, especially when those pleasures are, in fact, extraordinary. © 2018 E-Verse Radio All rights reserved. Where The Body’s Question watches “[t]he shapes of words enter and play / At making sense” (“Betty Blue”), Duende finds them “[w]hittled and stretched into meaning. Please share your own poetry on our sister subreddit, r/OCpoetry. Donate $2500 to support LARB’s public events series, increasing community access to our ongoing literary conversation, and, along with all the perks listed above, we’ll gift you two VIP tickets to an event. Subscribe to LARB's FREE Weekly Newsletter: By submitting this form, you are granting: Los Angeles Review of Books, 6671 Sunset Blvd., Ste. And the flies can never stop watching. Watch Now » Robert McKay: To Be a Tourist in Your Own City . When he dies, they’ll replace him Watch Now » Tracey K Smith: Sacrament . Four books from our series and imprints + limited-edition tote + all the perks of the digital membership. While we often try to distinguish between forms of love, Smith’s work tends to trouble those distinctions. Save $10 when you subscribe for a whole year! Jay Parini is a poet, novelist, biographer and critic living in Vermont. By oscarguy. Many of the speakers of Duende grapple with the challenge of renouncing love while insisting that it is, in fact, crucial: “a momentary lapse of treason” (“Poem in Which Nobody Says ‘I Told You So’”). . The idea that “Earth may be a place of education” is a crucial maxim for Smith across her career, and Wade in the Water is no exception. TRACY K. SMITH has often spoken about her affinity with Emily Dickinson’s poem “I’m Nobody! For those in the Philadelphia area, stop by the Kelly Writers House on the University of Pennsylvania campus on March 20th to see Tracy K. Smith read. Majusculation can give a poem majesty; the poem seems to stand upright, with all of its oblique and elliptical utterances yoked to the vertebrae of its left margin. Our conservation files from the 1990s contained no documentation of the proper light levels in the space, no examples of proper projection alignment, and no record of the correct configuration of the eight channels of sound. In this Smith’s speakers are sometimes reminiscent of the flies in her poem “New Road Station,” which watch the world “with their million eyes” as “[h]istory spits Go, go, go, lurching at the horizon / Hammering at the driver’s headrest with her fist.” Lurching, hammering: There’s no point in the future at which Smith imagines that this daily process of learning will end. The field of conservation is continually evolving, not merely technologically, but philosophically and ethically. It insists that wanting to love is “The Opposite of War,” and yet its take on love is decidedly battle-weary, as in “Letter to a Photojournalist Going-In”: When everything — everything — pushes back with the promise Now, exhibiting the work for the first time at MoMA in 20 years — and now with a staff of media conservators — we were ready to engage in the transfer of knowledge from the individual to the institution. Often this volume imagines a world in which desire has become obsolete, as in the aptly titled “The Museum of Obsolescence”: So much we once coveted. a guide there--no, he cares about it. These tools are quantitative in These tools are quantitative in nature and aim to minimize the overall cost of obsolescence management. Our adventure began with the video projectors. There was only one way to find out. The method, dubbed MOCA, represents the first methodology for part obsolescence driven design refresh scheduling and optimization. To uselessness with the mute acquiescence, Of shed skin. We conducted projector “shootouts,” during which each option was compared side-by-side by MoMA conservators, curators, audiovisual technicians, and Shiro Takatani. But one thing has tended to remain consistent, and it’s “majusculation”: the capitalization of the first letter in every line of a poem, from the noun “majuscule.” I learned this word from Lucie Brock-Broido, who was also Smith’s teacher, and the first time I heard her talk about it, I thought it was spelled majesculate. The Terrance Hayes: Poetry Community Note includes chapter-by-chapter summary and analysis, character list, theme list, historical context, author biography and … Paradox and love remain intertwined in Duende. Help us create the kind of literary community you’ve always dreamed of. BooksRecounting the wars, maps of fizzled stars. 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