BUT, SHOULD I NOTE SOMEHOW when the day begins?
Time is significant only in relationship to time. When we are awake in the
night I want to speak of it. Sleepless gloss. Relate to me as x-2. You, y. Will
a new structure [to] emerge? (I want grammar that interrogates and impels). The
mother of young children has an imperfect sense of time and attends to other
human tides,” wrote E.P. Thompson, showing what capitalism does to inward time.
The structures of its apprehension.
At first, my time work has no apparatus. I
follow the first break: sacred calendar date as organized fiction—biological,
of course, but also affixed by culture to that certain number of weeks. I cried
every day after that marked day until I got the baby out. Space-time fabric
refigured as cliff shrouded in mist. You have to wait before you are allowed to
jump.
In
Yoko Ono’s “Fly,” the insect buzzes overhead, lands repeatedly on a woman’s
naked body. What version of time is it in which we withstand? My daughter is
almost four when we see “Fly”—the gallery showing three window-sized
projections on a loop. She prefers the drama of “Cut Piece,” will not move on
until it ends. Intuits that performance, like breakfast, has a set time, makes
a narrative arc. But it begins again, rushing over us. Its human tide. We wait
it out once more: increasingly bold audience, the artist’s discomfort. I
repeatedly forget it is my job to anticipate, to announce time. The final
go-round I stay tethered to the clock, steeled against absorption in art.
Winner
of the 2018 Sawtooth Poetry Prize is American poet Stefania Heim’s second
full-length collection, Hour Book
(Boise ID: Ahsahta Press, 2019), a title that follows half a decade after her
debut, A Table That Goes On for Miles
(Switchback Books, 2014), a manuscript selected by Brenda Shaughnessy as winner
of the Gatewood Prize. As she writes in her “Author Statement” included with
the press release: “I am interested in the ways in which our experience of time
is socially, culturally, and politically mediated, and yet constitute by terms
we use as though they have transcendent meaning or inherent communicative
currency.” Further in the same statement, she writes:
Another important resonance for the title is
the medieval Book of Hours. A personal prayerbook for laypeople, the Book of
Hours first appeared as an identifiable category in the 13th century
and had extraordinary popularity across the various forms it took through the
early 16th. Eight prayers dedicated to the Virgin Mary to recite at
designated times. Books of Hours exemplify a relationship to time that is at
once private (literally, what one does by herself in her room) and communal
(other people are doing it in their room too). This sharing gets enacted
through the structures of ritual.
Heim’s
collection serves as an interesting comparison to Cole Swensen’s own book
around the medieval Book of Hours—Such Rich Hour (University of Iowa Press, 2001)—a collection more specifically
influenced by the calendar illuminations from a particular medieval example, the
Très Riches Heures, and how the
illuminations and texts interact with history. While the conversations around
time also exist in a more abstract realm, Heim’s poems are intimate, applying
the structure of the Book of Hours to unpack her own domestic, as well as the
impossibility of the movement of time when one has small children. As she
writes in “1:51 PM”: “Everything will be pared / away” or the opening of “9:59
AM” that writes: “Sometimes. Over / time. Many times. / First time. Last time.
/ Longtime. Formative / time. Around / the time. Same time. / At times. All the
/ time.” Structurally, the poems point and counterpoint in interesting ways,
with the sequence of poems titled with specific times broken occasionally by a
kind of “Greek chorus” of prose pieces, threading their way through the
manuscript to discuss the implications of time, and these moments, holding the
manuscript together quite magnificently.
11:05 PM
Considering the various technologies
by which a violence
might enter
each window. While the shutters
bump bump.
They so gently bump.
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