Category Archives: Poetry

Books Poetry

The latest review of HOLDOUTS

Wednesday, September 25, 2013

Joe Safdie wrote a very appreciative review of HOLDOUTS: The Los Angeles Poetry Renaissance 1948-1992 that Paul Vangelisti published in an issue of OR magazine last spring. Since I started this blog after Safdie’s review was published, the arrival of Mike Sonksen’s enthusiastic endorsement of my literary history of Los Angeles’s poetry communities seems to be an appropriate time to celebrate the continued good fortune of favorable commentary. In posting excerpts from the notices my book has received in the past year and a half, I’d also like to send out a note of appreciation to Noel Kalenian in Colorado, who made a point of including a favorable citation of my book in his job at a library in Denver, Colorado.

“Bill Mohr’s Hold-Outs, published by the University of Iowa Press, fills in the blanks with a multigenerational account of southern California’s literary landscape from 1948 to 1992 that connects the dots between the Cold War, the Beat Generation, the Civil Rights era, the small press movement, punk rock, and the spoken word.  … Mohr’s volume is the only one I’ve seen to connect the movements, mapping out the cultural topography with specific writers, readings, bookstores, and literary magazines. …. Hold-Outs commemorates the small press movement in all its do-it-yourself grandeur yet also demystifies it by showing the social, political, and financial struggles and sacrifices that poets like Wanda Coleman and Leland Hickman had to make in order to survive as writers in contemporary times. Future poets and literary scholars can use this book as both a roadmap and caveat.”

— Mike Sonksen, Southern California Quarterly

“Bill Mohr’s exhaustive and poignant reclamation of the poems, small presses and various poetic communities of Los Angeles over four-plus decades. …. There’s nobody more qualified to conduct this literary anthropological dig than Mohr …. The insights and information – not only about individual poets and communities, but about the grunt work involved in being a typesetter and magazine editor – are priceless. … The more I spent time with Holdouts, the more I realized what an extraordinary gift it was, helping me reclaim some of my own poetic legacy and that of any writer who’s lived on the West Coast in the last half-century.” — Joe Safdie, Or magazine, forthcoming in issue no. 10 (Spring, 2013)

 “Holdouts is the first serious, big-picture consideration of the often ignored or misunderstood post-war L.A. poetry scene. In a book both accessible and authoritative, Mohr tells an essential story of our cultural history with surprising, provocative and poetic insights into place, politics, and the people who contributed to what Mohr argues is an enduring art.” — Andrew Tonkovich, Host, KPFK, “Bibliocracy”; Editor, Santa Monica Review

“Mohr captures this half-century of exuberant creativity in his terrific new book. … Mohr’s account is richly detailed and, with its anecdotes and portraits, a delight to read. The city comes alive through an eclectic and passionate group of people and their writing, publishing, reading and sharing. Further, Mohr’s is a generous and passionate voice, refusing the codify and cement a single history, but determined that there be some acknowledgement of the Los Angeles poetry renaissance and that it at once be part of a legacy, if only to question the limits, exclusions and boundedness of such a term.             — Holly Willis, “Arts and Culture,” KCET (January 17, 2012)

“The history of poetry is the history of change in poetry. … Bill Mohr’s superb Hold-Outs: The Los Angeles Poetry Renaissance, 1948-1992, (is) as decent a history of the poetry of that period as I’ve come across, whatever the focus.” — Ron Silliman, Weblog, Tuesday 29, 2012

“A dedicated editor and publisher, and now scholar and literary historian, Mohr has made an indelible mark on the city’s literary history.” — Stephen Motika, Palisades Post; (January 20, 2012)

 

REVIEWED IN GREAT BRITAIN

Review by Jim Burns. http://www.pennilesspress.co.uk/NRB/holdouts.htm

 

Performance Poetry Theater

“Escape by Balloon”

Monday, September 23, 2013

“Escape by Balloon”

