Dom Sylvester Houédard from The Cosmic Typewriter

Rick Poynor over at Design Observer reviews a new book, Notes from the Cosmic Typewriter, about the British Benedictine monk, scholar, translator, concrete poet and artist Dom Sylvester Houédard (1924–92). An excellent occasion to get a glimpse of a neglected master of Concrete and Visual Poetry.

Poster for a lecture at the Royal College of Art, London, March 1964. Designer unknown

 

Dom Sylvester Houédard, 69, 1964. (Collection: Ruth and Marvin Sackner Archive of Concrete and Visual Poetry)

 

Dom Sylvester Houédard, a particular way of looking, 1971
(Collection: Ruth and Marvin Sackner Archive of Concrete and Visual Poetry)

 

Dom Sylvester Houédard, comment le present ouvrage suscite ces questions critiques, 1971
(Collection: Ruth and Marvin Sackner Archive of Concrete and Visual Poetry)

 

 

 

 

 

 

 

 

 

A Celebration of James Schuyler

 

 

February

 

A chimney, breathing a little smoke.
The sun, I can’t see
making a bit of pink
I can’t quite see in the blue.
The pink of five tulips
at five p.m. on the day before March first.
The green of the tulip stems and leaves
like something I can’t remember,
finding a jack-in-the-pulpit
a long time ago and far away.
Why it was December then
and the sun was on the sea
by the temples we’d gone to see.
One green wave moved in the violet sea
like the UN Building on big evenings,
green and wet
while the sky turns violet.
A few almond trees
had a few flowers, like a few snowflakes
out of the blue looking pink in the light.
A gray hush
in which the boxy trucks roll up Second Avenue
into the sky. They’re just
going over the hill.
The green leaves of the tulips on my desk
like grass light on flesh,
and a green-copper steeple
and streaks of cloud beginning to glow.
I can’t get over
how it all works in together
like a woman who just came to her window
and stands there filling it
jogging her baby in her arms.
She’s so far off. Is it the light
that makes the baby pink?
I can see the little fists
and the rocking-horse motion of her breasts.
It’s getting grayer and gold and chilly.
Two dog-size lions face each other
at the corners of a roof.
It’s the yellow dust inside the tulips.
It’s the shape of a tulip.
It’s the water in the drinking glass the tulips are in.
It’s a day like any other.

James Schuyler, Collected Poems, Farrar Strauss Giroux, 1993

 

 


Frank O’Hara, John Button, James Schuyler, and Joe LeSueur watching television, ca. 1960.

 

 

 

Letters from Italy, Winter 1954–55,  from James Schuyler to Frank O’Hara
in Jacket Magazine nº29, April, 2006

 

Nov 7, 1954
American Express

Rome, Italy

 

Dear Frank,

Just a note to tell you that I’m taking your note to the local tapestry works, where I’m going to have it copied in Parker blue on Sphinx typing paper gray, wall-size. And my idea of wall-size is the northern flank of the UN Building. You’re cute, that’s what you are.
     Anguillara didn’t work out for beans, so I’m established in a somewhat meager, but pleasant, little hotel in Rome. My days are full, fair and fine, but my evenings barren of any sort of intercourse. I’ve become a moviegoer again, if not a bug or fan; it’s like being an opium addict without getting any lift. Let’s see, I’ve seen: Witness to Murder, Mogambo, Ulisee (I saw it in Italian, so that’s what I call it), de Sica’s dud, Stazione Termini, On the Waterfront, From Here to…and a couple of Italian ones I won’t go into. Not to put a fine point on it, I thought them all hell; though many featured nice-lookers caught looking their best. Tonight it’s a toss-up between Danny Kaye, dubbed, or Gerard Philipe, not dubbed. Maybe I’ll just duck over to the forum and worship a heathen idol instead.
     If you don’t tell me what poems you have in Poetry, I’ll — o I don’t know what I’ll do. Gnash my teeth, perhaps.
     Al K [resch] was here, and having so much fun. He couldn’t sit down without drawing, and he vanished one morning into the Vatican before 9, and had a fit when they told him at 2 they were closing. I can’t spend ten minutes there without thinking how far I am from the nearest comfortable café. But now he’s back in Munich. And Bill [Weaver] is in Vienna, as are the boys. (Do, if you haven’t, write Bill: it seemed as though every time we went to Amer. Exp. together, I got a letter from you. Or so it seemed to him! You know how rejectable our young folk are nowadays.)
     This is just a silly Sunday evening note, brought on by your note, which touched me so.

