January 19, 2012

Alice Major

POETRY AND SCALE

Flying changes the scale of things. From up here at 40,000 feet, the immense boreal forest of northern Canada looks like lichen on rock, as though the huge landscape below had been reduced to a boulder. An hour or two from now, when we begin the descent to my northern city, the quarter-sections of cultivated land will become a quilt of human textures, the grain of corduroy or twill. The cars sliding along the highway will become insects and then toys. Then the wheels will bump down, everything will become its “real” size once more, and I’ll be home.

Whether child or adult, we are fascinated by changes in scale. Look how long people will spend making model ships—the exquisite tangle of thread that’s exactly the right thickness to represent rope—or the bridges for a model railroad. Look at our fascination with bonsai, a whole landscape on a ceramic dish.

When I was a kid waiting for an Ontario spring to arrive, I used to loiter by melting piles of snow at the side of the road, fascinated by the way they created miniature systems of river and waterfall, channel and dam. Years afterwards, on my first trip to Jasper in the Rocky Mountains, I had the strangest sensation that my childhood landscape had been blown up to a gigantic scale. The wide valley where the Athabasca River makes its way through braided channels and white cascades tumble down mountainsides was the grown-up version of my old walk to school.

“Scale invariance,” this tendency for certain patterns to look the same as you get closer up or further away, is a common feature of the natural world: branches on a tree, cloud shapes, coastlines, the hierarchies of bronchiole and alveoli in the lungs. It is also a feature of intriguing mathematical objects known as “fractals,” which have become increasingly relevant to studying the world’s varying phenomena since mathematician Benoit Mandelbrot began working with them in the 1970s.

We are used to the idea of dimensions and the objects that go with them—one-dimensional lines, two-dimensional squares or triangles, three-dimensional cubes, pyramids, spheres. We learn to manipulate such objects mathematically: area equals length times width; radius and circumference can be used to establish the volume of a sphere. We use these formulae to think about our world and forget that very few objects are this simple.

Because we are creatures who evolved in the natural world, scaling relationships give us intense pleasure. They allow us to recognize a deep interrelatedness in the world’s disparate phenomena, where its parts are related both to larger structures and smaller ones. We are amazingly good at extracting fractal relationships from the incoming stream of wavelengths—sound and light—that pour in on us. In fact, recognizing fractal relationships is quite possibly central to how our visual and hearing systems distinguish random noise from meaningful data.

Aesthetically, we are particularly fond of fractals that fall in a certain range of self-similarity, more at the middle. Patterns that repeat too exactly are monotonous; others that don’t repeat at all are uninteresting for a different reason. A pure monotone is the auditory equivalent of a straight line—a uni-dimensional repetition of a single wavelength that could quickly drive us mad. “White” noise, its opposite, is made up of all possible wavelengths. It’s the hiss from speakers or an old television, a featureless blanket that we quickly tune out.

Instead, we like the sound of water, where we hear self-similar clusters of wavelengths repeated for shorter and longer periods, or the rustle of leaves in the wind. We like the patterning of mountain peaks with smaller and larger versions of the same shapes laid over each other. Or clouds.

“Glory be to God for dappled things,” wrote poet-philosopher Gerard Manley Hopkins. His line wouldn’t have had read nearly so well if he’d written, “Glory be to God for fractal objects,” but it comes to nearly the same thing.

* * *

And poetry? Any genre that ranges from haiku to epic can obviously exist on many scales. But fractal relationships are especially relevant in considering the fate of poets.

I was flying home from a conference of the League of Canadian Poets in Toronto. It was early summer, 2005, and I had a snug secret in my pocket. I had taken a phone call the previous day from the Mayor of Edmonton, confirming that I had been selected as the city’s first poet laureate.

My emotions were mixed. When the idea of establishing the post had first been mentioned casually, I felt cool to the idea. Of course it is important to pay attention to an art form that typically ekes out a lichen-like existence on inhospitable tundra. But the notion of banging one poet on the head with a civic club and saying “You’re it” went against the grain of what poetry is to me. It seemed to play into the whole cult of celebrity, making poetry a kind of reality-TV game show. Who will struggle through when everyone else is thrown off the island?

