"Flow chart", an Introduction

Re is a de Es udios No eame icanos, n.• 4 (1996),pp. 53 -64 FLOWCHART, AN INTRODUCTION DAVID HAMILTON Uni e sidad de lowa Gi en he «Ci y» heme o his con e ence, I wish o speak o he ci y as eache , and mo e speci ically o o e he example o one u bane poe - eache , John Ashbe y, a poe o he a an ga de. I would hope ha his alk could se e as a small in oduc ion o his ecen long poem, Flow Cha (1991 ). I eel odd aking up Ashbe y in p esen co npany. The ci y, any ci y, eaches much mo e han he a an ga de. Two w i e s in ou audience oday, William Kennedy and Philip Le ine, ha e lea ned much om he ci y and ha e augh us qui e di e en hings o n any ins uc ion we ind in Ashbe y. Le ine desc ibes himsel as a poe who w i es o people who ha e no poems, especially o wo king people le ou o li e a y cul u e. Ashbe y, in um, could be desc ibed as a poe who w i es o people who al eady ha e oo many, o eade s jaded owa d poe y. Fo all hei di e ences, Le ine and Ashbe y a e poe s o he sa ne gene a ion in he Uni ed S a es, and so a e colleagues, e cn iends. Tha hey, no o men ion s ill mo e dispa a e people, walk he same ci y s ee s is one mo e way in which he ci y is o en ou su p ising eache . In a ecen in e iew, he no elis Ma ilynne Robinson men ioned ha «A hu Go don Pym and Moby-Dick ha e he same -and o ha ma e , Hucklebe y Finn- ha e ha cha ac e is ic pa em o so much Ame ican li e a u e whe e people go h ough a joumey ha leads o a kind o ealiza ion ha is jus a he Iimi s o hei abili y o comp ehend o a icula e, and a e ha , he e's an openness whe e ea lie expe ience becomes impossible, and you ' e abandoned in o a new e ain wi hou being able o use you old assump ions abou how o ind you way.» So A. Go don Pym, Ishmael, and Hucklebe y Finn all ligh ou o he e i o y, and e en hough each e ums o ell his s o y-How would we ha e hose i s pe son accoun s o he wise?-no one o hem e ums as ou companion. Each has anscended ha Py n, he ea lies in he se ies, is said o w i e om Illinois, a o in he no hwes e i o y, which may seem unny now, wi h my ha ing jus lown in om Iowa, s ill a he wes , bu in 1839 Iowa was no ye a s a e, and lllinois was a s ange place indeed o Poe, a esiden o Bal imo e. 54 Da id Hamil on O cou se Dickinson nego ia ed an inwa d coun e pa o his same joumey simply by climbing he s ai s. And Robinson he sel , in H ousekeeping ( 1980), has Ru h and Ru h 's men o and odd gua dian aun , Syl ie, make a pa allel passage in o he ghos ly s a us o wande e s, his in he da k o he nigh , ac oss a ail oad es le, o e a moun ain lake so p o ound as o be known o ha e swallowed a ain. Though ha dly unique o US li e alu e, one o ou mos deeply held belie s would seem o be in he au ho i y o he wande e who has en u ed beyond he pale. Tha pale is usually seen as he on ie , as in he case o Huck Finn who heads o i n o he « e i o y», which p obably mean Oklahoma and he sou hwes . Mel ille and Poe a e mo e ex eme, seeing beyond any exis ing on ie o he dis an Paci ic and o he An a c ic, s ill mo e emo e. And o cou se no on ie is mo e dis u bing han he p i acy o an o iginal soul, such as Dickinson. Each o hese examples, dis illed o i s essence , sugges s open space, lo s o i , and so loneliness, li e ally and igu a i ely, he absolu e opposi e o ci ies. Consequen ly his belie inds i s coun e pa , and i onic opposi e, in he w i e mo ing in o he ci y a he han ou o i , w i e s who mo e in ne e o e um, o hey oo ha e ound hemsel es «abandoned in o a new e ain wi hou being able o use old assump ions abou how o ind you way». Ge ude S ein, H.D., Hen y James, T.S. Elio , Ez a Pound, Emes Hemingway, F. Sco Fi zge ald, Ma ianne Moo e, Ha C ane, Ralph Ellison ... John Ashbe y. F om small owns and egional capi als hey come, o New Yo k, Pa ís, and London. They come o change and o be changed. F om he poin o iew o hei o igins, hey oo ha e passed beyond he pale. Each has seen he dis u bing shapes and ligh shows o he u ban An a c ic. No a one would seek e i emen in he Sabine Hills. They loca e hemsel es ins ead o