Danny Heitman of The Baton Rouge Advocate doesn't think there's been much, uh, truck between poetry and automobility in recent years, but we here at Poetry & Popular Culture disagree, and #'s 3-10 of the Top 10 Roadside Rhymes show why. (Just scroll down to find 'em all.) For #2 on that list, we go all the way to the Rock Creek Lodge in Clinton, Montana. There, the folks of Big Sky don't just make up triple rhymes (a pair of dactyls at that!) but they've got, well, the balls to use that rhyme as the name of their annual Mardi-Gras-like event held in celebration of the Rocky Mountain Oyster—the Testicle Festival.
Now, before you turn away in disgust—either at the thought of ingesting a bull's family jewels, or because you think P&PC's got nothing more in the way of cultural taste than Beavis and Butthead—it's important to remember that bawdy rhymes and body parts (or is it body rhymes and bawdy parts?) are always more complex than they first appear. Mikhail Bakhtin would have agreed with us, but it's not necessary to bring in a Russian Formalist's analysis of European social events to tell us about American bull.
The Testicle Festival is, in fact, a modern-day commemoration of the "rendezvous system" of fur trading—a way of exchanging goods that replaced trading posts in the American West around 1825. Rather than hanging out a shingle year-round, fur trappers and their agents and assigns agreed to meet once a year to do their business and buy supplies all at the same time. "The typical rendezvous," Carlos Arnaldo Schwantes writes in The Pacific Northwest: An Interpretive History, "was a combination fair, circus, and rodeo with opportunity for feasting, drinking, carousing, and contests of skill." That's still pretty much the case at Rock Creek, except that these days—or so a quick look at the 18-and-over portions of the Test Fest's web site reveals—there are different sets of assets put on display.
Intrigued about the derring-do of the triple rhyme—to say nothing of the cajones it took to erect such a stunning pair of dactyls on a sign along I-90—P&PC caught up with event organizer Matt Powers. Here's that conversation.
P&PC: Um, how's it hangin'?
Matt Powers: With a bit of a swing.
P&PC: How did Rock Creek come up with the Festival's rhyming name?
MP: When trying to come up with a party based in Rocky Mountain Oysters, Testy Festy just flowed, so it was used.
P&PC: What were the other options?
MP: There really weren't any. It was the first thing we thought of.
P&PC: Are there any poetry events held at the Test Fest?
MP: There are not, but this year a limerick competition would be a great addition to the contests we hold.
P&PC: You'd have to keep an eye out for dangling modifiers, I suppose. Have a sample limerick for us—or a first line?
MP: I went to the Testy to take a peek / and lost my virtue down by the creek....
P&PC: I hear a lot of bikers attend. What sort of poetry do bikers like?
MP: A lot of bikers attend, but bikers over the last 15 years are not lumped into the same box. You get some bikers that are high school dropouts, who probably don't like any poetry other than music, and some who have Doctorates, who would probably enjoy all forms. That's a question that is best posed to the masses. Sorry.
P&PC: How about cowboys?
MP: It's a well rounded party ... Yuppies, bikers, rednecks, cowboys, fans of Dorothy... Really a true mix.
P&PC: Well I guess I should say "have a ball," right?