But then, when the local political will to establish a poet laureate coalesced into reality, my ideals deserted me. I was urged by friends to put my name forward as a candidate, and when I did so, I found that I wanted that honour.

I was to be interviewed by a jury for the post; they would quiz me on my ideas about the position. Please be prepared to read a poem aloud for the jurors, I was told. But because I was away for the conference on the necessary date, I had to phone in at a designated time.

The interview experience fell into a fractal dimension somewhere between epic and comic verse. In an obsessively interconnected culture, making a long-distance call may not seem like a big deal. But poets do not meet in posh conference centres with videoconferencing technology. I was staying in a phone-less dorm room in Victoria College’s Burwash Hall. The League meeting was in the stony-pillared vaults of Hart House. I was sternly refused permission to make a long-distance call from any of its offices. I did not own a cell phone.

I didn’t exactly want to make the call from a public phone booth, so I jumped in a cab, having borrowed the key to the League’s office—only to run into the snarl of Toronto’s downtown rush-hour. The cab lurched into a line of traffic and sat there clucking like a constipated hen. After ten sweating minutes, I flung a bill at the driver, leapt out and galloped back to Victoria College on foot. The offices with their forbidden phones were now all locked up for the business day. I pleaded for someone, anyone, to point me to a place where I could make a relatively private phone call. For god’s sake, I’m looking for a phone not a personal teleportation device.

They directed me back to the basement of Burwash Hall, where a phone was mounted on the wall in a bare, booming corridor just outside the dorm’s laundry room. The long white walls made an appropriate setting for a Hitchcock film—god only knows what might be tumbling behind the glassy occularity of the dryer doors. It felt as though I should be dialing 911 and hoarsely mouthing “help, help” into the mouthpiece instead of conducting a long-distance poetry reading. My voice came out in an un-laureate-like croak when I finally connected and introduced myself to the receptionist, who sounded dubious about accepting reverse charges from a frog in an echo chamber.

“Please hold,” she said. “The jury isn’t quite ready for you yet.”

I waited the long minutes on the phone, reading over the lines of a poem to get used to the sound of my voice in this theatre of the absurd and praying that no one would come out of the laundry room with a basket of sheets or a revolver while I was declaiming. The things I do for art.

But perhaps the weird acoustics stood me in good stead. For here I was, flying back home as the soon-to-be-official-civic-poet. The plane may have been at 30,000 feet, but I was probably 5,000 feet above that. Yet my emotions were still mixed. Yes, I’d wanted it. But part of me could also imagine the yuck-yuck reaction from the world’s bigger ponds: “Edmonton? Where the hell’s that? And they think they have poets there?”

In vain, I tell myself that my city’s population is about three times the size of Shakespeare’s London and we’ve got as much right to poets as anywhere. But the insecurity lingers, and the problem is a fractal one of scale.

* * *

Years earlier, I’d come to this city that would become home from the other direction—from a much smaller city even further west, where I’d worked as a newspaper reporter for a couple of years. In Williams Lake, British Columbia, I had covered city council, sitting in on evening meetings that staggered on until after midnight.

My very favourite story as a reporter concerned the beaver dam debacle. Williams Lake—the lake itself—was dammed at its exit by enterprising rodents. As spring began melting snow from the surrounding hills every year, the lake levels backed up and up, getting ominously close to the front doors of houses built along its shore. The province’s fish-and-wildlife protectors did not want to do anything to destroy the dam because eventually the cold meltwater would descend to the bottom of the lake and flush up the warmer, stagnant layers below. This stale water would then pour over the top of the dam as part of a natural cycle of renewal.

The hell with flushing out lakewater, says Mayor Tom—that dam is going to flush out people’s basements. So he goes out himself in a canoe one night with a couple of sticks of dynamite to blow a hole in a dam.

I felt that this kind of escapade must be typical of small-town politics. Surely the assemblies of larger communities must act with more sense of proportion, more sophisticated analysis of issues. I came to Edmonton thinking that a city of three-quarters of a million people would be governed by a city council somewhat more dignified in its proceedings. However, I found the human dimension doesn’t change much. There were huge uproars when a new mayor didn’t want to wear a large beaver hide that came with the official chain of office. For her, it was a statement about animal rights; for the rest of council it was a rejection of the city’s history as a great fur-trading post.