send news o wha is eally happening, whe e hey ind ha i happens, in he ci y, ha g ea ca alys o he a an - ga de. Ashbe y epi omizes his mo emen . A doc o 's son om Roches e , he wen o Ha a d, ha is, o Camb idge and Bos on, hen o Pa is, and inally loca ed in New Yo k. Aside om being a poe , he has been an a c i ic, a media o o a an -ga de pain e s o his own ime and place. The ci y, as me opolis, ep esen s p oblema ized space and so becomes one o he g ea s imuli o ou li e a u e and a . l is he place o con inuous dialec ic, o he mos signi ican in e ac ion o Sel wi h O he . l is he sea o colonial powe , he cen e om which diaspo as occu , he e uge o hose su e ing hei own disloca ion. The emblema ic dwelling places o he ci y a e he pen houses o he ich, he b owns ones o he bou geoisie, he lo s and ga e s o bohemia, and he ghe o. The ci y o ces con inuous in e ac ion among hem all as e sions and sub e sions o each o he . The A mo y Shows o ali e as ha e been moun ed in ci ies, he na al place o he unde g ound, o sub e sion in i s mos po en o ms, and o he a an ga de. So he up own galle ies o Manha an s and always in ela ion o hose o Soho. By a an -g a de 1 mean simply ha which calls i sel expe imen al, and by expe- imen al, ha which, in he case o poe y, bids o be conside ed poe y hough no a Flow Clw , an In oduc ion 55 i s ead as such. Thus i is composed as a challenge o wha e e we ha e become accus omed o eading. Li e a y his o y e els in one such challenge a e ano he . In any gi en ime, a an ga de wo ks end o sha e a s yle. No one ac i e in US poe y oda y be e sugges s an a a n -ga de s yle o ou i me han Ashbe y. S e ens o esawelemen s o his s yle in his «No es Towa d a Sup eme Fic ion.» «l mus be abs ae!», he said, « i mus change», and « i mu s gi e pleasu e.» How be e o desc ibe he alues o he ci y o , o ha ma e , o Ashbe y? The c i y o ces abs ac ion and chan ge upon u s. l cong ega es he ma e ials o many kinds o pleasu e. T alo Cal ino 's «Six Memos» o he Coming Millenium -essays on Ligh ness, Quickness, Exac i ude, Vi sibili y, Mul ipli ci y, and Consis ency -e x end S e ens's demands and unde sco e isual expe ience. In he ci y, we s agge unde h e psychic weigh o isual impe a i es. The ci y is he place o ou mos augh isual e la ions. In he ci y ou seeing is bu dened, guil y, and o en exci ing. I is whe e we look and leam no o look, whe e we bo h no ice and leam o sub e ou gaze. We ind h a looking can be inoppo une hough seeing is bo h necessa y and una oidable. One can ha dly help being a oyeu jus as one is always, o nea ly always, cspecially in a ci y, awa c o wa ching one's sel . Ci y dwelle s no only ea be in g mugged bu o en eel g uil y, a e wa ds, o ha ing been ca eless and so ha ing, in some sense, pe mi ed he a ack. Depending on you poli ics, looking in he coun y side may be as guil y as in he ci y, bu we a e less inclined o insis ha ha is so. In he co un y, we eel less in usi e and ha i is pennissible o pause o a iew. Though bi d wa ching can be in e p e ed as exe cising hegemony o e na u e, i s ill enjoys a high o de o cul u al app o al e en hough i equi es s a ing, one o he o emos impoli enesses o u ban li in g. Fa ming can ce ainly be seen as de i ing om ou apacious gaze upon he land. Bu we need o ea , so we cul i a e a ega d o manual labo and encou age he a me 's bene olen s ewa dship o ha land. Habi s o seeing in he coun y lead in i me o li e a y con en ions. In he coun y, o in ou sma ll owns, we a e mo e like ly o g ee s ange s and o me e hei gaze. We can lea n no only o no ice bu o name and s udy hose bi ds. In ime, such s udy may lead o ou seeing he bi d di e en l y, as a con incing me apho , pe haps --o lo e, o hunge , o longing. In he ci y, in con as , we hesi a e o linge o e a iew. So we le am o look ou o he come o o u eye. We s ud y pe iphe al ision and ind mo e lee ing meanings he e. In ime we expe imen wi h o egoing me apho , which ends o i x a meaning, o me onymy, which no ices bu le s go. Quickness, Visibili y, Mul iplici y; i mus change; i may gi e pleasu e. We