12.16.2017

went silent

In the end, his poetry got too close to silence.

12.14.2017

12.11.2017

12.10.2017

the visual or the musical

…whether we should finally compare Pound’s free verse to ancient musical notations, as if it indicated the placement of varying scales, tones, or, on the other hand, compare it to sculpture, as does Donald Davie, seems a question worth asking, though not worth answering. After all, if Pound did not trouble himself to choose either the visual or the musical as modernist poetry’s sister art, I see no reason why readers should have to make the choice on his behalf. Still, by listening to Pound’s Imagist poems (no only reading, analyzing, interpreting, source-hunting), one may hear the music of the twentieth century having “just forced, or forcing itself into words.”

—Alex Shakespeare, “Poetry Which Moves By Its Music,” Imagism: Essays on it Initiation, Impact and Influence (UNO Press, 2013), edited by John Gery, Daniel Kempton, and H.R. Stonback.

12.09.2017

pass in silence

The message of that passage was that you could read the words a thousand times and still it would escape you.

12.07.2017

canon content

The canon is made of many great poems and a certain number of academic study pieces.

12.06.2017

last vestige

He thought he was being published; in fact, the little magazine was neutralizing the poem, rendering it harmless and making it virtually unseen.

12.04.2017

overwritten

Trying to write what should just be recorded faithfully.

12.01.2017

architect of the imagination

Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.

—Frank Lloyd Wright (1867-1959), The Future of Architecture (1953)

I often think of Frank Lloyd Wright's remark, If the roof doesn't leak, the architect hasn't been creative enough. Which speaks to the flaws any work of art that awes us must have.

11.29.2017

low pressure system

Sitting down to write with that good feeling of a gathering storm.

11.28.2017

word origins

You will need to know some etymology in order to access the poem’s full resources.

11.26.2017

inexhaustible

One thought of the poem as a mineshaft, where many have descended into its dim-lit reaches to do their work, each bringing to the surface a few tons of material, and yet the veins radiate in many directions, and go on for indeterminate distances.

11.25.2017

image framed

An image seen through curatorial aperture.

11.23.2017

weeds

Milkweed

While I stood here, in the open, lost in myself,
I must have looked a long time
Down the corn rows, beyond grass,
The small house,
White walls, animals lumbering toward the barn.
I look down now. It is all changed.
Whatever it was I lost, whatever I wept for
Was a wild, gentle thing, the small dark eyes
Loving me in secret.
It is here. At the touch of my hand,
The air fills with delicate creatures
From the other world.

James Wright

11.22.2017

maximaus

Another minor poet with major poet attitude.

11.21.2017

ancient artifact

A typewritten poem had arrived by mail and the editors and staff passed it around the office asking if anyone knew what it was.

11.20.2017

critical difference

Opinion expires in time. Analysis lasts.

11.19.2017

buckle up

A first line that clicked like a race driver’s seat belt.

11.18.2017

respectful attention

Poets and artists ‘let things be’, but they also let things come out and show themselves. They help to ease things into ‘unconcealment’ (Unverborgenheit), which is Heidegger’s rendition of the Greek term alētheia, usually translated as ‘truth’. This is a deeper kind of truth than mere correspondence of a statement to reality, as when we say ‘The cat is on the mat’ and point to a mat with a cat on it. Long before we can do this, both cat and mat must ‘stand forth out of concealedness’. They must un-hide themselves.

Enabling things to un-hide themselves is what human do: it is our distinctive contribution. We are a ‘clearing’, a Lichtung, a sort of open, bright forest glade into which beings can shyly steep forward like a deer from the trees…It would be simplistic to identify the clearing with human consciousness, but this is more or less the idea. We help things to emerge into the light by being conscious of them, and we are conscious of them poetically, which means that we pay respectful attention and allow them to show themselves as they are, rather than bending them to our will.

—Sarah Bakewell, At the Existentialist Café (Other Press, 2016)

11.16.2017

uses of language

A poet who allowed language to signify. A poet who asked language to sign in blood.

11.14.2017

made statement

Even the shape of the poem had some swagger.

11.13.2017

gaseous body

If this long poem was an astronomical body, it would be classified as a ‘gas giant’.

11.11.2017

word of his own

The critic Maurice speaks of the pompatus of poetry.

[Steve Miller’s word]

11.10.2017

no more than opinion

Yet poetry is still thought of, insistently, as a product, as something answering either to a determined definition or else to a use not necessarily its own. Gregory Corso rightly said that only the poet can validate him- or herself. There is no other reference or judgment that can give more than an opinion. Opinions are rightly and generously the response an art may depend upon, but they do not determine what it is or can be.

—Robert Creeley, “Reflections on Whitman in Age,” On Earth: Last poems and an essay (U. of California Press, 2006)

11.09.2017

matter of

A poem of deceptive mass.

11.08.2017

tight spot

Photographs are often cropped for better effect, and likewise poems too should be willing to give up some background in favor of compositional impact.

11.07.2017

must be put down

Sometimes the critic must shoot the audience.

11.06.2017

flaws of the first water

The poem’s flaws would have been features in lesser poems.

