avant-garde tradition

He was steeped in the avant-garde tradition.

pace and modulation

The most important tools of a reader are pace and modulation.

word bounty

My mind moved like a combine through those lines, harvesting a bounty of words.

spa patois

A poet luxuriates in obscure lexicons.

all we can be sure of

     The only danger is not going far enough…we are speaking here of the human spirit. If we go deep enough, we reach the common life, the shared experience of man, the world of possibility.
     If we do not go deep, if we live and write half-way, there are obscurity, vulgarity, the slang of fashion, and several kinds of death.
     All we can be sure of is that our art has life in time, it serves human meaning, it blazes on the night of the spirit; all we can be sure of is that at our most subjective we are universal; all we can be sure of is the profound flow of our living tides of meaning, the river meeting the sea in eternal relationship, in a dance of power, in a dance of love.

—Muriel Rukeyser, The Life of Poetry, Wm. Morrow & Co., 1974, pp. 201-202

falls off quickly from there

No middle ground: Poetry is either a quasi-religious experience or it is light verse.

irrelevance

A poet should aspire to a state of irrelevance. That’s where the art occurs.

to usurp the author

The attraction of critical theory: One can usurp the place of the author without having had to produce a primary text.

bad general

Like a bad general, the poet kept ordering wave upon wave of his lines against my mind’s redoubt.

a large undertaking

For the poet phrasemaking is tantamount to the tomb-making of the Pharaohs of Egypt.

boatload of quotes

When he was working on his study of German tragedy, he boasted a collection of “over 600 quotations very systematically and clearly arranged”; like the later notebooks, this collection was more than an accumulation of excerpts intended to facilitate the writing of the study but constituted the main work, with the writing as something secondary. The main work consisted in tearing fragments out of their context and arranging them afresh in such a way that they illustrated one another and were able to prove their raison d’être in a free-floating state, as it were. It definitely was a sort of surrealistic montage. Benjamin’s idea of producing a work consisting entirely of quotations, one that was mounted so masterfully that it could dispense with any accompanying text, may strike one as whimsical in the extreme and self-destructive to boot, but it was not, any more than were the contemporaneous surrealistic experiments which arose from similar impulses.

--Hannah Arendt, introduction to Walter Benjamin’s Illuminations: Essays and Reflections (Schocken Books, 1969)

Valentine's sentiment

To write a love poem is to live fully.

superimpose and infuse

The image is superimposed over its archetype. It’s the archetype that infuses an image with a numinous glow.

livin' large, po style

The poetry mogul drove up in his ten-year-old Volvo.

surreal issue

How many dream poems are the surreal issue of insomnia?

lump poems

Poems are lumps—physical entities. This does not mean, of course, that they are not about something—the complete dependence of all the paths, the threads, time-space, History, the Social. And the more unrestrainedly the poet gives himself up to the materiality, the more precisely these lumps give off the quality of his conscious effort, of his opinions and ideas. Which is far more interesting than the opinions and ideas themselves—only physical submission shows how long the succession is, demonstrates their real drama.

—Per Kirkeby, “Painterly Poetry,” Selected Essays from Bravura (Van Abbemuseum, 1982), tranlated by Peter Shield.

streamlined

The perfect poem is as streamlined as the tongue.

straining to entertain

The poet thought that by being a clown the work would somehow show itself better. If the people laughed, if they bought books, if they went home happy, that was enough.

world poet

A poet whose work can’t be translated is a poet not worth translating. The work would have to be so idiomatic or idiosyncratic that it cannot convey the universally human aspects of what poetry is and which can always be carried over language to language. In other words, the poet is not a ‘world poet’ in any sense that would make the work worth translating.

poetic forms: sestina

Sestina: six words repeated till depletion.

tea leafs

Try as we might, some “impurities” will remain in the poem’s final draft; but they are like tea leafs at the bottom of the cup, recalling the flavor’s origin, and, could we read them, telling us our fortune.