could specula e ha he e is some hing essen ially u al abou me apho . I equi es h e equa ion o hings unde he umb ella o a la ge o de ha holds, such as ha o seasons and hei changes. In ex ended me apho , pa holds wi h pa and ends o s abilize meaning ali he mo e. Me onymy on he o he hand s eps mo e quickl y. I o ego es h e whole o e el in he pa , o pa s. Se in g aside a b oad in e es in an 56 Da id Hami on a my, i sha pens i s swo d. The swo d may signal a la ge o de , bu i will no a emp o comp ehend i . No long ago, poe y was ali bu equa ed wi h me apho . I was signaled by a complex o subo de s- hyme, me e , he consis en de elopmen o image y and o heme. Now o ha e all hese o de s in place a once is almos a sig nal o he an ipoe ic, a o lom nod oan old o de ha does no hold us unde i s spell. Any one o hem can do now, can be mo e han enough. Unes, o example, can be de ined by no hing mo e han hei a bi a y, agged igh bounda ies. One migh call his a isual me onym o he olde poe ic line. Simila ly, occasional o obligue hyme may be a me onym o hyme as we emembe i , and as such o poe y as i once was. Fo gene a ions, now, me onymies ha e been c eeping in o challenge he domina ion o me apho in poe y. No poem could be a be e examplc han «The Red Wheelba ow», a ci y poem i he e e e was one: So much depends u pon a ed wheel ba ow glazed wi h ain wa e beside he whi e chickens. Williams o e s a se ies me onymies, h ee o hem, sugges ing bu e using o e eal one con incing me apho . No ha me apho ical eadings ha en ' been ad anced, making much o he colo s o innocence and m a y dom, o example, o o a ain eshened conjunc ion o he machine wi h na u e. Bu none has been sa is y ing . Ha dly a ci y poe , and much gi en o me apho himsel , F os saw hese lines as a « agmen », which would imply ha he me apho he sough by which o ead hem had no come in o iew. No would i , and so, o F os , he poem canno be whole. The lines hold oge he hough like a adi ional poem, e en a poem o F os 's. No ice he consis en balance o ou (and in one case h ee) syllable lines agains wo. No ice he play o assonance om low back owels, «O» and «U», h ou gh mid owels, «a» and «e», o he high on «Í.» No ice he «d», li ed o so ne deg ee o s ess in each s anza, hus p o iding a chain o consonance h ough he whole. No ice he mu ed hou gh suspended hym e: «depends /upan . .. chickens.» The poem us a es ou desi e o seek a me apho ical meaning. Bu i is mul iple in i s image y, isible, and quick; i is ligh on i s ee and changes. My p i a e an asy F/ow Cha . an In oduc ion 57 is ha Williams composed i one a emoon a e hi s pal, Pound, bu s in o his oom wi h news o he las exci ing hing o which he had leamed- he G ea Vowel Shi . «Pound es s on he middle ages», Williams would say Ia e . Anyway, abso bed as he was in some hing mo e ma e ial, ana omy e y likely, Williams, o ge id o Pound, said «Oh, you me an like his» and imp o ised « Th e Red Wheelba ow» as a me onomy o philological lo e. In any case, i can be ea d as a se ies o me onymies o he casual jux aposi ions o con empo a y li ing, a angemen s no limi ed o bu una oidable in he ci y. Ashbe y, among many o he s, has no iced. In Flow Cha he alludes o he wheelba ow-»oh ake his wheelba ow a om my sigh and bu y i on yonde heigh » (65-6)-as he does o he b oken bi s o g een bo le in he cide alley (72), ano h e o Williams' me onymies. He e e s lo Williams' habi o being «ou iding, poin ing a some hing.» « Why is i oo la e o be simple?», he asks (71 ), a mnin g ha , om his own poin o icw i mos ce ainly is. u Time is oo sho o me o a emp mo e han a glancing eading o Ashbe y. He is one o hose a e cases in which, hough associa ing himsel wi h he a an -ga de and ad ancing a poe ics in enns o he an ipoe i c, has be en aken up in his own li e ime as a benchma k o poe ic achie emen , es pe c ed by his ellows, hono ed by many mo e, imi a ed and copied by ali and sund y, an hol og ized by i als in ou domes ic ibaliza ion o poc s and poe ies, and he ecipien o nea ly ali he na ional p izes o poe y one can name. He has