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Notes to Preludio: An Introduction to the Poetry of Margueritte
by Warren Criswell

1. The Collected Poems of Emily Dickinson (New York: Barnes and Noble Books, 1993), p. 257. “The Single Hound” was the title given to a 1914 edition of Dickinson’s poetry.
2. Juvenal Revisited, Margueritte’s set of sixteen satires after Juvenal, is included in Classical Antiquity, an anthology of contemporary poets (Youngstown, Ohio:Pig Iron Press, 1995).
3. Coda:3, “nostalgic snub”
4. Coda:24, “change, spare change”
5. Margueritte uses just the one name alone in order not to “embarrass my family”, she has said, since she writes openly about being sexually abused by her father, as in this 1987 poem, “Double Flashback”:
a light covering of snow
lays over the train station
a lone seagull crosses the parking lot
the church with the golden dome
still there / immovable / the courthouse
where I changed my name and snapped a picture
where I quietly cried before a judge
who spoke to me like I was a mole
where the building reeked of maleness
and I crumbled beneath the weight of it
as I lay quiet beneath my father while
he left his sperm on my tiny legs

White Plains Station
Jan. 1, 1987
(Bisbee, Arizona: Focus, Sierra Vista Herald / Bisbee Review, Feb. 5, 1995.)
6. Coda, a reading by Margueritte, taped at KTAN Radio, 1994, Sierra Vista, Arizona, by Apostrophe, an audio-magazine of poetry.
7. T. S. Elliot, “Tradition and the Individual Talent,” in The Philosophy of Art: Readings Ancient and Modern, Alex Neil and Aaron Ridley, editors (New York: McGraw-Hill, Inc., 1995, p.59).
8. Dylan Thomas, Collected Poems, “Altarwise by Owl-light” (New York: New Directions, 1971, p.80).
9. Enzo Restagno, Giacinto Scelsi and the Sound Sphinxes, trans. Michael Taylor (1990 liner notes for Salabert Actuels SCD 8904-5).
10. T. S. Elliot, Four Quartets, “East Coker” (New York: Harcourt Brace & Co, 1971, p. 23).
11. Jacques Derrida, Edmund Husserl’s “Origin of Geometry” : An Introduction, trans. John P. Leavey, Jr. (Stony Brook: Nicholas Hays, 1978, p. 102).
12. Well, why not “the mountain?” A mountain, too, has an ithyphallic aspect, and Pike’s Peak, while not the highest in the Rockies, offers a commanding view, a metaphor for man the dominator: “let the mountain voices / shout in the shade of / Geronimo’s dick;;;” (Post-coda: 6, “fang or falchion”) Also, if this is put in the context of the whole of Margueritte’s poetry, it contributes to the gender confusion of “gimlet;” because Margueritte often refers to mountains as breasts--the petrified yet still living teats of a violated earth: “I suckle a mordacious mountain; / black breast; / nipples of green moon; . . .” (Post-coda: 18, “dilemma: New York vs Bisbee”) “come froward; O gaggling breasts; / matrix mountains with shamefaced pudenda; . . .” (Post-coda: 40, “a gaggle of breasts”) “bless thou too the synclastic fold / who suckle with frenzied fangs, / the mountain ring, the nipple ring, / the ring of dross” (Post-coda: 6, “fang or falchion”) “. . .breast-towers stapled and pointing / southwest . . .” (Post-coda:3, “did you say mooseberries??”) And from Galaktikos, a work in progress: “these solid rock breasts; / (with an emery oak nipple); . . .” (“winter humoresque”) And “the mountain broke loose from its roots; / inched its way into a room; / spread its massive breasts; / to crush solitude; / to emancipate the empty mirror; . . .” (“another night, before”) But I was not able yet to view these poems panoramically. I was looking for particles of meaning, whereas Margueritte writes in waves.
13. Jacques Derrida, Aporias (Stanford, California: Stanford University Press, 1993, p. 9).
14. Ludwig Wittgenstein, Philosophical Investigations: 216 (New York: Macmillan Company, 1958).
15. Coda: 31, “trickonometry”
16. Jacques Derrida, Edmund Husserl’s “Origin of Geometry”: An introduction, trans. John P. Leavey, Jr. (Stony Brook: Nicholas Hays, 1978, p. 102).
17. Post-coda: 5, “nature’s nature”
18. Henry Staten, Wittgenstein and Derrida (Lincoln, London: University of Nebraska Press, 1984, p. 107), paraphrasing Wittgenstein from Philosophical Investigations: 194.
19. Ludwig Wittgenstein, Tractatus Logico-Philosophicus: 4.002. “Language disguises thought. So much so, that from the outward form of the clothing it is impossible to infer the form of the thought beneath it, because the outward form of the clothing is not designed to reveal the form of the body, but for entirely different purposes.” (London: Routledge & Kegan Paul Ltd., 1961, p.19).
20. Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology, trans. David Carr (Evanston: Northwest University Press, 1970).
21. Coda:11, “wanted: one angel”
22. T. S. Elliot, Tradition and the Individual (see note 7 above: p. 59)
23. Post-coda: 26, “alone is not enough”
24. Coda:19, “a human bestiary”
25. Maurice Merleau-Ponty, “Cezanne’s Doubt”, in The Merleau-Ponty Aesthetics Reader: Philosophy and Painting, Galen A. Johnson, editor, Michael B. Smith, translation editor (Evanston: Northwestern University Press, 1993).
26. Coda:3, “nostalgic snub.” Lost love is one of Margueritte’s dominant themes. Post-coda is dedicated to the writer Orion Feig. Post-coda: 49, “for Orion,” concludes:
   this ithyphallic horn breeds a hissing dupery;
it scalds the quiet beams I gather at the martyr’s soiree;;
they were for you, my love;
to loose your tangled roots;
to rip the groans of your languid soul;
to close your famished wounds.


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