11.05.2017

inner travel

Outer travel becomes the setting of inner travel, but if the mood is somewhat that of the Odyssey, the travelers are less able and confident than Odysseus, and the world less viable to purpose. The width of things and the isolation of the characters look forward to much in the Hellenistic Age, and even in the Aeneid, rather than back to the sureness of the Odyssey. Of the classical Greek writers, Euripides notably created a language for privacy of experience, and he paradoxically did so by pressing intellectually farther than other poets and finding no solution in it.

—John H. Finlay, Jr., “The Theoretical Mind,” Four Stages of Greek Thought (Stanford U. Press, 1966)

11.02.2017

hearing loss

Having attended too many slams, he was now deaf to the more nuanced forms of poetry.

10.30.2017

implicit question mark

Let the last line swerve a little.

10.29.2017

counted and found wanting

The Instagram poet with a massive albeit abased audience.

10.28.2017

vital organ

A good poem while entering the body via the brain, will lodge itself under the sternum, close by vital organs, the heart and the lungs.

10.27.2017

room with a view

Nature poetry that seemed to have been written by someone staring out a window.

10.23.2017

ship rebuilt while at sea

We are like sailors who on the open sea must reconstruct their ship but are never able to start afresh from the bottom. Where a beam is taken away a new one must at once be put there, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction.

Otto Neurath, Empiricism and Sociology, ed. Marie Neurath and Robert S. Cohen (Dordrecht: Reidel, 1973).

Poets are like sailors who on the open sea must reconstruct their ship but are never able to start afresh from the bottom. Where a beam is taken away a new one must at once be put there, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction.

10.22.2017

forward speaking

One hopes a book becomes a tongue that won’t be still.

10.21.2017

craft spirit

Perhaps we need less of the creative spirit and more of the attention to craft.

10.19.2017

upon this rock

With this word I found the whole poem.

10.18.2017

preferred to proffer his own

It became apparent that when he’d said that he loved poetry, he meant his own.

10.16.2017

it's time

   Hegel said that art was a thing of the past. It pleases me to say: to the contrary, poetry is a question for the future, so much so that the future itself belongs to poetry, is poetry. Without poetry there will be no future. The time that would see poetry die will itself be just another death.

   Poetry does not have a time: it is time.

Adonis, "A Language That Exiles Me,"(boundary 2 / Spring 1999), translated by Pierre Joris

10.15.2017

what is was

What it was as art, was not immediately evident.

10.14.2017

denatured poetry

The critic advocated for a denatured poetry wherein any emotional response had been stripped from the words.

10.10.2017

clean copy

The editor delivered the bad news: The proofreader had no questions about the text.

10.09.2017

taking umbrage

Except for the first, each line of the poem struggles to get out from under the shadow of the prior line. (The first line vies with the title to be recognized and heard.)

10.08.2017

internal space

The meditation was so unremittingly blah, I suggested the poet might need to hire an ‘interiority decorator’.

10.07.2017

required rebel

Slavishly we imitate; and slavishly, rebel.

—Mignon McLaughlin, Aperçus: Aphorisms of Mignon McLaughlin (Brabant Press), introduction by Josh Michaels.

10.05.2017

not response but responsibility

People who accuse poets of obscurity never seem to question the reader’s responsibility in the transaction.

10.04.2017

words for the taking

Artists need materials. Musicians need instruments. Poet, please don’t complain when words are all about you, free for the taking.

10.03.2017

pixel count

If the lyric poem is a pinhole camera exposing single images from a life, the biography is a large format pixelated picture, but no matter the page count, a biography is always a life over-simplified.

10.02.2017

continuous experience

Reading the long poem on his e-reader he had the suspicion that someone somewhere was still typing the lines, trying to stay a page or two ahead his eyes.

9.30.2017

when it all fits

Strange—we are always inhabiting more than one realm of existence—but they all fit in if the art is right.

—Lorine Niedecker, in a letter to Cid Corman, quoted in Radical Vernacular: Lorine Niedecker and the Poetics of Place edited by Elizabeth Willis.

9.28.2017

original small batch producer

Poetry was way ahead of the craft and artisanal movement.

9.27.2017

balance of interests

An image you’ve never experienced versus a well-worn image made new.

9.25.2017

long run

Initially a small print run, but never out of print since.

9.23.2017

real time

Revision may be retrospective, but composition is always done in real time.

9.21.2017

empire poetry

Poetry, I’m afraid, is the apotheosis of lingual colonialism, as it colonizes all forms of literary output. No language poses impediment and whether elevated or common or neutral speech, it takes and remakes without pity or regret.

9.17.2017

material failure

There are things we believe or think we believe or want to believe which will not substantiate themselves in the concrete material of the poem.

—George Oppen, letter to John Taggart, The Selected Letters of George Oppen (Duke U. Press, 1990), edited by Rachel Blau DuPlessis

9.16.2017

pickpockets practice magic tricks too

The publisher tries to explain away his prize-winning author’s plagiarisms as instances of careless ‘intertextuality’.

9.15.2017

major rhetoric

The dream of a great poem made solely from superior rhetoric.

9.13.2017

not sic transit it sticks

An image must do one thing: it must remain in the reader’s mind.