published a leas i een sepa a e olumes o poe y wi h hi s pace ha ing accele a ed o nea ly one pe yea . In so ne iews, such p oduc i i y is a c ime agains poe y, which dismay p omo es in u na ce ain mys e y abou his me hods and conjec u es ha a e no doub apoc yphal. My a o i e among hose, and his pe haps s imula ed by a po ai o Ashbe y by La y Ri e s, in which he poe si s be o e a manual ypew i e on a co ee able s a ing a some hing unseen bu e y likely a in he middle dis ance o a li ing oom, would ha e Ashbe y compose in jus such a posi ion daily, wi h a wen y- ou hou mo ie channel on in he backg ound so ha whene e he is a a loss o wo d o image he me ely eco ds wha e e ca ches his eye on he sc een. 1 ha e no eason o belie e his ale. Ye i pleases wi h a hin o plausibili y, o i seems o explain i s he mys e ious p o usion o his poems and hen hei cons an low ha a ely se les on a subjec bu seems o ca ch ins ead a momen o ligh , o ansi ion belween o among subjec s, hough i would no explain h e ange o his subjec s o his language. A ela ed conjec u e would be ha Ashbe y has aken o hea he lessons o mid- o Ja e-cen u y heo y, especially abou eade s pa icipa ing in i no domina ing he cons uc ion o a poem, by which he has ound he con idence o o e any kind o mix, bel ing on ou dogged de e mina ion o ind meanings o i whe he he ca ed o see any o no . 58 Da id Hamil on You will no be su p ised, hen, o no ice as dis inguished a c i icas John Bayley saying ha Ashbe y «cons an ly sugges s meaning wi hou e e being so banal as o a emp i .» O o Helen Vendle o liken his poe y o Zeno's pa adox: «No ma e how you has en owa d you goal, you will always be unable o each i .» O o me o be eminded o a ema k o J ohn Cage 's, said abou he wo ks o J oyce, Sa i, and Duchamp, ha hey « esis ed he ma ch o unde s anding and so a e as esh now as when hey we e i s made.» O o a ecen s uden o mine o sugges ha Ashbe y «would wa ch he uni e se mu a e a andom.» Vendle , a e all, ci esAshbe y quo ing Hen y James, as «one o hose on whom no hing is los », and she applies he line o he poe . No <loes Ashbe y discou age such sugges ions when, o example, on he i s page o Flow Cha , he places his small passage: l seems J was eadíng some híng; l ha e o go en he sense o i o wha he small ole o he cen al poem made me wan o eel. No ma e . The wo ds, dis an now, and mi ed, glin . Ye no one e e escapes he o es o agony and pleasu e ha keeps hem in a solu ion ha has become pe manen h ough ine ia. The o ce o meaning ne e ex udes. And he insec s, o cou se, don ' mind. «I mus be abs ac .» The e is a s ong sense o abs ac ion he e in ha ideas o eading and o a poem a e mo e e iden han examples o ei he . A o es o agony and pleasu e is no o es we know hough he ph ase sugges s he na u e o o es s. Manusc ip e idence shows ha Ashbe y cu wo lines be ween he las wo sen ences quo ed, p e hap s o ein o ce he associa ion o «meaning» as i can be imagined o «ex ude>>-like oo hpas e, o sausage om i s casing, o exc emen -wi h he insec s ha would c awl ali o e i i i did. I seems cha ac e is ic ha he image gi en by «insec s» and «ex udes» is explici ly denied by he sen ences in which hey appea . The e is no ex usion a he han so ne, and he insec s «don ' mind» being denied hei na u al due. Again we a e in he ealm o ideas a he han among examples. These a e no he an s o Tho eau. By now, mo eo e , one becomes awa e o ha ing been d awn away om he ea lie lines, which mus be a leas as impo an!, o hey a e no only abou eading, bu abou he nos algic idea o a «cen al poem», in which well joined, ha is «mi ed» wo ds «glin .» O cou se ha ph ase al so means wo ds digni ied as bishops and so decked ou in ancy headd ess. Reading Ashbe y is a con inuous ad en u e o nego ia ing such passag es, in which he e bal landscape is always shi in g-I mus change!