The Burbage wasn’t the only theater group to make use of the Company Theater’s space on Robertson Boulevard. The most unusual play by a visiting troupe was called “Escape by Balloon,” which I have no program for. My guess is that it was the spring of 1972, when I was putting the finishing touches on editing the poetry section for the first issue of Bachy magazine. How long the play ran at the Company Theater I can’t be sure, but I doubt it was for more than a month. It was an ensemble-oriented effort, though, intriguing enough that I went to see it a second time. The “plot” line (what there was of it) clustered its images around a plan by some captured soliders in the War Between the States to escape from their prison by making use of a balloon. At some point about three-fourths of the way through the play, each character was asked what they would be willing to give up. The second time I saw the play, on the final night of its run, one of the members of the troupe said to the others, “I’m giving up this role,” and walked off-stage, but not before turning to the audience and inquiring, “Anyone want to take my place?” There was a pause. Whatever any character in the play had recited in any earlier performance of the play had obviously never been as radical as this gesture. No one in the audience responded to the gap in the performance for about 90 seconds. Then I stood up and walked onto the stage, a sudden stranger in the midst of an unforeseen escape. I had seen the play and so I knew where it was headed: from that point on, the character who left did not have any dialogue, but primarily moved in a slow dance towards an imagined culmination. I rode home on my motorcycle that night, certain that something beyond my control had guided me to the theater that night and would continue to accompany me, in all the guises and ruses that an artistic life requires of its celebrants.

 

 

 

 

 

Performance Poetry Theater

Two Theater Companies in Los Angeles

September 22, 2013

TWO THEATER COMPANIES IN LOS ANGELES

When I moved to Los Angeles, I was more interested in theater than poetry. The most important theater company in the city back then was the Company Theater, located on Robertson Boulevard south of Olympic Boulevard. This troupe of actors and actresses understood better than anyone else in Los Angeles how to empower the “empty space” that Peter Brooks had proposed as the only sine qua non for theater. They also fit the prevalent pattern of being the senior segment of young people who were revising cultural expectations for avant-garde activity. Although the category of “baby boomers” gets more frequently cited in this period, the cultural reality of the 1960s and the first year or two of the 1970s was that young people born between 1940 and 1945 were the primary instigators of alternative artistic communities. One of leading actors in the Company Theater, for instance, was Gar Campbell, who was born in 1943 (11/9/43), just a few days after Sam Shepard (11/5/43).

It’s my understanding that Campbell went to the University of Southern California, where he met most of the people with whom he would go on to create the Company Theater, after which he founded and directed plays at the Pacific Resident Theater. The USC connection with the Company Theater goes past the undergraduate terms of its founding members. Laurel Ann Bogen may have been the first poet in Los Angeles to have seen the troupe, since she says they returned to campus to take part in an orientation week presentation in the fall of 1967. USC wanted to showcase the up-and-coming troupe as an example of the intrepidity of their recent graduates and Bogen’s life-long foray in poetry’s underground probably was kindled by the celebratory energy of Company Theater; Bogen herself became involved with the group in the second half of the 1970s, founding the Los Angeles Poets’ Theater at their venue as a way of trying to revive their depleted circumstances.

Although I attended and enjoyed the undulant sensuality of their early signature rite of passage, “The James Joyce Liquid Memorial Theater,” the play that hurled an image into my permanent definition of theater was “The Emergence.” Several characters who seemed to be jovial versions of the knight in Bergman’s “Seventh Seal” were off on a quest: suddenly the theater went dark. When the lights came up, we in the audience could barely see the actors stretched out on their backs on the floor of the stage, the backlit tips of their boots protruding past a long, slightly curved board that was as far downstage as possible. The heads of each character were tilted up off the stage floor; each character peered “down” at us, each of whom in the small theater (which perhaps held 90 people) had a profound sense that suddenly we were at the bottom of a deep well, and that what the actors were seeing were these odd characters peering back at them with awkward expectation of being recognized as exactly what we were: illuminated, puzzled beings, tussled into their story. Never before, and never quite to that extent since, have I felt as if the audience was so profoundly integrated into the mise-en-scene.

