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sewn paper
Poetry
1991
160 pages
ISBN 0-88984-115-2
$10.95
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Louis Dudek:
A Personal Memoir
David Solway
I can vividly recall
when, as a sophomore at McGill in the early sixties, I saw him
walk into the classroom to open the book on European Modernism, a
tall, thin, scholarly-looking man who seemed a little tilted to one
side as if he were listening to the conversation of a shorter world.
There was an air of expectation in the room of the kind that attends
a man who precedes his reputation by force of sheer presence, but
without a hint of the intimidation or superiority that professorial
entities often radiate. What endeared him to me most at first was his
expression, which I have never forgotten and which was constantly
rekindled even in his old age: a look of habitual concern and
earnestness that would suddenly vanish to be replaced by the puckish
grin of a clever street urchin who had just picked Shakespeare's
pocket.
Allied to his
unfailing courtesy, this had the effect of putting us all at our ease
and turning the proceedings away from seminar seriousness toward
something like a social occasion in which peers met to discuss
intellectual issues. Yet we understood that we were being addressed,
questioned, prompted and taught by a polymath who seemed to know
incalculably more than his subject, whose lectures seemed like
unrepeatable performances (except that he repeated them every week
throughout the academic year, each one different from the last) and
whose classes would frequently conclude to a spontaneous burst of
applause.
In thinking about
Dudek as a tutor and guide, `charismatic' is not quite
the right word to apply, since he could also be so appealingly modest
and self-effacing. He was, in fact, the archetypal teacher,
whose lectures one looked forward to the way one anticipates going to
a movie or a play. Something was always happening. As his
student over a period of several years, I cannot attest to a single
moment of boredom. He had the art of bringing ideas to life, of
drawing brilliantly apt comparisons, and of choosing illustrations
from any historical period or apparently unrelated discipline.
Moreover, he carried his erudition, which was encyclopedic, as
casually as a Rolodex. I still remember the highlights twinkling off
his glasses like little asterisks indicating the commentaries, jokes
and asides with which he would sprinkle his talk. I guess what I'm
trying to say is that I have never met anyone who could mix gravity
and levity so effortlessly.
But his finest
virtue as a teacher was his power for igniting enthusiasm, instilling
in us a desire to learn and to emulate. This was not simply a
pedagogical gift but a function of the lively and passionate
imagination of a poet and a lover of poetry. Whether quoting whole
passages from memory or lavishing on us anecdote, he made the
poets and their work seem real, even irresistible. A sizeable number
of his students decided they were intended by fate to become Dante or
at least Baudelaire. Nearly everyone began to write.
Fired with a
partly borrowed eagerness, we tended to see our fledgling
literary steps as the colossal strides of the divinely anointed. He
made us feel chosen, as if we belonged to the circle of the
elect, to Wallace Stevens' `poetic sodality'. We
felt masonic, revolutionary and indomitable. I sometimes think that I
owe my present unenviable condition to Dudek for it was he, in his
dual capacity of mentor and editor, who first convinced me that I had
the wherewithal and stamina to become a poet. Punning on the name of
the great nineteenth-century Italian master Leopardi, to whose work
he initially introduced me, he said to me one day in his office after
reviewing a manuscript I had submitted for commentary: `Welcome
to Leo's party.'
In later years our
agendas took us to different places. His deepening involvement with
Ezra Pound made his poetry seem derivative and somewhat prosy, at any
rate to his newly critical ex-student. Much as I tried, I could
never come to accept his long poems, Europe, En M[e']xico,
Atlantis and the Continuations series as anything more
than the diary entries of an interesting mind. I found myself
agreeing with Irving Layton that Dudek's true gift as a poet
was for the lyric mode he had abandoned many years before and
recollected in Continuations I (An Infinite Poem in
Progress) as
`Putting together lyrics'
With sex, talk, contact ...
Having lost the dream, I feel no anguish
Lassitude itself is a dream
Still a happiness between the thighs, an awakening
A pleasure in the morning light
-- lines that
take us back almost a lifetime to the marvellous `Pomegranate'
and its `hexagons of honey' crystallizing into lucent
gems, giving off their own interior nuptial light as `the world
starts to life.' When Dudek wrote of pomegranates, he was a
poet. When he wrote of infinity, I'm not sure what he was, but
he was not the poet he should have and perhaps could have been.
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But, to keep
things in perspective, I should point out that Dudek came in time to
regard my own work as disablingly conservative and neoclassical. He
had published my first book, an entirely uncooked and moonstruck
affair, in his McGill Poetry Series and launched my career as a
stuttering and premature imagist poet in the tradition of Williams
and Pound. He was, no doubt, merely trying to bolster a gosling's
sense of chosenness. The result was that I found myself walking into
a poetic cul-de-sac it took me nine years to work my way out of and
another five or six to lay definitively to rest. It was only by going
against the Dudek grain, painfully unlearning so much of what he had
taught me to do as a practising poet, that I was finally able
to arrive at my own sense of what a poem might be, but -- and this
bites to the core of our relationship -- only with the help of the
very tradition into which he had initiated me. So I gradually
realized that despite our alienation I owed my former teacher a
profound if troubled debt of gratitude.
As it happened,
years went by without the two of us exchanging a word. Eventually we
managed to bring off a tentative rapprochement in which he forgave me
my apostasy and I acknowledged his right to err, the two of us as
stubborn and latterly affectionate as a master teacher and a
headstrong student could possibly be. Yet even during our
estrangement it was always consoling to know that he was around,
writing, editing, publishing, lecturing, engaging in polemics, and
encouraging new writers to tempt success -- which also meant to
court failure -- with neither arrogance nor fear, but always with
conviction in the redemptive power of the imagination.
Louis Dudek was a
superb teacher and an important poet. He was also a great man. His
leaving diminishes us. He will be missed no less than he will be
remembered.
- David Solway, Director's Cut
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