—Alfred Corn, The Pith Helmet (Cummington Press, 1992)

spoken word

The poem was full-throated, and full-throttle.

arranged marriage

Sometimes one senses the rime was an arranged marriage. One feels forced relations between the words.

of snakes and flowers

Only a bad poet hides a snake motif under a flowery style…

—Vladimír Holan, "In the Dance Hall"

resist, though they insist

Sometimes a poet must resist the insistence of words.

prose v. poetry

Why is that prose writers don’t seem to dither over the ways prose differs from poetry?

bleed through

As I was reading I could feel the lines bleeding through into memory.

uncovering oppressions

[Poetry] is the last possible domain in which we could preserve by language what we commonly deem to be reliable cognitive commonplaces, and last to appeal to solid, everyday perceptions. Poetry does not seek to negate these props. But it uncovers the oppressions of naïve experience and the stale pool of confirming constancies. (49)

—Justus Buchler, The Main of Light (Oxford Univ. Press, 1974)

nice coasters

Poetry books are not those large format, heavily illustrated coffee-table books. However, these slim volumes do make for nice coasters on the coffee table.

nuance, not new instance

To find the nuance in an emotion/notion, rather than a new instance of artifice. Too often the avant-garde is interested in the latter. Their magazines are full of language gadgetry, like the latest Sharper Image catalog, they have bought into the capitalist fetish for the new thing-a-ma-jig or the slick design of an otherwise common device.

image of note

From Frost's "Birches"...
                  once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.


--
I've always loved this strange yet apt simile. The length or extension of what follows the 'like' is what makes it work.

everything always singing

Some people are afflicted by tinnitus, an annoying ringing constantly in the ears. For the poet everything is singing. She constantly hears a singing wherever she goes in the world.

mind's midden

The fragments and discards left in my old notebook: the mind’s midden.

salvage operation

I could salvage only a few words and phrases from the wreckage of the poem.

no parthenon

it is not the Parthenon
but a Vuillard small
as an Adam’s apple
where pain mounts and falls

—Frank O’Hara, Stones, 1957-60, a collaboration of lithographs by Larry Rivers & Frank O’Hara

latent in everything

A poem is latent in everything. The humblest of acts or least of things will yield the most extravagant find.

metaphysics of language

Poetry is the metaphysics of language.

blasted into little pieces

Prior to The Great War (WWI), Ezra Pound and Wyndham Lewis put out their Vorticist magazine aggressively called BLAST. After the war they were publishing in The Little Review. The titles of the two publications are telling: Nothing like the reality of trench warfare to put one’s art into perspective.

pun of the day

After reading his florid poem, he asked, “Can this poem be fixed?” “No,” I said, “it’s too badly baroque.”

landscape into language

If I sit by a pond to write, my poem shimmers like the water’s surface. If I sit by the river and write, then its flow carries over into my language. When I write on the mountainside, I make a poem with a wide ambit.

galley slave

Degas on Manet:

Manet is in despair because he cannot paint atrocious paintings…and be fêted and decorated; he is an artist not by inclination but by force. He's a galley slave chained to the oar.

Quoted in The Paintings of Manet by Nathanial Harris (Mallard Press 1989)

solar plexus

A poem is the solar plexus of speech.

stepping stone

Each book a stepping stone to another.

destabilizing influence

Insert a word that will subtly destabilize the line and thus enliven it.

drawer of treasure or dream

As I read the poem it was as though I was slowly sliding open a drawer full of treasure or dream.

hit by a rock

You can do a lot with educated eyes. What I mean by “educated” is simply how pictures, among other things, can teach you about how to see, and what’s visible when you look hard enough or most openly. At a certain point, past the shock of seeing, you want to do something about it. That’s what makes an artist begin being an artist in the first place. At one time or another you get hit like with a rock. I have a theory that the course of anyone’s artistic life is determined largely by the attempt to retrieve that original rock, or what the painters used to call The Dream. [14]

—Bill Berskon, “Poetry and Painting,” Sudden Address (Cuneiform Press 2007)

seven things

My take on 7 things you should know about being a poet:

1) Pobiz and poetry are mutually exclusive.

