Showing posts with label Piero della Francesca. Show all posts
Showing posts with label Piero della Francesca. Show all posts

2.05.2020

somewhere off Pennsylvania Ave




CAHOKIAN GIFT

The sun peeks through this February weather
as a frail reed or fluted candle
finds a chink in some Siberian
prison wall.  United States are altogether

in states of disarray today.  Tonight
the President’s speech will
be, no doubt, a veritable
trompe l’oueil – he will not make it right.

Henry too lingers in his fog
of disaffection.  Absent
from his Hobo-tent,
divided from his tiny tree-frog

peeper (cooing like a mourning dove
no larger than a copper penny –
greenish rust, gone silver Jonah
now, somewhere off Pennsylvania Ave).

He hears relentless Ocean River
bend the zodiacs toward clay,
Big Muddy bearing all away
into her coral Nephthys-quiver;

chambers of Coatlicue
like dead bee hives, storing
the crystallized outpouring
(zigzag red-black raven roundelay).

O motionless Greek urn, still turning,
Ezekiel-bones, still yearning!
Redeem Time’s churning
revolutions, Adonai – transfiguring

                        *

North Star!  You mantle humankind
like that Madonna della Misericordia
Piero della Francesca frescoed –
tricolor umbrella-shelter for the blind!

For Agape is a magnetic prong, threads
taconite to one Itasca
lady’s slipper (showy!) – &
drops rusty anchor of Rhode Island reds

into a lambent western window-rose
(mauve, scarlet, violet & blue)
where Hope beams into view –
& from her constant fortitude still glows!

So anchor Henry’s trembling canoe
deep in your heart-of-hearts’
matrix – where timespace floats –
in that classy garage Micòl showed you;

your forsaken Byzantine three-master
beached in parochial nowhere,
ferrying Alighieri into air.
Where the mosaic wave of our disaster

cradles in the love that heals despair
& shimmers there, like Juliet
walked back from fatal plummet
or Henry Bear, helped from his chair

of perilous dismay (to restoration
& recovery).  So lift
my hokey Cahokian gift
up to your Eye of Providence… Union.

2.4.20


7.10.2019

all the unspoken waltzing things




SEA-GRAVE

Henry has his scribbly hobbies.
Hobo is obsessed.
Osiris in his nest
buried (maybe touches the Keys).

A Viking ship in Minnesota
sleeps near Lake Itasca
like a Moses-mandorla
or canoe (garaged in Ferrara);

a pregnant Virgo by Francesca
curves in an oval
like a miniature whale.
These fish are scaled to hallelujah

& back – one swallow swallowing
a smaller, swifter swallow –
& water seems shallow
until you measure it (by hollowing

a sea-grave in the Milky Way).
& so Jonah yodels,
while Akhmatova spells
lowly on an ocarina (hey ey

yo).  A warbling robin sings
out of Mississippi clay
her infinite wedding day –
all the unspoken waltzing things

logrolling like a planet made of grace
in a dream-songe dream, Henri.
Near that Melusina-sea
glistens in memory (her San Fran face).

7.10.19

1.31.2019

rattlesnakes & wild hogs



woodcut by Mary R. Gould

BLANK MIRROR

Hobo & Henry (mirror lakes of ice)
hunker down by the Miss
in apocalyptic freeze.
Global worming – ain’t nice,

offers Hobo.  Henry stands on a log
of spongy cottonwood,
to speechify.  I would
gather everyone in D.C. – slug

it out with themeny!  Hobo : Who he?
King Henny Gowanabe?
Beware Coatlicue,
m’deer!  She got that panoply

um rattlesnakes & wild hogs,
rootin’ all around –
Iagoons, Macboars... ground
Z for Camazone swamp hellhound dogs!

In the blank mirror of unconsciousness
the stone-cold powers
& the lotus-flowers
collide in a collusion...  Heartlessness,

she mutters.  Hobo sunk down.
Cheer up, old boy,
sez Hank.  My Book of J
opines beneath Cordelia’s Crown;

she shone me that Madonna del Parto
flaring like Indian mound –
high Sophie’s dancing ground
(who shall restore our humane Beneficio).

1.30.19


11.10.2017

evening of the year



TIRED HAND

November is the evening of the year.
Peasants in Bruegel scenes,
old Hobo has-beens
cluster by each barnyard bonfire.