For me, it was more of a fashion statement—wearing that beaver hide is like having a great round furry pond draped over your shoulders from which your head sticks up like a lonely lotus bud. Only a mayor built like a buffalo can carry it off.

The whole silly debate occupied more column inches in the paper than the approval of millions of dollars in road repairs. You might think this sort of thing happens just because we’re out here on the lone prairie and the winters are long. But then you watch televised proceedings from the national capital in which the level of discussion is hardly higher. Human beings don’t change scale much, regardless of the size of the stage they walk on. The distribution of capacities and talents is much the same in any group of humans. Making the group larger doesn’t lead to a corresponding increase in the individual IQs clustered under the Bell curve. To this extent, human beings are not fractal.

However, assemble us into progressively larger groups and fractal patterns do tend to emerge. The qualities that make a good poet are a complex of linguistic ability, creativity and the desire to invest the time and effort necessary to succeed; these qualities are more or less uniformly scattered through the population. The qualities that make a famous poet are not so different, but they are compounded with something that can only be described as luck. The process of poetic fame is governed by fractal patterns.

Nassim Nicholas Taleb, in his essay “The Black Swan: Roots of Unfairness in Arts and Literature,” points out that literary or academic fame is analogous to stock-market booms. There’s a “winner-take-all” effect—one book in 800 will account for half of sales in any given year, while the other 799 eke out a meager share of the pickings. We jump hopefully into the publishing cab and go nowhere much.

The phenomenon operates much like the Mississippi river system scooping up the water from smaller and larger tributaries in an immense drainage basin. It becomes impossible for a water droplet to cut its own channel to the sea. The pattern is not caused by malice or design or even by commercial greed. Taleb points out that the same pattern emerges with academic citation system, supposedly free from such commercial interests. If you are the lucky researcher whose paper first gets cited out of all the researchers who may be working on the same problem, you’ll go on getting cited by all the future researchers. And the bigger the drainage basin, (i.e., the larger the number of contributors like authors or researchers) the higher the concentration into one main channel will be.

An idealized mathematical process can be subdivided forever. However, the real world is not scale-independent in that way. In our world, most things are not subject to one fractal pattern but to two or more simultaneously. Such multifractals tend to come to a natural limit. Patterns that work at small sizes don’t work at large ones; hierarchies emerge in response to physical constraints. The early days of an embryo’s existence can be nourished without a central circulatory system, but fairly soon that doesn’t work any longer and cells need to specialize.

In poetry, the physical constraint we are up against is time—the public’s time. In any one life, there’s only so much time to read books. Few citizens can take on 300 poetry books—the number published annually in Canada alone. You need a process for deciding which ones are worth your while. In isolated tribal systems, there are only so many bards, so many works, and each of them can be absorbed and recognized. In large urban societies, we depend on some kind of filtering system.

Fame is just what happens when you can’t know every book personally—when you have to fly at 40,000 feet to get across the country in a manageable amount of time. Its filtration system is essentially an information-exchange process made up of little magazines, poetry contests and prizes, and includes the luck of proximity to the whole tag team of mentors, publishers, reviewers. It’s less hierarchy than swamp bed or compost pile. Only those poems or poets who are very sturdy, accidentally lucky or both will survive. The great advantage of being a poet is that the filtration system is so damn slow. A novelist will usually have a one-time chance to cut a channel with her book. For the poet, reputation is more marsh than Mississippi—an ecology that lets a lot of us flourish locally, which is where we’re really needed anyway.

Note:

Excerpted from Intersecting Sets: A Poet Looks at Science, to
be published by the University of Alberta Press in fall, 2011.

from Rattle #35, Summer 2011
Tribute to Canadian Poets

__________

Alice Major has published nine collections of poetry and a novel for young adults, and served as the first poet laureate for the city of Edmonton from 2005–2007. She emigrated from Scotland with her family at the age of eight, and grew up in Toronto before working as a weekly newspaper reporter in central British Columbia. Major has lived in Edmonton, Alberta since 1981, and is past president of the Writers Guild of Alberta, and the League of Canadian Poets.

