In January of 2011, I shared my dissertation proposal on Alex Caldiero’s sonosophy and my comprehensive Ph.D. exam lists with the AMV community. I passed my comps in early June 2012 and defended my dissertation the first day of May this year. I won’t lie: while I’ve been changed as a person and a scholar by engaging Caldiero’s work, it’s been nice to have the weight of grad school off my shoulders and to be able to relax again, although now I’ve got a handful of other writing projects and a teaching position to occupy my mind. One of those projects is revising my dissertation into a book, something I’ve become more amenable to the further I get from my dissertation defense, preparations for which amped my nerves up so high that it took a few weeks to settle myself.
To the end of sharing my work with and seeking feedback on my work from interested parties in the MoLit community, I’m posting an excerpt from my dissertation here. The excerpt (see the end of the post) includes the acknowledgements, the abstract, and the ForeWord. If, for whatever reason, you’re interested in reading the entire dissertation (all ~350 pages of it), shoot me an email at tawhiao [at] gmail [dot] com.
Here’s the abstract to (I hope) pique your interest in my discussion of the problem and promise of sonosophy:
Muta Poesis, from Le vite de’ pittori, scultori ed architetti moderni by Giovanni Bellori (Rome, 1672)
Each year, my wife and I look forward to making a pilgrimage to Orem, Utah to attend the annual Association for Mormon Letters Conference. I’ve also made it an annual practice to share my conference proposal once I’ve submitted it. In 2012, I proposed and presented “Situating Sonosophy: De/constructing Alex Caldiero’s ‘Poetarium'” and in 2013 I proposed “Performative Poesis and the (Un)Making of the World,” although my presentation was eventually titled “The Tongue as Tree of Life: Meditations on Words and the Word and the Making of the World.”
Alex Caldiero’s Performative Poesis: The Makar, Making, and Mormonism
Alex Caldiero’s work emerges from a rich performance ecology that consists of many different influences. One of these is the figure of the pre-modern bard, whom Caldiero calls a makar (mah-ker). Makar is the Middle English antecedent of maker, although makar is still active in the Scots language where it’s used in reference to a poet or bard [see here, especially]. Caldiero may have assumed the title in an attempt to establish kinship with a primitive (prime-itive) culture, its language, and its poetics. He may have also taken the name to skirt around the social and cultural limitations related to calling oneself a poet, including the stigma attached to practicing an art that some say is dead and that others associate with greeting card sentimentalism or the horrors of high school English. By moving to avoid these limitations (albeit at the cost of having to endure others [like being what Scott Carrier calls a “categorical conundrum”]), Caldiero becomes better able to critique common conceptions of poetry while he at the same time foregrounds the term’s origins: the word poetry derives from the Greek concept of poesis, which signifies the process of making.
Caldiero’s self-affiliation with Mormonism brings an additional level of signification to his focus on making. In particular, his poetics seem to be in conversation with Mormon theology’s teachings about Deity; these include the following:
First, that the Gods are Makers: they create and they procreate.
Second, that God isn’t a singular Entity acting as lone Creator but is part of a coterie of creative Beings acting in concert, a Community of Gods.
Third, that the Makers have created and peopled not just this world, this universe, but many worlds and many universes.
Fourth, that Creation doesn’t occur ex nihilo: rather the Makers build things from materials extant in expansive cosmos.
Fifth, that Creation unfolds in an eternal round: the Makers’ creative acts occur in the present progressive tense, that these Beings haven’t just created, they are creating.
Sixth, that humans are the Makers’ offspring; as such we have the making gene in us and by virtue of heredity and training, we can emulate our Parents and become Makers ourselves.
My paper will explore the relationships among Caldiero’s performative poesis (which he calls sonosophy) and the figures/ideas I’ve described above: the makar (the pre-modern bard), poetry as the process of making, and Gods as Makers.
Over the past couple weeks I’ve received two emails from Alex Caldiero announcing projects he’s involved with. The first is a Kickstarter campaign, the second a new book.
First: the Kickstarter campaign.
As a native of Sicily, Alex spent his childhood in the shadow of Mt. Etna, the largest active volcano in Europe. Using the funds to be raised by their Kickstarter campaign—titled “Living with Etna”—Alex hopes to return to Sicily as the tour guide for emerging filmmakers Laura Kisana and Isaac Caldiero (Alex’s son), who hope to document the relationship between the mountain and the people who inhabit its slopes.
When I first watched their project video and read through their proposal, I recalled the instruction God gave to Joseph Smith in March 1833 that those involved with building his kingdom ought to make it their “business and mission” to “study and learn, and become acquainted with all good books, and with languages, tongues, and people.” There are, of course, many ways to fulfill this counsel. One of them may include supporting (however we’re willing and however we can) projects like the one Alex and Co. hope to undertake with this trip and the documentary that would flow from it. Continue reading “News from Your Friendly Nayborhood Sonosopher”
A Motley Vision 