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Theory of Noise

Are there models for communication in which the answers to questions are not direct? One asks a question and seems never to receive an answer. But part of the answer arrives from one person, in another context. Another part from another, and so on. Altogether, the answers are there: they arrive. They have not been proffered, but they arrive. You only realize it later. Maybe even you forgot the question, but now it's not a question anymore anyway: it became knowledge somehow.

Is this a form of communication at all? Or is this noise?

Am I listening to myself all the time.

***

Another way to ask this might be to imagine a teaching situation that is, for me, very common in a writing classroom. We're talking about a text — an essay, a poem, a short story even — and something needs to be said, not necessarily as a correction to the story or poem or essay at hand but more because the occasion of our reading that text makes intelligible a point of consideration that will be important later. The author of the text of occasion may be confused for a moment, but I don't worry: the student will figure it out when this statement becomes a kind of knowledge, absorbed slowly and even indirectly, useful later and in another context. More and more I find myself deliberately teaching this way: communicating out into moments of confusion points that will clarify other situations later on. It's not what they teach you to do when they teach you to teach, but it seems to work. Maybe that's strange. Maybe that's me being confused and hoping someone else can sort the confusion out. Maybe, instead, that's embracing the noise that seems native to human exchange and trusting that somehow that system, as unshapely as it seems, will bear something successful, something right and orderly after all.

To ask this another way: is what is noisy always noise?

***

In faculty meetings, this seems to happen a lot.... A point is made in response to a specific problem or situation. It is considered and then maybe ignored. But the idea, or more often the language, comes back later, maybe to address the same problem, maybe another.

Is one to feel slighted that one's language gets used without credit or acknowledgment? Is the faculty meeting an exercise in plagiarism or cryptomnesia? Is all conversation?

And is it right to think of this—this crooked path to hearing, an almost anonymous recognition, a misrecognized recognition—as noise?

Emerson wrote: "In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty." Maybe the faculty meeting is just a work of genius, or a confrontation with the genius of others.

For my part, I've come to accept my role as a suggestor, a suggestionist: no idea I articulate will be accepted immediately, but my words often drift back from the mouths of others, suddenly safe for consumption when they come off other tongues. I morse out my messages on the water in my sink and someone across town thinks it's his idea.

***

You never write me back, but somehow the message gets to the estranged neighbor. The dog next door is muttering it in his sleep.

***

Maybe this becomes a form of comfort.

Maybe this is just another kind of public.

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On The Web



Poems


  • "Double Negatives" at ConnotationPress.com
  • Two poems at Anti- (Finalist for the 2008 Sundress Best of the Net)
  • "A Field Guide To Northeast Alabama" (four poems on video) at Southern Spaces
  • "At Liberty" and "Love"at Memorious
  • "The Crowd He Becomes" at DIAGRAM
  • "At Genesse," "Aubade," "DeSoto, After," and "In Arizona When Howard Finster Dies" at Diode
  • Selections from A Map of the County at RealPoetik
  • "At Liberty," "Substantiation," "For Reverend James Reeb," and "For Lamar Smith" at Blackbird
  • "Bunk Richardson," "Consolation," "On Tallaseehatchee Creek," and "Vigil" at Blackbird
  • "Vigil," "Negatives," and "Elegy for James Knox" at Campbell Corner
  • "Walt Whitman in Alabama," "Hush," "Negatives" and "York" at Colorado Poets Center
  • "Signal" at DIAGRAM
  • "Elegy for James Knox" at DIAGRAM
  • "Interferometry" at Greensboro Review
  • "Aubade," "Doppler," "What You Wish For," "Under," "Fell," "Heat," and "Regret/Egret" at H_NGM_N
  • "Legba Says" in Octopus
  • "Still" and "Bye Bye Blackbird/Blackbird Bye Bye" at Shampoo
  • "Panoramic: Landscape With Repeating Figures," "Double Exposure" and "Elegy for Little Girls" at Terrain.org
  • "Virga," "Radiotherapy," and "Diphthong" at Typo
  • "Radiotherapy" at Poetry 365.


  • Interviews


  • With Natasha Trethewey at Southern Spaces
  • With New South
  • With Blackbird, in text and audio.
  • With Kate Greenstreet (first book interview)
  • With Dislocate's Nate Slawson
  • With Town Creek Poetry


  • Reviews


  • Ron Slate's review of A Murmuration of Starlings
  • Bruce Alford's review of A Murmuration of Starlings for the Alabama Writers Forum
  • Microreview of A Murmuration of Starlings at Yalobusha Review
  • Simmons Buntin's microreview of A Murmuration of Starlings
  • Susan Settlemyre Williams's review of Murder Ballads at Blackbird
  • Simmons Buntin's review of Murder Ballads at Terrain.org.
  • Clay Matthews's review of Murder Ballads at H_NGM_N
  • Jeff Newberry's review of Murder Ballads at Poetry Southeast


  • Essays &c

  • "The Marrow of the Bone of Contention: A Barbecue Journal" at storySouth, a 2003 Arts & Letters Daily Article of Note
  • An introduction to Alabama barbecue, on the Southern BBQ Trail at the Southern Foodways Alliance
  • "Recovery: Learning the Music of History" at Terrain.org
  • Five favorite poems at JMWW

  • About



    I am the author of three books of poems: Murder Ballads (Elixir Press 2005); A Murmuration of Starlings (Southern Illinois University Press 2008) the winner of the 2008 Colorado Book Award in Poetry; and Persons Unknown, forthcoming in 2010 from Southern Illinois University Press.

    You can find new work in issues of The Cincinnati Review, Shenandoah, The Southern Review, and Blackbird.


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