The Company Theater went on to produce a considerable number of plays, especially by Michael McClure, with whom later I would have the privilege of studying at Padua Hills. One of the twenty most startling performances I have ever seen in any theater was by Gar Campbell, whose enactment of the mania of “Spider Rabbit” at the Company Theater on Robertson Blvd. still reverberates in my mind. One of the other plays the Company staged at their original digs was Lance Larsen’s “The Hashish Club,” which was derived from Theophile Gautier’s “Le Club des Hachichins” (1846). I saw the play before it moved to New York and had a very brief run at the Bijoux Theater in January, 1975. Gar Campbell, Lance Larsen, Dennis Redfield, Jack Rowe and Michael Stefani comprised the cast. The one-sheet program for the production in Los Angeles prominently acknowledges Trish Soodik as the person whose idea of an adaptation was the original impetus. Soodik was a very fine and courageous actress who was brilliant in a production of McClure’s The Grabbing of the Fairy. Soodik died a couple years ago and you can still read the blog of her final months. Her first husband, novelist and scriptwriter Henry Bromell, also recently died. In addition to acting, Soodik was herself a playwright. I regret not having a chance to see her play, “The 60s,” at the Pacific Resident Theater on Venice Boulevard.

I can’t recall the specific reasons that the Company Theater found itself with an open enough schedule to sublet its venue, but a theater troupe that had started in Hermosa Beach in the late 1960s found refuge on Robertson Boulevard in the early seventies. The Burbage Theater Company, headed up by Sal Romeo, had run into conflicts with the local police in Hermosa Beach and given up its venue rather than endure harassment for putting on plays such as Rochelle Owens’s Futz. Finding another theater to work in was less than easy, and so it eventually borrowed the Company Theater’s space for a production of Paul Foster’s Tom Paine. The Burbage also staged Ionesco’s Exit the King for a brief run at the Company Theater. Theater company rarely thrive as houseguests, however, and fortunately the Century City Playhouse on Pico Boulevard became available for a lease. At that point I joined the Burbage as it slowly pulled together its first production in Rancho Park, The Devils.

Music Performance Poetry

Darden Smith — “I Smell Smoke”

Saturday, September 21, 2013

DARDEN SMITH – “I Smell Smoke”

Not every songwriter can be Bob Dylan; not every musician a Michael Hedges. Bruce Springsteen once was asked who his favorite songwriters were, and he replied, “The one-hit wonders.” Sometimes, of course, a songwriter or performer has to wonder why even that one-hit proves dismayingly elusive. The late Jackie Lomax would seem to be a case in point.

Among contemporary songwriters, I’ve especially admired the dedication of Darden Smith, who is one of the vast contingent to have emerged out of the recent Southwest/Texas scenes. I’m not sure that Darden Smith has had a hit song at any point in the past thirty years, but he has a few songs that are worth listening to repeatedly. Mostly recently, I heard a recording of “I Smell Smoke”; it’s the kind of song that a young singer could add to his early repertoire and thereby make it clear to the audience where he sets the bar for his own compositions. It would, in fact, be a great song to play in a bar. It’s also a song where the lyrics could easily shift over to be sung by a woman.

I first heard Darden Smith play at a club on the Sunset Strip. I’m not sure if it was the Roxy. I had gotten tickets through my job at Radio & Records and all I was really anticipating was a night out listening to live music. I ended up writing a poem about the occasion.

SUNSET BOULEVARD

Two ridges

of soft blue light

gleam off an upright bass,

notching outthrust rims

of polished wood, an instrument

to stand behind, whose weight

assures the plucking’s command,

imperative of hip and hand.

He comes out first on the dim stage,

dips his fingers

in the rivulets and smears it on

the thick strings.

One hand rappels the bass’s neck,

playing notes Darden Smtih

can’t sing. He’s not a genius,

but devout and patient and shy

and proud. How could he forgive her —

“You’re not worth the sacrifices

I’ll have to make.” “Maybe not, but I’m

still asking you.” No, again.

The room was very quiet, as when mountains,

at twilight, amass their shadows

in layers of crushed rock, protruding crudity,

and chill. The splendor of fertility

relinquished. “I don’t blame her. It’s been harder

than she suspected. Not even I’ve endured.”

 

The next time I saw Darden Smith was at McCabe’s, in 1988, and then another time in the first half of the 1990s. His song, “Little Victories” was out by then, though I remember that his live version wasn’t as strong as the recording. At least that night. He’s still touring quite a bit, and I believe he’s on a tour in Great Britain right now. I have doubts that anyone in GB is reading this blog at this early stage in its promulgation, but if someone happens on it by chance, and learns that Darden Smith is nearby, then give a listen to this modest craftsman as a way of reminding oneself of the value of reiterated imagination. The break-through song is the one you’ll write today and think of as an ordinary effort.

 

 

 

Ground Level Conditions Military Life Poetry

The Superficies of Servitude (Part Four)

Saturday, September 14, 2013

 

The Superficies of Servitude

Part Four: Class Act

“The superficies is the world.” – T.S. Eliot

 

Inimical truth? Why not?

If signs are artifice,

And only that, then face

The placid, flatulent rot

 

Of imagined fact: “We thought

You grew up in a house

Troughed with books and mounds

Of residual bon mots.”

 

Rosaries, Navy issue-

Ligorian, The Guns

Of Navarone, and artificial

Ice milk glowed like icons.

 

For years I’ve minimized

The maelstrom of this rift.

The work that others shirked

I muscled up as heft,

 

A cunning counterfoil,

Pretending to be nice

In hierarchy’s toil

Of munificent class.

 

 

Ground Level Conditions Military Life Poetry

The Superficies of Servitude (Part Three)

Thursday, September 12, 2013

(The Superficies of Servitude)

 

Part Three: The Brat’s Inscriptions

 

Aggrieved by formula, he wailed all night.

Colic, doctors claimed, as he flailed at the lactic brawl.

Stray twilight dogs showed up, enthralled recruits

Whose only purpose was to demonstrate

Rejection rates. Go find another bowl

Emptied enough to match your solemn howl.

“He must’ve gotten out during all our ruckus,” his dad

Would say, and what were we but animals

Too raucous to be handled . . .

 

Futility, thy name is brat, and mine.

 

There’s nothing to romanticize. Best friends?

Since when do thugs pretend to make amends?

An ideal betrayed is knowledge mocked:

“Could you change your brother’s diaper, push

Him in a stroller round the block? The bullies

Will let you be as long you’re helping me,”

She says. Was all of it that bad? Not so. Not so,

Insists a quiet voice. Who wants to loathe

One’s youth as utter emptiness? Weren’t boxes

Cheap with chocolate layered to nibble,

The sugar twisting logic to a scribble?

A mother is a saint, but if her child commits

a single mortal sin, her child will suck the tits

of Satan for eternity. Our fathers strut

on decks, three months at sea, revolving six.

Each afternoon, Queen for a Day forages

for bathos. Crouched on a hallway chair,

A mother sobs to four boys and two girls:

“You kids will kill me yet.” Imagine saying that

To Mr. Bailey. Jack, not George.

What other prizes loll in storage?

I am no gracious punk, nor was primed to be.

My mother watches others whimper and entreat,

Holds out cold cream, and asks if I’ll rub her feet.

Doesn’t now redeem that prison-house?

If it exists for someone else, then no.

Let all that trumpery of super-sacrifice

Dissolve within these streaks of soldered woe.

 

 

Ground Level Conditions Military Life Poetry

The Superficies of Servitude (Part Two)

Wednesday, September 11, 2013

The Superficies of Servitude (Part Two): Shore Leave

 

Capitulation doesn’t mean you cannot catapult:

Small plastic planes on a wooden floor

Gain valence from his younger brothers’ roars:

“The plane goes up,” one grimaces with glee

The mother’s hands jerk and quiver —

Wings pinched to polished hurtling descent —

And the plane comes down. He smashes it

And domes his freckled hands as cenotaph

For wreckage. Their mother flinches. Again, again,

His hands toy with the likelihood

Of perishing at sea: head, arms and torso strewed.

 

“Don’t be such brats.” The speaker wants to shame

This gyroscope of snot for not accepting blame

That others shun. They’re secretive:

Can’t you tell how quickly each has said farewell?

Disposable as kindness best forgotten

As having as its source, the brat,

His whooping loyalty to something rotten

Is puzzled by Authority’s abrupt

Reward for a lifetime of service:

Contempt that makes the honor nervous.

 

Ground Level Conditions Military Life Poetry

The Superficies of Servitude (Part One)

Monday, September 9, 2013

THE SUPERFICIES OF SERVITUDE

 

Nos pavidi trepidare metu crinemque flagrantem

executere et sanctos restinguere fontibus ignis.

Aeneid, Book II, lines 685-686

 

 

One: The Navy Brat Changes Schools Yet Once Again

 

Each morning he contrives a pledge

Allegiance to the wedged

Mutations of his chromosomes,

Devoted to the wealth of others’ homes.

With daily recitations of his credo

And commissary gravy embedding mashed potato,

The brat, no doubt, is gratified to be fed

As pigs whose greasy welfare will be bled.

One replicates the thing one is devoted to:

The servitude his father was corroded through.

Only officers’ sons beribbon patrimony.

The brat salutes his father’s twenty-year enlistment

Whose moiety’s a lunch of mayonnaise and baloney.

 

The Navy Brat grows fond of obscure words:

Causerie. “Doesn’t what we’re saying make total sense?”

They jeer and tsk. Only to a bloated recidivist

Of absurdity, he wants to say, but playing dumb

Only proves their rules as jokes to be abused.

His disrespect is meant, since nothing else

Impales their mawkishness. He’s little more

Than excrement in their eyes.  “You listen to me well

Small brat, inhale the smell of firm shit,

And praise the way it masticates your spit.”

Move here, sleep there, dangle from the rim:
The charisma of asthma strangles him.

His soul is insubordinate

To that which he should love as prickling fate:

Strange agony he hardly could endure

That now seems nothing more

Than penitential blur.

 

A chaplain listens to abhorrent

Sprees of sailors sloshed.

The fleet, in port, recoils.

As turrets mount a current,

The distant shame grows hushed —

The brat no longer needs their horns

To jazz his muted moan:
He’s got the suppurating forlorn blues.

His daddy’s headed out on a one-way cruise.

Butchwax shimmers; hormones rave;

Who’s there

to teach the eldest how to shave?

Books Ground Level Conditions Military Life Poetry

The VA (the value added tax of class servitude)

Tuesday, September 3, 2013

The VA (the value added tax of class servitude)

The Veterans Administration, popularly known as the VA, at some point set up its health system in Southern California so that its hospitals were located next to major colleges or universities. In San Diego, there is a huge VA center next to UC San Diego; in Los Angeles, the VA is on the flip side of the 405 freeway from UCLA; in Long Beach, the hospital is adjacent to CSU Long Beach. I went over to that VA the other day to work on getting some veterans benefits for my mother, who was a WAVE in World War II. She receives medical care through both Medicare and a program called TriCare, which is available to the surviving spouses of career military personnel. She will need to be in an assisted care home at some point in the near future, though, and I wanted to get information about her benefits.

Walking around the grounds of the VA complex, I felt on one level as if I could relax in my performance as a college teacher. How much chance was there that I would meet up with a colleague in a building at the VA? In fact, when was the last time any of the tenured professors I have taught with or studied under or conversed with at conferences would have found themselves visiting the VA? It is a social ghetto, in certain ways, and the fact that it is right next door to the campus only mounts the spotlights on the three hundred and fifty-nine degrees of separation between military and civilian life. Power extends from the organization of space itself, and the milieus one is assigned are meant to delimit your activities in a manner befitting one’s station in life. That I find myself at the VA, in hopes of finding a remedy for my mother’s plight, is only what might be expected, given the initial terms of my childhood enlistment. I remember a spokesperson from Brotman Hall who greeted the cohort of new faculty at CSULB in 2006: “When one has a Ph.D.,” she said with utter sincerity, “class is no longer an issue.” Even if one has severed all contact with one’s family, I doubt that’s true. To the credit of my colleagues, a skeptical murmur of disagreement ricocheted around the room.

I did, in fact, have one teacher who was a veteran, and he was perhaps the crucial teacher in my development. In the fall of 1967, I ended up enrolling in classes at San Diego State, mainly because my application to UCLA’s theater department had been turned down. I would be successful the following spring in gaining admission, but in the meantime I decided to study at SDSU and found myself in a poetry class with a young poet named Glover Davis, who had studied under Philip Levine. I had never heard of any of the poets Davis taught me about in the 1967-1968. I was 19 years old when I started studying in his classes and by the time I was 20 I had learned more from him than most MFA students learn in their two or three years in current programs.

Glover Davis’s class would serve as a prime example of how Don Allen’s The New American Poetry ended up as the most influential anthology of the past half-century. After his discharge from the U.S. Navy, Davis had enrolled at Fresno State University and had moved on to the Iowa Poetry Workshop, where I believe one of his classmates was James Tate. I took poetry writing courses with him as well as a survey of poetry course in which I first read Hart Crane’s The Bridge as well as substantial amounts of WC Williams. We read Williams first, so encountering Crane was initially a bewildering experience. I was utterly intrigued by Crane’s dense lyricism and imagery, but how could his poetics be reconciled with Williams’s? Which side was Davis on? He seemed to be presenting an equal case for each poet, and I found myself unable to decide between the two. In the end, I liked Crane’s sense of the line better than Williams, whose sense of enjambment never really matured.

One of the best parts of the year was a chance to attend readings by Allen Ginsberg, Philip Levine and Robert Mezey. Ginsberg didn’t read “Howl” or “Kaddish,” but instead gave a powerful reading of “Wales Visitation,” which even the conservative member of the English faculty, John Theobald, appreciated. Ginsberg by far attracted the largest crowd, but it was his talk in the afternoon that made an equal impression. In retrospect, I have to concede that the overwhelming emphasis on male poets in Davis’s canon would have been daunting for the female students; perhaps this is part of the reason for Rae Armantrout’s unflattering characterization of Davis in her memoir. She neglects to mention, however, that he would have been the first teacher she had to have praised at length the writing of Denise Levertov, with whom Rae went on to study at UC Berkeley.  Memory can be capricious, and maybe Rae wasn’t in the class in which I remember Davis giving “The Sharks” a close, deeply appreciative reading. Davis was perhaps the most fortunate encounter I could have hoped for at that point, given my limited options. For the first time, I encountered a man who embodied a masculine variant of physical prowess that was also vulnerable to the subjunctive.

Military Life Poetry

Enlisted Life

Friday, August 30, 2013

The Enlistment

The writer who taught the fiction writing class at Idyllwild Summer Arts before I started a two-decade run on the mountain was Bruce McAllister. I never met him, but recently I found out that my predecessor and I shared one crucial feature in our childhood: both of us grew up in military families. The degree to which this environment affects the maturation process of children is largely an unexamined topic. A colleague at CSULB, Heather Rae-Espinosa, once told me that the children of military families share a degree of displacement that is more often associated with the children of families of migrant farm workers. In particular, both groups of children share a prolonged experience of social alienation due to the frequent change of residence.

