Read SPUTTOR (2) here
SPUTTOR is a book. This may seem an obvious statement, but I want to reassert this central fact. Unlike Gravity (2005) or Proposals (2010), SPUTTOR retains aspects of Wilson’s text typical of narrative and expository forms. In that sense, to read SPUTTOR – taking it purely at face value – means to have a point of origin and a destination. On page eight and nine of the text – as part of a section marked “human anticipation” – there is the image of a suitcase. For me, this also positions SPUTTOR as a journey. Like all journeys it begins with a sense of ‘anticipation’. But like all journeys there is a basic path or route set out from the very beginning. On this journey maybe a particular feature of the landscape will distract us. Maybe we will stop for a pint in that cozy looking pub. The basic trajectory of the route, however, remains set from the very beginning. Our ‘expectations’ pertain to the qualities of a preordained map. It is no accident, then, that poetry in its most recognizable sense emerges at this point in Fisher’s text. As mentioned previously, there are ‘forewords’, and ‘contents’ pages, as if Fisher’s intention is to produce a kind of ur-text humming constantly in the background. Wilson’s text is never forgotten, it burns its way through nearly every aspect of Fisher’s production. The ‘contents’ – as originally quoted in my first post – mark a journey beginning in ‘anticipation’ and ending in ‘loss’. This can be seen as the original narrative route explored in Wilson’s text, or even an echo of the dystopian path followed by Shelley’s ‘last man’. But, really, they are ‘anchors’, ways into a text that doesn’t really have the formal arrangement we expect. What matters is that these conventional aspects of Wilson’s Space Shuttle Story remain. ‘Prophecies’ are scattered by Fisher outside the entrance to his cave. ‘Take your time’, the poet demands in the guise of Sybil, ‘reassemble the leaves’.
SPUTTOR, in this respect, doesn’t take us down a ‘canalized’ path. Fisher is playing with our expectations of what constitutes ‘literature’, he is presenting logically ordered material when in reality the content is the very opposite. Looking at pages eight and nine, for example, it is possible to see precisely how Fisher ‘teases’ our expectations as readers. The expectations imposed on Fisher’s own work via Wilson, are subject to further impositions from the conventions associated with the poet’s back catalogue. On these pages, for example, those familiar with Fisher’s work could be forgiven for thinking that what is being presented is the poetry, image and commentary format of Proposals (2010). Occupying the left hand page there are fragments of poetry, whilst on the right there is that image of a suitcase I mentioned previously. As in other works – although, noticeably, on the left hand page as opposed to the right – there is what can be assumed to be a prose commentary similar to Fisher’s last major text. It is as if the writer is providing ‘anchors’ to readers of his previous work that gesture towards how a reading of SPUTTOR might proceed. But it isn’t Fisher’s intention to present us with ‘more of the same’. This seems to be another way of, as Robert Sheppard has put it, ‘undermining’ the ‘logic and coherence’ of his core readership. Assuming that Fisher is still read intensively by those ‘400’ people he 'optimistically' mentioned to Clarke, it would be to deny the entire premise of his work if the same routes were offered towards grasping the material. This would be ‘perception’, as Fisher explained in the Forewords section, ‘without contingent comprehension’. The text primarily presents itself as a ‘damaged’ version of a previous text. Different aesthetic techniques are operating here, and the possibilities for interpretation are engendered in the play off between the form and message of Wilson’s original as well as the conventions of the poet’s own work. In my next post I will stay on pages eight and nine and examine Fisher’s text in terms of this ‘journey’ and ‘message’.
 There is a lot to be said here on how ‘traps’ operate in Fisher’s work, something that I will explore in detail in future work. One thing that I love about SPUTTOR is how it invites readings by those unfamiliar with Fisher’s back catalogue. I would like these blog posts to be similarly ‘accessible’.
 For more on this read Robert Sheppard’s excellent commentary on his blog here.