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• W2075013883 abstract "Editor's Column:The Beauty of Epigraphic Blackbirds (or Just After) Bart Eeckhout In the previous issue of this journal, Marjorie Perloff describes Wallace Stevens' fifth way of looking at a blackbird as a lyric that could serve as epigraph for Stevens' entire corpus (24). These are the lines she refers to: I do not know which to prefer,The beauty of inflectionsOr the beauty of innuendoes,The blackbird whistlingOr just after. (CPP 75) Perloff's particular fondness for such lines is due to the fact that, to her, Stevens' most fully satisfying poems are written in what we might call a counter-, or at least anaphoristic mode, a mode that studiously avoids the 'finish' of adagia (22). Stevens himself explained that Thirteen Ways of Looking at a Blackbird is not meant to be a collection of epigrams or of ideas, but of sensations (L 251). In this column, I would like to take a moment to reflect on three different instances in which Perloff's and Stevens' comments prove to be relevant to the material afterlife of the poet's five little lines. As if to support Perloff's claim that the lines may serve as a kind of epigraph to the entire oeuvre, the three instances I am referring to are all more or less epigraphic in the original sense of the word: they take the form of material inscriptions on display for the general public. They are to be found in, respectively, New York City; Hartford, Connecticut; and cyberspace. You might step on the first epigraph without noticing straight-away: it is part of the sidewalk on Forty-First Street in Manhattan, across from the main entrance to the New York Public Library. You might miss the second one entirely: it sits off the north side of Asylum Avenue, away from the sidewalk at one of the landscaped entrances to the Saint Francis Medical Center (see www.stevenspoetry.org). The third epigraph leads a similarly obscure existence: it is part of the website of a certain Edward [End Page 149] Picot, an Englishman with a PhD in English Literature who likes to spend his spare time as an online artist and promoter of hyperliterature (see edwardpicot.com). Some material contrasts between the first two epigraphs are all too blatant. Whereas the bronze plaque in Manhattan reproduces the five lines in the very sidewalk on which people step, the granite stone containing the lines in Hartford leads a marginal life as an inconspicuous object caught, at best, from the corner of the eye. Their self-publicizing quality, in other words, is very different. In New York, the plaque is visible to thousands of passersby every day. In Hartford, nobody walks along Asylum Avenue, and if they do, they would have to be Whitmanian loafers before they would even begin to notice the granite slab. New Yorkers, moreover, have it easy: the plaque identifies the five lines by author, date of birth and death, and title of the poem. Hartfordians are made to forgo this instant satisfaction. What they encounter is simply the five lines engraved in black letters and preceded by the Roman numeral V (which some may mistake for an allusion to Thomas Pynchon). Finally, in New York, Stevens' lines are decorated. The sculptor, Gregg LeFevre, designed a series of birds' footprints around them—or rather, two series, both starting from the lower left corner, one swerving around the text to the left (nineteen imprints), the other to the right (fifteen imprints), both tripping out of the frame again in the top right corner. A passerby who stops to reflect on this may feel that the birds' feet are not just meant to be those of blackbirds (obviously), but also that the two swerving sets replicate the speaker's inability to choose between two kinds of beauty—and even that the traces the feet leave in the bronze serve as a visual corollary for the dynamics of presence and absence staged by the text in the acoustic realm: these blackbirds seem to have flown even as their whistling has died. (I admit this passerby seems to have gone to graduate school.) In Hartford, meanwhile, the..." @default.
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• W2075013883 date "2011-01-01" @default.
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• W2075013883 title "Editor's Column: The Beauty of Epigraphic Blackbirds (or Just After)" @default.
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• W2075013883 doi "https://doi.org/10.1353/wsj.2011.0026" @default.
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