Abstract
In this chapter, I look at the case study of the contemporary poet Robert Grenier, in addition to a constellation of influences, especially Charles Olson and Larry Eigner, to examine how John Cage’s conception of silence was modified by US poets associated with the Language writing movement. I will return, in particular, to Grenier’s 1971 essay “On Speech”, widely regarded as one of the most important theoretical statements of its milieu. In that essay, Grenier expresses a hatred of speech—where speech is understood both as an arrogation of the metaphysics of the subject, and as the grounding of meaning in intersubjective communication. This hatred of speech, I argue, inevitably leads Grenier to a graphic practice that intends to disrupt the readability of the poem, preventing it from being read-out-loud. I explore how this mode of silent reception—which is based on a slow, contemplative reading—disrupts the boundary between literature and art, reading and seeing, and recasts poetry as an art of silence as a notation of experience, rather than an art of sound as a notation of speech.
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Notes
- 1.
See Dworkin, C., Reading the Illegible, Evanston: Northwestern University Press (2003).
- 2.
Research on this chapter has been significantly constrained by the COVID-19 pandemic. In the lull between lockdowns in the United Kingdom, I undertook a research visit to the Bury Arts Museum in Greater Manchester. Both poems are archived there.
- 3.
In an interview with Paul Stephen in BOMB Magazine, for example, Grenier connects his poetry to Heidegger’s writings on technology. See https://bombmagazine.org/articles/robert-grenier-and-paul-stephens/.
- 4.
“Line has a meaningful identity only when we begin to hear its relationship to other elements in the poem” (Longenbach 2008, 5).
- 5.
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Gould, T. (2022). The Hatred of Speech and the Poetics of Silence. In: Mayar, M., Schulte, M. (eds) Silence and its Derivatives. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-06523-1_10
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