Rob Halpern’s Introduction from Taylor Brady’s BathHouse Reading

If you couldn’t make it to Taylor Brady’s BathHouse reading last week, get a taste of what you missed by reading EMU Creative Writing faculty Rob Halpern’s introduction below:

Introduction to Taylor Brady’s Reading

BathHouse Reading Series 11/10/11

Rob Halpern

In the interest of full disclosure, I should say, before saying anything about him, that I count Taylor Brady among my closest poet-peers, collaborators, comrades, colleagues, friends.

More to the point, without Taylor’s work in the world, I wouldn’t know how to recognize my own, which is never my own, in any case. That’s how deep the ties that bind. That’s how deep the debt.

In mentioning my debt to Taylor, you may have thought I was sharing with you something intimate, something personal, but actually, my mention of debt is calculated, invested, interested, insofar as it becomes my bridge, the trope that’s going to transport me, to carry my subjectivity ever closer to Taylor’s theme, if not to the psycho-social impetus that motivates that whole enterprise we call “lyric poetry,” the irritant that shapes its very address? I mean, debt.

In his reflections on his recent chapbook For I Know Not What I Did Last Summer (Trafficker Press) Taylor refers to debt this way: “What the lover owes to the beloved in terms of fidelity and devotion; what lack in the lover is supplied by the beloved in the form of a ‘gift’ that nonetheless creates ‘debt’”.

Thinking of this now, we might recall the psalmist’s debt to God, Rumi’s debt to his beloved, Dante’s debt to Beatrice, and of course The barren tender of a poet’s debt in Shakespeare’s sonnets.

But there is nothing eternal, nothing outside history when it comes to debt. Indeed, reflecting on our own moment, we might rather activate “the critical engagement with debt as political economy and labor discipline:” finance debts, trade debt, mortgage debt, interminable student loans and credit—well, what bearing might this have on lyric? How might lyric turn out, unexpectedly, to be a poetic modality extremely well suited to making the interpenetration of banking and voice, of finance and love—perceptible?

Now this isn’t the Renaissance, and the love-debt that became lyric poetry’s way of reflecting on its own vocation can only become something else in a moment like our own of debt and occupation. Still, lyric poetry remains, despite profound historical change, indebted: not indebted in the sense I suggested when I began a bit ago by saying I’m indebted to Taylor’s work, but rather deeply implicated in real economic debt of the sort that shapes the world and shackles our sense of futurity to forces that indebt all of us.

Taylor’s recent lyric poetry is pre-occupied with this, and his poems ask how the very time of lyric, its music, registers the time of finance. How might a lyric poem—in its intervallic cadences and contrapuntal tunings—move the ear to hear finance working in the very fiber of our selves and relations—to one another, to the world, to ourselves?

If lyric poetry is about the construction of our persons, if lyric implicates our subjectivity in its musical intervals of sense and idea, then what happens when finance becomes you, becomes us all, even those of us who would have nothing whatever to do with financial instruments and trading, who oppose it fundamentally and occupy city centers as a way of resisting it? What must happen to lyric when it begins to register something critical about our contemporary personhood under conditions when daily life itself has been financialized—when we’re all sitting here together on borrowed time, literally: who are we? who are we becoming?—when our debts, both individual and collective defy reason, contradict our very lifespan, as well as our bodies that have been contracted to pay? What happens at the very core of so-called self-expression when the objective, measurable world of calculation, money, and exchange are no longer separable from the subjective fiction we call a self? These questions couldn’t be more critical for our contemporary moment, and Taylor Brady’s lyric forms begin the work of making the consequences of these questions audible in a new work from which he’ll read called In the Red.

BathHouse Reading: Taylor Brady – Thurs, Nov.10, 6:30 p.m.

The next BathHouse Reading is just around the corner.  Don’t miss a Reading by San Francisco author Taylor Brady, taking place Thursday, November 10, 6:30 p.m. – 8:00 p.m. at the Sponberg Theatre on EMU’s campus.

