More must be said, too, of Devin’s book, Precipitations: Contemporary American Poetry as Occult Practice. ‘Tis a book of criticism prepared by Devin based on a dissertation he wrote under the supervision of Robert von Hallberg and Saree Makdisi at the University of Chicago. I am grateful Devin wrote it — for with its overview of prior acts of trance-scription by the likes of poets Robert Duncan, James Merrill, and H.D. comes the potential to retell the backstory of what I’ve done. It sits with me here as I write.
Devin’s essay “The Needs of Ghosts” turns upon “Interrupted Forms,” a poem by Robert Duncan, included at the start of the latter’s Poems from the Margins of Thom Gunn’s “Moly.”
Given its dedication to one who is both there and not there, ‘tis a poem that is both desirous and recollective simultaneously.
Into the situation of Duncan’s poem, I project this character of mine, the Gay Wizard — the ghost who haunts “The House on Shady Blvd.”
Of him, or of a ghost of similar make, Duncan writes as follows:
Long slumbering, often coming forward,
haunting the house I am the house I live in
resembles so, does he recall me or I
Wanting today to alter the condition set upon me by the ghosting of me by others, I sing the poem to those I love. I sing it to you, dear reader, “as if telling could reach you,” hoping against hope you have ears to hear.
There’s more to it, though; this vein of coincidence runs deep.
For Devin, too, has a place in this story.
I reach out to my colleague C., a poet-friend who studied under Dillon, and ask if he knows, too, of Devin. C. confirms that Dillon and Devin are indeed father and son.
Devin wrote an essay called “The Needs of Ghosts: On Poems from the Margins of Thom Gunn’s ‘Moly.’” The start of that title hits home, of course — startles me, lands with me now as I recollect my time on Shady Blvd. Having taught poems from Moly in my course on Hippie Modernism, I relish the opportunity to read Devin’s commentary. Not yet having familiarized myself with the other text about which he writes, however, I set to work doing so. I track down and read Robert Duncan’s Poems from the Margins of Thom Gunn’s “Moly,” a serial poem that Duncan published as a pamphlet in 1972, later reprinted in his 1984 collection Ground Work: Before the War.
For Duncan, writes Devin, crafting poems in the margins of Gunn’s book was a form of collaboration. The collaborator, he explains, is for Duncan “an inspiration from outside.”
And like that, it happens. The idea grows legs as I read. For I, too, wish to craft a text in the margins of another’s book. Mine will be a story crafted, in a sense, in the margins of Devin’s.
I admire a small stone and a pair of clam shells: mementos from last weekend’s party on the beach. In thinking about bathing the stone in salt water, an occult practice suggested in Aidan Wachter’s book Weaving Fate, I’m reminded of Devin Johnston’s Precipitations: Contemporary American Poetry as Occult Practice (Wesleyan University Press, 2002), a book I read last fall. Although most of Devin’s books are collections of poetry, the above book is a work of criticism — as were the books on Irish poetry published by Devin’s father Dillon Johnston, who Devin thanks in the above book’s acknowledgements.
I introduce each figure here, as each plays a part in my tale.
Dillon taught in my department, his time overlapping that of his more famous colleague, the poet, memoirist, and civil rights activist Maya Angelou. Dillon is the one who founded the press here at my university. His name now graces our reading series.
And oddly enough, Dillon lived for a time here on Shady Blvd, this street about which I’ve been writing — his home Mitch Easter’s home, two doors down from my own. He settled there in the wake of a divorce, and stayed there for several years.
Indeed, in all respects, he seems like an interesting character — someone I would have liked to have known. By the time of my own tenancy on Shady, however, Dillon had moved on to Wash U., where he trained several of my friends and colleagues. Our times thus never aligned in our respective homes — though I suspect Dillon’s stint overlapped that of the Gay Wizard.
For hyperstition’s sake, let us assume the two to have been friends and neighbors. The story of their friendship is one I venture to tell in what follows.