On the Cutting Edge: 3 Marc Zegans Finds the Story in Peter Wortsman’s latest publication
I am thrilled to introduce On the Cutting Edge: 3 this month. It occurs to me that each instalment brings with it a double revelation, both in the work of the featured author, but also in Marc’s illuminating exegesis. In short this is what every poet would really like – to be really read, really absorbed and well, the reader discovering depths and connections previously unknown to the writer.
And this month is a tantalising work – Peter Wortsman’s The Laboratory of Time and Other Cut-Up Poems, Bamboo Dart Press, 2025. Recently released, it appears to encompass a broad temporal spectrum: from cut-ups to the ‘the five books’ of The Torah or of The Old Testament. Of course, cut-ups, fragmentary and minimalist poems, and combinatory poems are said to have existed, alongside traditional syllabic stress verse forms – most probably first penned by Homer (c.1100–800 BC) – since the fifth century BC; so even then were not an alien form in a biblical context. And, coming closer to the present , following the Surrealists, British-Canadian experimental artist Brion Gysin (1916–1986) has become associated with the cut-up method since Minutes to Go (1959). He believed poets were supposed to liberate words, not chain them in phrases (Funkhouser, 2007: 154).
For me, the space or elision between the visual and verbal in both visual poetry and videopoetry or poetry films is key. Cut-ups take the [lyric] line, the verbal sequence and de-regulate its original linkages, or structural integrity, for one that entices new, Fluxus-like, chance, mental configurations; also, at times making of it an object. As history is written so we can insert ourselves into its unfolding, or rewriting. I wrote about the visual prosody of videopoems in my thesis ‘Re: Turning – from graphic verse to digital poetics – historical rhythms and digital transitional effects in Graphic Poetry Films’ (2014). In Richard Bradford’s analysis (in relation to lyric poems with a visual or ‘imagist’ bias such as American poet William Carlos Williams), shifts occur for the reader between the linear and the graphic word; or as his title suggests Poetry as Visual Art. The word on the page is suddenly ‘seen’ for its own plastic qualities.
In relation to Wortsman’s poetry, Marc draws attention to the thorny questions of representation and transcending the object-subject divide, ‘analogy’s role in closing the gap between world and word’ and also thinking as we do through conceptual metaphor. But, what is interesting, going beyond the act of cutting, is that he also identifies how Wortsman’s poetry draws a parallel to the condition of his Found Objects – holding an ‘inert store of potential’. ‘Here, rather than moving in time, the object embeds time, stilling it— “a guardian of memory”—until the story the object contains is released … a poem on the page is inert, a store of potential, until activated by an observer; its story awaits a finder.’
So … to be the finder of the story of the story, please follow this link for ON THE CUTTING EDGE: 3 Peter Wortsman The Laboratory of Time.
Sarah
14 responses to “On the Cutting Edge: 3 Marc Zegans Finds the Story in Peter Wortsman’s latest publication”
An astute and lovely dive into the work of Peter Wortsman’s cut-up poetry.
As Sarah Tremlett writes, it is indeed a dream for one who plays with words to be so well read and understood. Poet though I pretend to be, I find myself at a loss for words before Sarah’s splendid introductory notes and Marc Zegans’ poetic analyisis. Sarah justifiably sets my clipped mode of telling in an historical literary context, from Homer to the Surrealists to Bryan Gysin and the late great David Bowie, who is said to have composed his later lyrics by the cutup method. As to my aesthetic, it is simply this. My words, or rather the free will to play with words wanted out. Vacationing from the rigid grid I myself had fashioned to ensnare the poetic, I felt, and periodically still feel the need to set out, not in search of that intangible something, but rather to facilitate an openness to whatever I happen to stumble upon. I just take it all in and put the pieces together in a way that amuses me.
P.S. Marc Zegans’ brilliant poetic analysis manages to help me understand what I’m doing, my mode and method. In this he reminds me of my late revered teacher and mentor, poet Allen Grossman. Like a combination poetic maker and mechanic, Marc knows the engine of expression inside out.
Peter – thank you so much for sharing – it is truly generous of you, and enlightening to hear more about how you work … and set yourself free …
Dennis and Peter – thank you both for your kind and thoughtful remarks. I’m happy that the essay spoke to you both. Peter, your comments added layers of insight into your aims and the nature of your process that I truly appreciate. As you know, separate from my life as a poet, I’ve worked for many years of with writers, performers, and artists of all stripes helping them liberate their creative voices by helping them to discover the processes that work best for them. When writers share, as you have, what they are about, it its a true gift to the larger community.
The relationship of “hearing” words as we read them and the visual aspect of seeing them on a page is pretty fascinating. The “collage” technique provides further insight into how a poet works. Thanks to Peter (for the work), and to Marc, and Sarah for giving us such beautiful thoughts about it.
Thank you Prudy, for your most kind and thoughtful response. The question of “hearing” words as we read them and seeing them on the page has been a fascination of mine since I was a child. Thank you for bringing this forward in your comment.
I love Marc’s essay! It took me all kinds of places. His words are a springboard for generating creative ideas. I read it twice, and it was a different journey each time.
Great comment Diane, I totally agree!!
Thank you so much for your very kind words Diane. I’m happy that it took you on two very different journeys.
Thank you, Marc and Sarah, by guiding me to a deeper understanding of Wortsman’s work. Marc’s inspired review–poetic in the best ways—made me eager to explore the collection. I will carry this line into my reading: “In deference to the sacred nature of the text, rather than cutting up and rearranging what he finds there, Wortsman cuts out all that doesn’t flow and delivers the sticky liquid that remains as rivulets running down the page.”
Thank you so much for your lovely and most thoughtful comment Sandra. I’m happy that my essay piqued your interest in Peter’s collection, and that the very long sentence you quoted resonated with you. Thanks once again.
Peter, Sarah, Marc, Thanks for this collection, the introductory piece, and Marc’s insightful essay. A different kind of poetry experience for me. I felt like I was at the Louvre for the first time, not quite sure what to look for, not quite understanding perspective, and Marc served as the perfect guide, gave insights and provided context for my 7-Eleven self. I especially appreciated the “Five Books” section. Coming from a family of multi-religious complexity, from the Angel Moroni to a “Redeemed Apologetics” courtesy of my youngest brother, the Baptist minister, I found these poems sacred, simple, and full of a contrary grace.
“…who
is God
but a byword
for
death
forgotten.”
Word!
Ed, thanks so much for your rich and thoughtful comments and quote relating the religious aspect of Peter’s book to your own family’s mixed religious experience. These led real depth to the conversation.