Further thoughts on the intersection of poetry and popular culture: this being a record of one man's journey into good bad poetry, not-so-good poetry, commercial poetries, ordinary readers, puns, newspaper poetries, and other instances of poetic language or linguistic insight across multiple media in American culture primarily but not solely since the Civil War
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"Mike Chasar's brilliant, witty book is the definitive guide to the growing field of American popular poetry. Empowered by prodigious research and informed by thorough knowledge of the traditional poetry canon, Chasar's five chapters take us deep into the way poetry functioned in the lives of ordinary people." — Cary Nelson, University of Illinois, editor of The Oxford Handbook of Modern and Contemporary American Poetry
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"Burma-Shave quatrains, newspaper columns, scrapbooks with thousands of stanzas held together by affection and paste, folksy, pseudonymous, nationally famous radio hosts and the fans who sent them an avalanche of homemade verse: these are just some of the materials taken seriously in Mike Chasar’s extraordinarily memorable, and likely influential, study of popular American verse, and of the popular culture that grew up around it, for most of the twentieth century. Chasar combines the painstaking, arduous archival methods of real historians with the close analyses that we expect from literary critics, applied to verse, to images, and to informative prose ephemera. He persuasively links Williams Carlos Williams’s innovations to roadside signs, the Iowa Writers’ Workshop to the Hallmark card; he may change how you see some eminent writers’ work. Even more than that, however, Chasar should get twenty-first-century readers to sit up and notice the uses that so many Americans, only a couple of generations ago, found for the poetry that they enjoyed. Or, to take up a mode that Chasar appears to be the first to analyze: THIS OLD-TIME VERSE/ HAS LOTS TO SAY/ IF YOU CAN READ IT/ CHASAR’S WAY. His book is an ambitious, serious claim on present-day literary studies; it’s also a surprise, and a delight." — Stephen Burt, Harvard University, author of Close Calls with Nonsense: Reading New Poetry
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"As Bob Dylan put it, 'We have our ideas about poets,' and we certainly have our ideas about poetry. Lately, those ideas have led to a national outcry in favor of bringing poetry back into American public life. But in Everyday Reading, Mike Chasarshows us that if we can rethink our ideas about poets and poetry, we will find that poems have always been part and parcel of modern life. This is an important—really, a necessary—book for anyone interested in modern poetics, in the history of reading, in the many appearances of poetry in the era of its supposed disappearance." — Virginia Jackson, University of California Irvine, author of Dickinson's Misery: A Theory of Lyric Reading
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"This breakthrough study convincingly shows that American poetry in the opening decades of the twentieth century, far from being a largely elitist product that appealed to a limited audience, circulated among a number of different readers to a remarkable degree and left its traces in surprising areas." — Edward Brunner, Southern Illinois University Carbondale, author of Cold War Poetry
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"The lyric spring will never cease creating an emotional pressure, sought after by every searching consciousness—this is what Mike Chasar ... has shown in his book Everyday Reading" — Marina Zagidullina, New Literary Observer
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"[T]he originality of Chasar's close readings, the sheer amount of research informing each chapter, and the speculations on what can be learned from such careful analyses of popular cultural practices make Everyday Reading not so everyday and well worth reading." — Lisa Steinman, The Journal of American History
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"[The] tension between the poetic and the popular is the crux of Chasar's fun and thoughtful book. Chasar is a literary archaeologist. He excavates the poetry in Burma Shave ads, literary scrapbooks of the 1920s and 1930s, old time radio shows, and yes, even Hallmark cards. His close reading of [Paul] Engle's poem 'Easter' as well as the reproduction of the actual card is genius. His thesis is that early-twentieth-century market culture was saturated with poetry (as opposed to 'Poetry') that was participatory rather than exclusionary. This emotional interactivity with poetry, Chasar posits, set the stage for the bizarre matrix of media, commerce, and culture that would come to define the second half of the twentieth century." — Dean Rader, American Literature
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"Everyday Reading goes far in illustrating how poetry played a much larger role in most Americans' lives than it does today. Chasar paints a picture of a more various and ultimately dissident American public than most might have expected, a public for whom poetry was a crucial part of an overall strategy to counter the dominant political, economic, and social paradigms of their era. Written beautifully and researched meticulously, Everyday Reading will prove an important resource for political and cultural historians, literary scholars, and anyone else interested in how poetry transcends the page and becomes an active part of how we spend our days." — Daniel Kane, Journal of American Studies
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"Highly recommended." — Choice
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"Everyday Reading is sure to act as a touchstone for scholars interested in popular digital literature as well as the contemporary avant-garde....[It] concludes with a flourish: an anecdote about the author's grandmother's use of clipped poetry in wartime letters to her husband that evidences Chasar's arguments while remaining personal and poignant. It is a fitting moment for a book that is so innovative, important, and constantly successful" — David Levine, CollegeLiterature
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"Scrapbooking, which appears in other chapters following the first one, becomes the controlling metaphor for Chasar's study—and for reading habits today. With so many cultural products driven by individual tastes and various engines of a global economy, readers inevitably select and construct their own 'tradition,' which may have much or little to do with what they have been taught is important. Chasar's well-documented, thoughtful book offers the larger picture of this phenomenon, of which the battle for the best is only part of the story." — Rhonda Pettit, Reception
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"A brilliantly written book, startling the reader with his thorough research and analysis" — Sheila Erwin, Portland Book Review
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"[Poetry after Cultural Studies] should become an important part of debates about what poets do, what their poems are good for." — Stephen Burt, author of Close Calls with Nonsense: Reading New Poetry