-and wonde ing how o en one migh e u n h ough hem o disco e pleasu es one has missed. Flow Cha is a poem o 214 pages di ided in o six unnamed sec ions indica ed by Roman nume als and subdi ided u he by in e mi en whi e space and by whi e Flow Cha , an In oduc ion 59 space enhanced by a ypog aphic squiggl e. These di isions o en appea andom, pe haps me ely a eco d o places he s opped o sleep, o o co ee b eaks, o when h e mo ie changed on he , and no always coming o a ull s op g anuna ically when he does. One passage owa d he end is a ou de o ce h a is becoming amous; i is a double ses ina, ba sed on Swinbume. The i s o i s dozen s anzas p ecedes one o hose squiggle di ide s, and an o he page anda h al ollows he ses ina 's coda be a e he sec ion V ends. Tha is he kind o mo e ha sugges s casualness abou di ision, o p í a e de e mina ions, o a desi e o de lec us om no icing ha a ses ina has begun. Th e i s ime I ead he poem , 1 did no no ice i a ali. I me ely saw ha so ne wo ds we e being epea ed. «Sun lowe » s uck me, and I w o e in my ma gins, «lo s o su n l owe s he e.» I is eache ous o quo e om Ashbe y, o e e y quo a ion ex ac ed denies passages be a e and a e ha migh be as ui ul. He e hough a e a ew ha may gi e a sense o Ashbe y, o a leas o wha caugh my eye while eading him: Wo ds, howe e a e no he culp i . They a e a wo s a placebo leading nowhe e ( hough nowhe e, i mus be added, can some imes be a cozy place, p e e able in many cases o somewhe e). (24) Repe i ion makes epu a ion. Besides, i 's some hing you build wi h. You need no longe inspec he ma e ials when you buy hem in bulk. (133- 4) Wha i poe y) we e only a small, o he way o li ing, like being in he wind? o le ing he a ious se ling sounds we hea now es and eco d he e o any c ea u e has o pu o h o summon i s spi i s o a momen and hen all si len , hoping ha enough has happened? (145) I 's my Sona a o Expe ience, and I w o e i o you. He e's how i goes: he i s heme is announced, hen ooled a ound wi h o a while and goes and si s o e he e. (172) One de ec s a no e o pa ody in ali his. I' e chosen passages ha sugges Ashbe y 's w i e ly sense o his wo k, his oying wi h ha , and his p o oking bo h himse l and his eade s by mulling o e e olu iona y ideas. Each passage spa kles wi h sub e si e hinking. Each, in my iew, «glin s», as <lo es his longe one, in abou he sa me one, ha de ines as well as any hing I know he spi i o he a an -ga de while h ea ening equa!ly o de la e i : I can ell you a s o y abou some hing. The exp ession will be jus i gh , o i will be adjus ed 60 Da id Hami on o he demands o he onn, and he o m i se l shall be imeless hough hi he o un suspec ed. l will ake us down o abou now, hough a ew beau i ul a chaisms will be allowed o lu e in i -<<co mplain », o one. You will be amazed a how ouched you will be because o i , ye no emp ed o ind au1 wi h he au ho o doing so supe la i e a job ha i lea es his willing bu b ea hless eade s on he sideline s, like people wai ing o hou s beside a illage s ee o see he c oss-coun y bicycle ide s come zipping h ough in hei ye llow o sil e li e ies, and i ' s ali o e so as you' e no su e you e en saw i . ... Bu you won' mind ha ei he , since his li e a u e will ha e pe o med i s du y by se ing you gen ly down in a new place and h en speeding o be o e yo u ha e a chance o hank i . W e' e go o ind a n ew nam e o him. « W i e » scems o ally inadequa e; ye i is w i ing, you ead i be o e you knew i . And besi de s, i i we en ' , i wouldn ' ha e done he unexpec ed and by doing so p o ed ha i was qui e he hing o do. (185-6) This passage ali bu immedia ely p ecedes he double ses ina, which se em s des ined o become emblema ic o hi s poem. The ses ina begins en Jin es la e wi h «W e' e in e es ed in he language, ha you call b ea h», «b ea h» being he i s o he dozen end wo ds Ashbe y akes om Swinbu ne and employs in p ecise ly he s am e pa em as he, in h is «Complain o Lisa», which in um bea s as e pi g aph a eminde o Boccaccio, Lisa's co mplain be in g cen al o he se en h ale o he en h day o he Decame on. One ne e knows when o qui when ci ing in e ex uali ies, bu le i be said ha Boccaccio's ale is one o h owing, p ojec ing, o ansmi ing one's oice h ough in e media ies and su oga es, which idea bea s mo e han a li le