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February 26, 2001

Tribute to Canadian Poets

Conversations with
B.H. Fairchild & Brian Turner

 

Releasing in June, 2011, Rattle #35 travels north to explore the vast expanse of Canadian Poetry. Canada is a population smaller than that of California, spread across one of the largest and most geographically diverse countries on earth. The resulting poetry is a symphony of movements, both regional and stylistic, and a group of writers that are as vibrant and varied as the landscape itself. Never afraid to experiment, and equally comfortable with traditional form, this is by far the most eclectic tribute we’ve ever put together—and with 33 poets spanning 50 pages, it’s also the largest.

Of course, the Canadian tribute is only part of the issue. Rattle #35’s open section features the work of 41 poets, including Patricia Lockwood’s epic examination of the word “Popeye.” (You read that right.) Also, Alan Fox interviews two former lathe machinists: narrative master B.H. Fairchild and Iraq War veteran Brian Turner.

 

Audio Available = audio available

Canadian Poets

Audio Available James Arthur Sad Robots
Audio Available John Wall Barger Three Photos of Jayne Mansfield
derek beaulieu For Kristen 3
Audio Available Gregory Betts Lingers Tear Gas
Jamie Bradley Ghazal
Julie Bruck Love to But
Arthur Bull Delta
Audio Available Jane Byers Baseball
Audio Available David Cavanagh Fugue
Audio Available Sam Cheuk Dramaturgy
Audio Available Meaghan Elliott How to Drown Kittens in 1958
Victor Enns Afghanistan Confessions
Heidi Garnett A Hundred and Fifty Kinds of Grasses
Audio Available Susan L. Helwig What Need or Duty
Michael Lavers Coda
Alice Major Poetry and Scale
Audio Available Susan McMaster Charity
Audio Available Bruce McRae Grass in My Hair
Audio Available Kathryn Mockler Twister
Molly Peacock The Ex-World
Audio Available Patrick M. Pilarski Your Village
Audio Available Marilyn Gear Pilling The Dog
Shane Rhodes The Promises Herein Contained
Rolli The Police Me Follow So
Audio Available Rachel Rose What We Heard About the Americans
What We Heard About the Canadians 
Audio Available E. Shaun Russell Archetypes
Audio Available Jacob Scheier Single Man’s Song
Audio Available Michael Shea Letter to a Young Bombmaker
Audio Available Thompson & Tully The Chair
Naomi Beth Wakan Two Tanka
Tom Wayman The Everlasting Room
Audio Available Laurelyn Whitt Bunahan
Alexandra Wilder The Birth of Sisters

Poetry

Amanda Auchter The Pink Chanel Suit
Francesca Bell First Responders
Audio Available Heather Bell Love Letter to the Gulf Coast Oil Spill
Jenn Blair Sumter
Audio Available Bruce Bond Boo
Audio Available Amanda J. Bradley To Thomas Pynchon…
Audio Available Allison Campbell What to Know
Audio Available Brendan Constantine “So God Will Know You”
Audio Available Christopher Crawford So Gay
Audio Available Kelly Cressio-Moeller Waiting for Charon in the ER
Audio Available Stevie Edwards What I Mean by Ruin Is…
Audio Available Michael Ferris Think of the Children!
Alan Fox Consider the Silence
Christeene Fraser Things I Could Never Tell My Daughter
Audio Available Myles Gordon The Beat Goes On
Linda S. Gottlieb Ravenous
Sarah Grieve To Old Men
Audio Available Robert Haynes On the Rule of SB-1070
Sativa January Alphabet Fingerprints
T.J. Jarrett How to Speak to the Dead
Audio Available Jan LaPerle She Rings Like a Bell Through the Night
Dan Leamen Muslim Soldier, Faisal Shahzad
Patricia Lockwood When We Move Away from Here…
Audio Available Alison Luterman Say Yes to the Dress
Gail Martin Juggler
Megan Moriarty Looking at Us Living
Audio Available Mathias Nelson I Only Dance for My Mother
Rachael Lynn Nevins Housekeeping
Audio Available Leah Nielsen Teaching Slant Rhyme
David D. Nolta Two Panels by Memling
Audio Available Todd Outcalt On the First Anniversary…
Audio Available Saara Myrene Raappana A Battleship Examines Its Faith
Audio Available Kirk Robinson The Breaks
Anthony Sams Home
Mather Schneider Kite Weather
Audio Available Carrie Shipers Apology for Being Small
Patricia Smith Next, Next
Audio Available Terry Spohn Shelf Life
Danielle Spratley Prayer for an Inmate of RVJDC
Audio Available Lesley Wheeler Rim Walkers
Scott Withiam Can You Imagine This World?
Him to Pickles

Conversations

B.H. Fairchild
Brian Turner

December 11, 2010

Brent Fisk

DRUG FACTS

(Continued)

Warnings
Allergy alert:
Ibuprofen may cause a severe allergic reaction which may include: • bee hives • ego swelling • post-coital drip • electric shock.

Stomach bleeding warning: Taking more than recommended may cause stomach bleeding or death, as many people use Ibuprofen to commit suicide but our legal and advertising departments would prefer that you use another painkiller if you plan on doing yourself in. Please see a doctor if you are considering this option. And a friendly reminder, suicide by Ibuprofen may cause stomach bleeding.

Alcohol warning: If after consuming three or more alcoholic drinks, you then consume three or more alcoholics, please slow down you gluttonous, drunken cannibal.

Do Not Use • if you swell like Alice in Alice in Wonderland, or you get tied down by little people as Gulliver did in Lilliput. Swelling of this sort may be due to a serious underlying literary problem worth exploring with an out-of-work English major. Also if you have ever had an allergic reaction to telling the truth, or you can’t tolerate direct exposure to the light or to other people’s small children. Ibuprofen may also cause stomach bleeding and is, in fact, the Latin word for stomach bleeding.

Ask a doctor out on a date. If the date leads to marriage you may not need to find a job, even if you are an English major. Just because you are an English major doesn’t mean you will understand all the legal jargon in a prenuptial, so see a lawyer if you develop serious romantic entanglements. Do not begin a relationship with the lawyer while seeing the doctor as this can lead to complications.

Ask a doctor before use if you have • been caught sleeping with his wife • have trouble urinating because strange people are following you into the public restrooms and you can’t urinate when you’re being watched • you have recently become more litigious • you have sloughed off the lining to your stomach • you have awakened with a drug company executive’s severed head beneath your pillow.

Ask a doctor or pharmacist before use if you are • emotionally distant or damaged • frustrated with the childproof packaging to the point you have purchased a gun • have three or more erections at a time • have Jack’s magic beans lodged in your rectum • have been having vivid sexual fantasies about Richard Nixon and his little dog Checkers • have been thinking of picking up a new hobby, say, oh, stomach bleeding for instance.

When using this product • do not use a shotgun to administer the dosage. Take with a spoonful of lard if stomach upset occurs, or wrap the pill in bacon and trick yourself into taking it by placing it in a bowl of snack food.

Stop use and ask doctor if • he knows any proctologists who enjoy the whole “pull my finger” joke routine • If he has ever played a doctor on TV • If he finds you any less attractive just because he sees naked people all the time, because you are here in front of him, naked, free for dinner, and so lonely you have begun writing poetry and talking to the television.

If pregnant or breast-feeding, ask a health professional before use, particularly if you are male, if the children do not belong to you, or are over the age of eight, or if the blood from your stomach is tainting your breast milk, or you’ve decided to have eighteen children because you want your own reality show.

Keep out of reach of children. Keep children out of reach. Do not sell children on the Internet. Do not give out Ibuprofen to children at Halloween even if they fit nicely in a Pez dispenser. Keep out of the reach of Dick Cheney, especially if he is having a heart attack and an Ibuprofen might save his life.

Avoid excessive heat, particularly hell. Read all warnings and directions before use. Keep carton. Keep the faith. Keep your mouth shut. We know where you live.

from Rattle #33, Summer 2010
Tribute to Humor

__________

Brent Fisk: “This poem came out of an exercise during a summer workshop with Denise Duhamel. I just took the oddspeak one finds on the sides of most over-the-counter medications and stretched it out to its illogical conclusion. I’ve always been intrigued by the subtext behind most safety warnings, so this was a fun little thing to try.”

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