Taylor Brady is the author of Microclimates (Krupskaya, 2001), Yesterday’s News (Factory School, 2005) and Occupational Treatment (Atelos, 2006). He is co-author with Rob Halpern of Snow Sensitive Skin (2nd edition published this year by Displaced Press.) His recent work from a book-length project, In the Red, is collected in a chapbook, For I Know Not What I Did Last Summer (Trafficker Press). A second book-length project, “Maps, Jokes and Heavy Armor,” has appeared in segments in various small magazines. Taylor is the editor of a volume of collected essays by Los Angeles poet Will Alexander, Singing in Magnetic Hoofbeat. He lives in the San Francisco Bay Area.

BathHouse Reading Series kicks off on Sept 29, 6:30 p.m. with EMU Creative Writing faculty

BathHouse logo

The first BathHouse reading will take place Wednesday, September 29, at 6:30 p.m. in the Sponberg Theater at Quirk Hall. This reading will feature EMU’s Creative Writing faculty members: Christine Hume, Carla Harryman, and Rob Halpern. This event is free and open to the public.

Rob HalpernRob Halpern has authored several books of poetry, including Rumored Place (Krupskaya), Weak Link (Slack Buddha) and Disaster Suits (Palm Press). His new work, Music for Porn, is forthcoming next year from Nightboat Books. With Taylor Brady, he co-authored the book length poem, “Snow Sensitive Skin” (Atticus/Finch) that will soon be reissued by Displaced Press. Halpern’s work addresses the confusion of current geo-political conflicts, making the fatal abstractions of crisis audible — finance, militarization, war. The short lyric poems that comprise Disaster Suites, for instance, register the rhythms and desires of everyday life as they converge with devastating events from Katrina to Iraq. Halpern is also an essayist and a translator. His essay on Baudelaire’s prose poems recently appeared in Modernist Cultures. The essay, “Realism and Utopia: Writing, Sex and Politics in New Narrative” will appear in the next issue of the Journal of Narrative Theory. He’s co-editing the poems of the late Frances Jaffer together with poet Kathleen Fraser and translating the early essays of Georges Perec. Halpern received his Ph.D. in Literature from the University of California, Santa Cruz (2006). He is Assistant Professor in the Creative Writing Program.

Carla HarrymanCarla Harryman is a poet, essayist, and playwright, known for genre-disrupting poetry, performance and prose. She has published 13 single-authored works, including Adorno’s Noise (Essay Press), Open Box (Belladonna), Baby (Zephyr Press) and Gardener of Stars (Atelos). The Wide Road, a multi-genre collaboration with poet Lyn Hejinian, is forthcoming from Belladonna. She is co-editor of Lust for Life, a volume of essays on the novelist Kathy Acker. She is special issue editor of “Non/Narrative” forthcoming from the Journal of Narrative Theory. Her recent articles include: “Something Nation: Radical Spaces of Performance in Linton Kwesi Johnson and Cris Cheek” (Diasporic Avant-Gardes, Palgrave/MacMillan). Her poets’ theater and interdisciplinary performance works have been performed nationally and internationally. A frequent collaborator, she is co-contributor to the multi-authored experiment in autobiography, The Grand Piano, a project that focuses on the emergence of language writing, art, politics and culture of the San Francisco Bay area between 1975-1980. Harryman serves on the faculty of the Creative Writing Program at Eastern Michigan University.

Christine HumeChristine Hume is the author of three books of poetry, most recently Shot (Counterpath), and a chapbook with CD, called Lullaby: Speculations on the First Active Sense (Ugly Duckling Presse). She is coordinator of the interdisciplinary Creative Writing Program at Eastern Michigan University, where she hosts Poetry Radio, an Internet radio show and podcast featuring contemporary and historic sound art, performance art, sound poetry, audio narratives, collaborations between writers and musicians, as well as student work.

Find out more about the entire BathHouse series at: