Editor’s Note: Seeking an individual who would respond with wit and nuance to three pieces of music — “the national anthems” by David Lang, Caroline Shaw’s “To the Hands” and Ted Hearne’s “Consent” — my mind traveled to the poet and critic Cedar Sigo, whose words have a music all their own. I asked him not to write “about” these works necessarily, but through and into and with them. –clr
THE WIND AT NIGHT BY
CEDAR SIGO
I SET OUT MY HEAVY BOOKS AND MAPS TO COVER THE ENTIRE DESK. A FORTHRIGHT TENSION PERVADES THE ROOM UNTIL A MACHINE-LIKE, UNTHINKING FLUENCY BEGINS TO TAKE OVER, “WORDS THAT COME IN SMOKE AND GO.” Why do I push myself to constantly reconfigure the edges of my own voice? At the very instant they fall and become recognized as sounds they are quickly stamped as unearned, abandoned, a hanging without wall …
As a poet I want to feel surrounded by structures that I can both see through and live inside of. This seems a result of my chronic formal restlessness, the fact that I have always placed a premium on outrunning my voice rather than “finding” it. This is a perfect mindset for any poet who wishes to obliterate the burden of narrative. It has often been said that over the course of their lives, all poets are secretly writing a single work, whether branded as an epic or not. The interruptions of books and individual titles can barely conceal my long history of tracing architectures within language. Whichever forms of traction I can find, I then subvert, certain I will never see that first construct again anyway. It was the great poet Jack Spicer who dismissed certain of his early poems as “one-night stands, filled with their own emotions, but pointing nowhere.” The voice rises and falls and sometimes dissolves its own scaffolding. How perilous is the footing of music? I feel as though I have spent 10 years building an electric organ that might cradle my voice. Tonight, I would like it to sound as though it were buried under wet sand.
She tortures the curtains of the window shreds them like some insane insect, creates a demented web from the thin folds, her possessed fingers clawing she thrusts them away with sharp jabs of long pins to the walls. – JOANNE KYGER FROM “THE MAZE” (1958)
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