2) You should make a life and then be a poet too.

3) Though some may dress unusually, poets are not exotic creatures. Black is always in fashion.

4) If you’re prone to envy, poetry is not going to be a satisfying endeavor for you. Bitterness is sure to set in.

5) Poets may make little money, yet one might say they live in a state of privileged impoverishment.

6) Poets who need writing prompts and exercises to produce poems should give up the art.

7) Poetry is a sweet slow poison.

three-minute format

Whether due to the limits of the attention span or listener fatigue, there is a reason that the three-minute pop song format remains prevalent; and, similarly, there is a reason most poems should stay within a single-page length: If the poem has a subject, then one can expect a capable poet to properly address or do justice to most subjects within a page. If the poem has no subject, then the poet’s pushing beyond that length will require felicities of sound, intriguing phrase-making, and compelling image-making to hold reader’s attention. But even at very high level, without the hold of narrative or theme or the complexities of a subject, inattention is bound to set in. And the mind will wander so far as not to be reading anymore.

excluded middle

A metaphor is a spark across the excluded middle of A is A or it is not A.

begin before the beginning

Begin in a place before the poem you were thinking of begins.

steam powered

In an age of technological wonders, the poem remains steam-powered. By which I mean powered by breath and the heat of emotion.

taste irrelevant

The quest for a style that makes taste irrelevant. A style beyond taste.

tiny poem of hope

HOPE

Tomorrow will be beautiful,
For tomorrow comes out of the lake.

—Emanuel Carnevali, Furnished Rooms,
edited by Dennis Barone, Bordighera Press 2006

(I love the way this small poem works, starting with that bald-faced expression of hope then turning to 'the lake' as the improbable agent of satisfaction.)

beauty & ugliness

Flowers are made to seduce the senses: fragrance, form, colour.

If you can not be seduced by beauty, you can not learn the wisdom of ugliness.

—H.D., “Notes on Thought and Vision, Scilly Islands, July 1919,” Notes On Thought And Vision & The Wise Sappho (City Lights 1982) with an introduction by Albert Gelphi

self-sharpening

The line should be self-sharpening; so that time cannot dull its edge.

Gordian knot

A certain poem may be like a Gordian knot. It would seem to take a lifetime to untie its lines. Then a critic’s insight, like a slash of metal from the arm of Alexander, cuts through the poem in a single stroke.

no mask

One cannot read a poem while wearing a mask. Poems are for the open-faced and wide-eyed.

stop thinking about poetry

For some time now I’ve had a nagging suspicion that I would be a better poet if I could stop thinking about poetry.

in the astronaut’s helmet

I seem to be one of the last authors, not counting theologians, to refer now and then to the notion of a “spiritual life.” In our day, we confine ourselves at the best of times to discussing the imagination. The word “imagination” is beautiful and vast, but it doesn’t hold everything. Some people look at me suspiciously for this very reason; they think I must be a reactionary, or a double-dyed conservative at the very least. I open myself to ridicule. Progressive circles condemn me, or at least look at me askance. Conservative enclaves likewise fail to understand what I’m talking about. Poets a generation younger keep their distance. Only a certain young Spanish poet told me in Barcelona that my essays perhaps signal that postmodern irony may be conquered one day. But what is the spirit, the spiritual life? If only I were up to defining such things! Robert Musil says that the spirit synthesizes intellect and emotion. It’s a good working definition, for all its concision.

In the case of poetry, literature, it’s simpler to say—theologians know a thing or two about this—what the spirit isn’t. It’s not psychoanalytic any more than it’s behavioral, sociological, or political. It is holistic, and in it are reflected, as in the astronaut’s helmet, the earth, the stars, and a human face.

