seekings

Perhaps the appraisal of Marlene Mountain that is most important of all comes from Haruo Shirane, author of the influential book Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashō (Stanford University Press, 1998): in 2001, he wrote to her:

Dear Marlene,

I consider [William J.] Higginson to be a close friend and I admire his work greatly, but here I must offer a different opinion with regard to your work. Whether or not it fits some definition of haiku is of little relevance in the larger picture. The fact is that it is superior poetry, much superior to almost the entire body of what has been narrowly defined in North America as *haiku.* Bashō, like his great rival, Saikaku, felt that it was not form that counted, it was the poetry, the quality of the words, how it could move the reader. In their younger years, they broke all kinds of rules. Saikaku was criticized severely, and was told he was just *blowing dust.* But it was in the process of breaking rules that these poets often made their greatest poetic achievements. Great poets don’t stick to rules; they make their own. You belong in that company.

To put it another way, what was most important for Bashō was what was called *haikai spirit*, to be constantly seeking new horizons, new forms, new words, new emotions. In my view, you have that spirit.

Haruo Shirane (Columbia University)

 —

excerpted from Jack Galmitz’s essay “then I must go to the Mountain: (space reserved) for Marlene Mountain” (R’r 12.2), and can also be found in his collection of essays, Views (Cyberwit Press, 2012)

2 new books by Jack Galmitz

Contributing editor of R’r, Jack Galmitz, has two new books out: Views (Cyberwit), and The Word ‘Dog’ Does Not Bark (Lulu Press).

Beth Vieira, a former professor at the University of California at Berkeley, wrote the introduction for Views. Here’s a small excerpt to give you an idea:

“[Jack Galmitz’s] Views (. . .) shows the power of allowing perspectival seeing, the layering of views, to accumulate on a topic that might be a bit like an elephant in miniature—contemporary haiku. Like the blind men in the [famous Buddhist] parable, people cling to their own views of haiku even though they have grasped just a part. Galmitz, in tandem with fourteen poets, follows Nietzsche’s lead to allow “more affects . . . more eyes” to the matter.

Through interviews, book reviews, and critical pieces, Galmitz covers the poetry and larger concerns of a broad range of writers: paul m., Peter Yovu, Chris Gordon, john martone, Ban’ya Natsuishi, Tateo Fukutomi, Tohta Kaneko, Robert Boldman, Marlene Mountain, Grant Hackett, Richard Gilbert, Dimitar Anakiev, Mark Truscott, and Fay Aoyagi. Each writer appears in exquisite specificity, as if Galmitz can disappear into each’s shadow and yet at the same time be so active that he pulls them into the spotlight to take a fine-tuned look at the work each does.”

The Word ‘Dog’ Does Not Bark is a new collection of recent work by Jack. The poems in the collection are each given a title. Here are two examples that appeared in slightly different forms in R’r 12.1:

Ancestry

Descendant

of a star

that coexisting

Ancestry II

Impose do not

on the blank space

that pinioned the burial