talking to oneself

Some poets eventually talk on and on to themselves.

[Thinking of Ammons’ late books.]

powerful image

The most powerful image of my emotional life is something I had repressed and one of my sisters lately reminded me of. It was when my little brother, who was two and a half years younger than I, died at eighteen months. My mother some days later found his footprint in the yard and tried to build something over it to keep the wind from blowing it away. That’s the most powerful image I’ve ever known.

—A. R. Ammons, Set in Motion: Essays, Interviews, and Dialogues (U. of Michigan Press, 1996), edited by Zofia Barr.

poet output

The two-volume too much Ammons by half.

negative space

Poetry is a verbal means to a nonverbal source. It is a motion to no-motion, to the still point of contemplation and deep realization. Its knowledges are all negative and, therefore, more positive than any knowledge. Nothing that can be said about it in words is worth saying.

—A. R. Ammons, “A Poem Is a Walk,” Claims for Poetry (U. of Michigan Press, 1983), ed. Donald Hall, 8.

ongoingingness

                                   ...but, of

course, there are beaches and galaxies and
long, long poems: I’ve begun to think that
nothing in the world is so important as a long,
long poem, a place anyone’s obsession can be

found lost in, an ongoingingness too reliable to
conclude, a problem that doesn’t finish
its way out of existence, a clinging that holds
clinging on as its enterprise...

—A.R. Ammons, from “Scarcities,” an unpublished poem, typescript dated Sept. 15, 1986, Chicago Review (A. R. Ammons issue; 57: 1 / 2 Summer/Autumn 2012)