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Rachel Blau DuPlessis’s 2008 and 2009 Tapa Notebook — page 14
[ Text: Can I say anything particularly ‘new’ or / new to me about why I began the long / poem, and also could continue it? / / An element of emulation was the / trigger — this is relation to Bev Dahlen. / / But I’d been writing serial works / since the 60s — so extending seriality was / a very logical aesthetic step or challenge. / / The interest of being in one’s time by / or with that mode. (long poem). Enough scope to bring many / things into play. To try to gather feelings / observations, real time or historic elements but / all in a different mix ‘truer than the truth’ — / the truth of making an event in words & time / parallel to what is in the real. / / (Like LZ [Louis Zukofsky]! yet again — what he / says in A24 citing Pound essay) / 4 Jan 09 ]
[ RBD gloss: The notion of ‘continuing’ the long poem — a discussion with myself about extending into a long work, post Drafts — at the moment here when I had not completed the work (which occurred in 2012). Zukofsky leads the interested reader on a merry chase, beginning with his index. The relevant moments in ‘A-24’ as selected by Celia Zukofsky are on pp.600-601, on pp.602-04 and then on pp.604-07 in my University of California Press printing of ‘A.’ This corresponds (with one omission) to the end of a paragraph on the top of p.77 of Zukofsky’s 1929 essay called ‘Ezra Pound,’ in Prepositions+: The Collected Critical Essays, ed. Mark Scroggins, from Wesleyan University Press. The burden of the argument (paraphrased by me here, not cited) is that there are overlays of different historical moments along with overlays of different people and ideas throughout the Cantos, proposing intellectual and aesthetic apprehensions of their simultaneity, and thereby provoking comparison and contrast.]
These are scans of pages of a Tapa Notebook, filled out by American poet Rachel Blau DuPlessis for the University of Auckland Library. It ponders Rachel’s experiences writing in 2008 and 2009. For more of this backstory, see here. The word ‘tapa’ refers to the kind of dyed patterned cloth (made from the paper mulberry tree) shown left, and on the front cover of the notebook, an honorable practice popular in Polynesia. (See Wikipedia) Most spreads of this notebook have a blank verso (left hand page), except for 7L and 7R. Blank verso pages are not shown; usually only the recto (right hand) page is shown.