These are difficult and dangerous considerations.

—Adam Zagajewski, “Dangerous Considerations: A Notebook,” translated by Clare Cavenaugh, Poetry, Oct. 2007

familiar arcane

Poetry makes the familiar arcane.

Evel Knievel of metaphor

Poet, be an Evel Knievel of metaphor! Make that death-defying jump between two places Ooooh...too far apart.

substitution of terms: Dewey

“if we once start thinking, no one can guarantee where we shall come out — except to say that many ends, objects, and institutions are doomed. Every thinker puts some portion of an apparently stable world in peril, and no one can wholly predict what will emerge in its place.”
—John Dewey

if we once start writing poetry, no one can guarantee where we shall come out — except to say that many ends, objects, and institutions are doomed. Every poet puts some portion of an apparently stable world in peril, and no one can wholly predict what will emerge in its place.

poem = manifesto

All manifestos are also poems. Or is it that all poems are manifestos.

stick it

Stick that last line like a gymnast dismounting after a perfect routine.

personal space

In a poem the words are given their personal space.

critique of abstractions

Poetry as 'the critique of abstractions'. (after A.N. Whitehead)

by-product of sincerity

Originality is in any case a by-product of sincerity; that is to say, of feeling that is honest and accordingly rejects anything that might cloud the impression, such as unnecessary commas, modifying clauses, or delayed predicates.

—Marianne Moore, Predilections (Viking Press, 1955)

60 second manifesto

I thought this was a well executed performance piece (60 second lecture). I've often observed that much of the 'prosody' of language poetry is expressed in the negative: Poetry that is asyntactic, non-narrative, non-linear or discontinuous, lacking closure, etc. True to form, Bernstein's poem-manifesto is completely phrased in the negative except for the last line, in which he invokes the great Borscht Belt comics' mantra of 'a joke is all in the timing'.

authority and uncertainty

Both lyric authority and lyric uncertainty have great attraction.

appreciated rejection

Years ago, when I was actively submitting poems to little magazines, I got one of those rare rejection notes that are more than rejection slips, they are small critical essays about one’s poem, elucidating this or that strength &/or failure of the poem at hand. Whether or not one agrees with the comments, one has to appreciate the lavish attention given to one’s poem by the rejecting editor. This is especially true if one has ever edited a small magazine. The sheer volume of submissions that one has to open, wade through, and reject, makes it nearly impossible for an editor (often another poet) to take such time and care with any one submission, no matter how attractive or intriguing or very close to acceptance the particular poem or group of poems may be. In the end, this type of rejection, where the poem is addressed so scrupulously and thoroughly, is a greater gift than if the poem had been accepted with the typically short note: “We’d like to take “X” for the next issue. Thanks for sending us your fine work…” The poem is then published in what is ultimately an obscure place in the pages of the little magazine. One gets a publishing credit; but little more is gained from the experience.

Tonight, I got to hear my rejecter, David Wojahn, read his poems. Speaking to him after his reading, I recounted my experience with his overly generous rejection note. He smiled and said it must have been when he was editing Crazyhorse. I hadn’t even remembered the name of the journal. It wasn’t important. Only the rejection note was.

third world dictator

The poet paraded around proud as a third world dictator, his latest little magazine publications splayed like gaudy epaulets on his shoulders.

sopping poetry

I had urge to lift up the poem and to wring out the excess words.

allusions galore

Critical readings mass produce allusions.

thinking and remembering

One definition of poetic power is that it so fuses thinking and remembering that we cannot separate the two processes. Can a poem, of authentic strength, be composed without remembering a prior poem, whether by the self or by another? Literary thinking relies upon literary memory…

—Harold Bloom, The Art of Reading Poetry (HarperCollins, 2004)

visible wires

Images that are no more than props or stage-set scenery. Even if the images fly or hover, one can see the wires and pulleys.