Love,  Jimmy

 

 

Tuesday, October 30, 1990

The sky at 6 clear and gray as blotting paper, a sky for which the loud unmodulated grind of a garbage truck is the fitting music on the right instrument.
Tomorrow morning Tim Dlugos is going to be interviewed, and to read part of his long poem just published in The Paris Review, on one of the morning talk shows—”Good Morning America,” I believe it’s called. If only this were not in a segment called “Living with AIDS”! His latest affliction is one suffered only by people with AIDS and birds, which causes his temperature to go rocketing up and up. A line of Stevens kept coming into my mind: “Dying lady, rejoice! rejoice!” How can he? Why should he? Because he’s going to Abraham’s bosom? Bur he’d prefer to stay in his Christopher’s arms.

from The Diary of James Schuyler, ed. Nathan Kernan, Black Sparrow Press, 1997

 

The Green Stamp Book; Sally’s Hair

detail from an ad for broadcast tv 1950

Advertisement for Broadcast Television, 1950 (detail)

 

The Green Stamp Book

by Susan Wheeler

 

Child in the thick of yearning. Doll carted and pushed
like child. The aisles purport opportunities —

looking up, the women’s chins, the straight rows
of peas and pretzels, Fizzies’ foils, hermetic

boxes no one knows. I’ll get it! What thing therein
— bendy straws, powder blue pack Blackjack gum —

will this child fix upon? On TV, women with grocery carts
careen down aisles to find expensive stuff. Mostly,

this means meat. This, then, is a life. This, a life
that’s woven wrong and, woven once, disbraided, sits

like Halloween before a child, disguised in its red
Santa suit, making its lap loom the poppy field

Dorothy wants to bed. Can I have and the song’s begun.
O world spotted through more frugal legs. O world.

 

 

Sally’s Hair

by John Koethe

 

It’s like living in a light bulb, with the leaves
Like filaments and the sky a shell of thin, transparent glass
Enclosing the late heaven of a summer day, a canopy
Of incandescent blue above the dappled sunlight golden on the grass.

 

I took the train back from Poughkeepsie to New York
And in the Port Authority, there at the Suburban Transit window,
She asked, “Is this the bus to Princeton?”—which it was.
“Do you know Geoffrey Love?” I said I did. She had the blondest hair,
Which fell across her shoulders, and a dress of almost phosphorescent blue.
She liked Ayn Rand. We went down to the Village for a drink,
Where I contrived to miss the last bus to New Jersey, and at 3 a.m. we
Walked around and found a cheap hotel I hadn’t enough money for

 

And fooled around on its dilapidated couch. An early morning bus
(She’d come to see her brother), dinner plans and missed connections
And a message on his door about the Jersey shore. Next day
A summer dormitory room, my roommates gone: “Are you,” she asked,
“A hedo­nist?” I guessed so. Then she had to catch her plane.
Sally—Sally Roche. She called that night from Florida,
And then I never heard from her again. I won­der where she is now,
Who she is now. That was thirty-seven years ago.

 

And I’m too old to be surprised again. The days are open,
Life conceals no depths, no mysteries, the sky is everywhere,
The leaves are all ablaze with light, the blond light
Of a summer afternoon that made me think again of Sally’s hair.

El, 64th Street, New York, 1955

William Klein, El, 64th Street, New York, 1955

 

_________________

On October 16th, 2012 at 6pm, Susan Wheeler and John Koethe will be reading new poems at Labyrinth Books,      122 Nassau Street, Princeton, NJ. The reading is free and open to the public.