ela ion o aking Swinbu ne as one's exa mple, chos ing Swinbu ne 's a e double ses ina, and d o ppin g « ianguage» in o i s i s line which will end w i h « b ea h .» I ha s e e y hing o do wi h a « imcless» o o «hi he o unsuspec ed», com ing down om Boccaccio o «abou now», wi h a ew «beau i ul a c haism s» being «a llowed o lu e in i .» Lisa, an apo hecam 's daugh e , alls in Jo e wi h he king, whose lo e is a h ope less !o e, he king being ma ied al eady and high abo e he s a ion. So she alls in o lo esickness. Th e king, a sympa he i c igu e, hea s o his and se nds his mins el o inqui e. The gi l ells he mins el he s o y and he, much mo ed, p omises o ca y i o hei king. ln e es ingly, a sma echnical complica ion occu s a his momen , o he mins el, ei he incapable o o i nding i un hinkable o compose his own «o iginal» so ng , employs a songw i e o do ha o him be a e he e ums wi h he sc ip ed, p ac iced e sion o he king. Wha a e we o suppose he e, ha D e ida wa s al so a eade o( Flow Cha , an In oduc ion 61 Boccaccio and Swinbu ne? O ha De ida ells an old s o y in newe , mo e abs ac language? Anyway, h e mins el sings his, he , hei , sad ale o he king who, much mo ed himsel , decides o isi such an ob iously i uous and end e maid. He does. Being no only noble bu o good hea , and pu e enough mind, i ne e en e s in o he s o y ha he king migh do o he han se e he well, ha is, o a ange he ma iage o a sui able cou ie . This he will do a he cos o one kiss om he maiden. And ha she will g an only i his queen does no objecl. Ali ends happily ali he way a ound, and he elle concludes wi h a eminde ha kings, hough al l powe ul, a e abJe o beha e well now and hen. I jus said « Í ne e en e s in o he s o y», bu he b ea h o co up ion was he e ali along. We ead he s o y well awa e o o he ums i migh ha e aken. l hin s o an audience p epa ed o hea a di e en s o y, o a less i uous maid, o o a apacious king, o o bo h, and so o his s o y being laye ed, as i we e, on ano he unhea d bu well emembe ed. And ha is ali he mo e eason o i o d aw he a en ion o eade ly and w i e ly poe s like Ashbe y. Like Ashbe y, he king did he unexpec ed and «by doing so p o ed i was qui e he hing o do.» Say he was king o a benign a an -ga de. Fo he momen , anyway, Ashbe y seems king o ou na ional poe y, and gi en he small space 1 ha e o wo k wi h he e, his double ses ina se ems a good choice o ep esen! his sp aw Jin g and complex wo k. So I will inish by elling a di e en s o y o i . Las yea , I w o e Ashbe y o say ha a class wou ld be eading Flow Cha wi h me, and 1 asked whe he he could spa e copies o one o wo d a pages. This seemed a happy way o ge ing a class o begin alking abou a poem. 1 didn' know Ashbe y, and 1 expec ed no eply, so 1 was o e whelmed by his gene ous esponse. An assis an called me, asked wha passages I was in e es ed in, and when, nonplused, l had no conc e e sugges ions o make, sugges ed he double ses ina and wo o he s. Tha 's when I lea ned o go back and look o ha ses ina. Soon l e cei ed a passage om he beginning, in which I ound he cu be ween «insec s» and «ex udes», a middle passage, and ma e ial including he double ses ina and unning on o he end. The e we e wen y-nine pages o ypesc ip , densely single spaced, mo e han six y pages o he inal ex , almos one hi d o he poem. l is labelled «o iginal manual ypesc ip », as i i we e i s w i en in a pos u e much like he po ai by Ri e s. 1 do no know how man y sc ip s o o wha kind p eceded i . No how many o he s ollowed. The e a e changes and cu s, plen y o hem when you begin lis ing, bu he o e wheJming imp ession is o Ashbe y's le ing hings s and, o line a e line mo ing en i ely om «O iginal manual ypesc ip » o he p in ed ex al hough one whole page o co uple s has been los ha would ha e added abou h ee new pages jus beJow he middle o he p esen page 66. This was p obably beca use a ypis u ned o e wo lea s oge he by acciden and no iced no disjunc ion. Tha ailu e o no ice is easy o unde s and. The ses ina began, appa en ly, by Ashbe y yping he wel e end wo ds down