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• W350192275 abstract "Some years ago, scrambling up a canyon winds through Jabel Rumm in southern Jordan, I heard a muezzin's call to prayer carried by wind, amplified and distorted into a low rumble by sheer sandstone rockface towered above me. sound was acutely disorienting as I had been hiking for some time in eerie silence unique to a desert landscape, and it took me several moments before I realized recurring, undulating waves of sound were in fact a man's voice and voice had traveled a considerable distance and in so doing had seemingly detached itself from its body and acquired a timbre and identity of its own. Or had it? echoing call, which by now had turned in my mind into song, lasted for some twenty minutes and allowed me to retrace my steps to canyon's entrance from where I could clearly hear modulated voice of muezzin sucked back into simple, squat minaret rising above mud brick Bedouin village of Rumm. What I would like to propose in following pages is a certain kind of writing--of which Christopher Middleton is one of our keenest practitioners--is inherently in pursuit of its own echo. In order to find or actualize its voice, such configural poetry (formal if not necessarily metrical poems, which, according to Middleton, enshrine and radiate poetic space) must establish proper ground, measure and silence in which its echo may resound. diverse provenance of Middleton's own poetry is so great--we have, after all, poems from his native Cornwall and his adopted Texas, as well as from France, Germany, Mexico, Japan, Turkey--that speaking of one locus may be unjustly reductive; but I would nevertheless like to suggest numerous poems written in or about Turkey--the Asia Minor of Middleton's imagination--are numinous center of his work, and it is from such a grounding poet tracks most effectively his own echo: Friction of woof against My warp and whole creaking fabric Woven through starlit Shores I do not forget, if only Echo, my nymph, in deep flow Parades her limbs ... If Echo is bodied forth as a nymph midway in Tussock Moth, it is precisely in her role as a figure in Greek mythology we may better grasp dual nature of poet's quest. Echo, whose speech was cut by Juno in a fit of anger, is reduced to repeating tail end of sounds she hears. Catching sight of Narcissus wandering in forest, she is fired by love, yearns to lure him into her arms, but must wait helplessly for Narcissus to speak before she can repeat his words in her own voice. Is anybody here, Here, Come, Come, Why run from me? Run from me, Here we shall meet, Meet. Slipping out of shadows, Echo runs up to her lover--To coll lovely necke for which she longed had so much, in Arthur Golding's sixteenth century rendition--only to be cruelly repulsed. Disenchanted, she retreats into forest and slowly wastes away: Hir bodie pynes to skinne and bone, and waketh wonderous bare. / bloud doth vanish into ayre from out of all hir veynes, / And nought is left but voice and bones: voice yet still remaynes. Middleton, not unlike Echo, is acutely aware of interstices, slippages and frictions, sound and meaningful speech--poetry's prolonged hesitation, as Valery wrote, between sound and sense. poet's task is to recapture a voice is there to be heard provided he is licked by flames of memory and desire. A tongue can deceive, as Echo's initial prattle distracted Juno, but it can also in its pure, disembodied form summon self to all that doth remayne alive above ground. In Middleton's case this is the whole creaking fabric / woven through starlit / shores I do not forget. Tussock Moth opens rather ominously with poet's careful inspection of a dead moth, The feelers erectile, / Forelegs cradle an ellipse. …" @default.
• W350192275 created "2016-06-24" @default.
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• W350192275 date "2005-03-22" @default.
• W350192275 modified "2023-09-26" @default.
• W350192275 title "Middleton in Asia Minor" @default.
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