One thing remains familiar, however, as children embedded in the armed forces skip between living quarters: the environment at each point of traversal (at least for the children of enlisted personnel) is often equally degraded in terms of physical and psychological violence. My memories of Norfolk, Virginia and Imperial Beach, California are utterly replete with trauma. Children are bullied in civilian life, too, but when that experience is intertwined with a continual sense of being uprooted, an individual is almost certain to be beyond any hope of reclamation for a life that would provide the ordinary rewards of family and home.

I have tried therapy. It doesn’t work, and some of that inefficacy may be due to a factor that was articulated in a discussion I had a year ago with a man who counsels vets at CSULB: We ended up agreeing that career military people can integrate with civilian society, but can never assimilate. This is predominantly true for their offspring, too. It’s not just the abrupt oscillations of domesticity that buffet one’s social balance when young: the allegiances of submission (and the resentments thereof) permanently fester and lodge the military brat in an irreconcilable psychological redoubt. Once a person, whether as an adult volunteering or a child being imposed upon, absorbs the values of military culture, civilian behavior will almost always seem idiosyncratically narcissistic. The hierarchy of blunt expectation for no excuses performance in military life is not something that is recognized in the civilian life; a military brat often finds his or her civilian co-workers or associates to be weird in how they seek to exempt themselves from the tasks or assignments that they expect others to do in their place.

Even in integrating, though, there is the key difference in the offspring of career military personnel between those who have one parent who is an officer and the “military brats” whose father or mother serves at the enlisted level. There is a degree of class distinction between officers and the enlisted ranks that is difficult for a civilian to comprehend and it plays out not only in the cultural capital available to their children, but in values of self-subjugation that do not fit well with the civilian world. From the point of view of military brats, the civilian world is full of narcissistic vanity; the possessive individualism that is a prime virtue of the middle class seems nothing more than a feeble rationale to explain one’s self-importance.

In my life as a poet and teacher, I have yet to meet anyone in the academy whose father’s (or mother’s) service in the armed forces as a career enlisted solider or sailor required them to make transcontinental shifts. There are occasional writers and teachers I have heard of whose fathers were officers (as was McAllister’s, for instance), but the attrition rate of cultural accomplishment for anyone growing up in an enlisted household appears to be an intellectual and imaginative cleansing as thorough as any ethnic project. How I have ended up as a professor at CSU Long Beach remains a daily puzzle: it’s far too unlikely to be believable.

The sole other exception to this vanishing act might Rae Armantrout. She has written of her experiences in a somewhat similar situation, but her family was never posted outside of California and in growing up in a single state, Rae had an extraordinarily rare degree of continuity for someone who classifies herself as a military brat.  Nevertheless, anyone who might undertake a biography of Rae someday should not overlook the ways in which the experience of growing up in the skewed environment of military culture affected her affiliations with a poetics of skepticism. It just now occurs to me, in fact, that one interesting common factor in the contrast between two of my favorite poets would be the influence of San Diego’s conservative environment. Amy Gerstler grew up, too, in San Diego, but in a civilian family. The difference in registers of tone in their poems might well have points of origin in their responses to authority. If poems can respond to power, as etched in ranks of social authority, by manipulating language so as to make control over one’s identity a matter of self-orientation and enactment, the difference in the uses of irony are perhaps most visible in the palimpsests of military and civilian life.

Post-script: The poet Marilyn Nelson once mentioned in a conversation that she arrived at a new elementary school at the fourth or fifth grade level and went out for her first recess. She looked across the playground and began crying. She had spotted her best friend from one of her first years in school, and had thought she would never see him again after her father, an officer in the air force, had been transferred. But the young boy’s family had eventually also been transferred to the same military base as her father was stationed at, and so they were temporarily reunited.