Smells of farm & mill & stream,
the salt of drying fish.
Legends of Gilgamesh,
Leviathan.  Earth’s drowsy dream

wherein these van der Weyden faces
peer, like wildflowers
(like elemental creatures).
Matrix of sky & sea places,

of perishable limestone prints
from whence a soul emerges
smiling... Demiurge’s
horsehair, flickering (Francesca’s hints).

Medieval bread & wine of things.
Cascade of bridges over
other bridges – river
washing under massive rings.

The solidarity of timebound
beasts, breathing together
under whip, rein, tether.
Muddy, between Arch & Mound

looms... pregnant with Spiritu.
What Piero knew,
Bruegel & Jasper too –
shade-palm, surrounding you

                    *

& me – stretching toward Pacific blue.
I layer watercolors so,
over crepuscular canoe
hid in Italian garage (one almond clue).

The limestone waterfalls in Rimini
like tears across a scallop-
sign.  The curtains drop,
the veil gives way... a human unity

of suffering is all our play.
Da Vinci, with tired hand
limns one command –
love one another, every day.

For we are one.  A multitude,
personified.  Benevolent
Ancient of Days bent
each into the mirror’s flood,

together – riverflow of heart-
veins from the earth
welling to fiery hearth –
lenticular sunset, plangent cloud-art.

So spinning from primordial rose
the golden maize of Chartres
guides you to its Artist...
Daedalus, not Minotaur; Grace

Ravlin, not some puppet-master
in the Kremlin.  Shadow
of Mona Lisa grin... you
rise before the fall (Easter).

11.10.17

10.21.2017

rim of that heavenly Rome



COSMIC BATTLE

Inching back with my mother down
the nursing home hallway
from dining hall... hey ey
yo.  Keep her from falling (too soon).

Sprightly, amnesiac, brave.
We filtered burnt photographs’
international orange (‘70s
epitaphs).  Look – you still wave

from chilly distance, eldest one.
Your sister, brothers... your
father, meek & mild... War
obliterates peripheral vision, son.

Like game of hangman (simplified).
Figure out the letter
in the word.  Row, Edgar
Poe – enough rope be dangled

like that infamous platform
lifted out of season
like Francis from prison...
only to travel far from harm

along a single beam of light.
Real American creed
spooling through Voodoo
Queen Marie – gonna be all right.

Antithetical Poe held
his ivory casket
in a bird-basket –
row, row, coracle... spelled

               *

IONAH on the bow... over & out
for now.  The cosmic battle
between Caesar & that
measly songster (Stalin puttin’ Anna

into the hollow double-barrels
mimicking Utopia – everyone
happy in warehouse, hon)
becomes a set of Shaker castanets

or scallop-shells of Aphrodite;
– a skirmish in St. Louis
soars above Cahokia (she’s
us) into a supple Rimini-

design.  The poet, poison-pounded
pharmakon, cribbed out
his hazy Paraclete
in limestone layerings – founded

Apollinairy nothings on a pole-starred
pine.  Rose horizontal stripes
on snow led wayward ships
to Milky Way, somehow (the bard

might know).  Over the river E
(for equal sign) carry
me back to cosmic liberty,
Eurydice – united we are free;

like Sophie with P. della Francesca fan
loving galactic neighbors
stitch their laborious
light-canoe (twin Manitou of Man).

10.21.17

5.31.2017

to the Open Road



PINE-SAP

Hobo took to the Open Road,
from Minneapolis
to ancient Providence.
Like Mark Baumer, or Johnny Appleseed

or Pippin, off the deck of Pequod
unto lustrous ebony
of kings (their feathery
full fathom five... old sacred wood).

Gray tintype of elder Whitman,
stiff lead butterfly perched
on his hand.  We searched
for you, O monarch soul – your Plan

a prairie zigzag into Mexico.
Across the Rio Grande
to feathered-serpent land
pacing a shadow like raven-arrow

(Narragansett shade).  Crumbs
for Elijah-bird, Joachim-
eagle (from the seraphim).
Who plummets (wings like snare drums

thundering).  A way of traveling back
into deep green earth,
Hobo – measure your worth
for cedar berth (from Hackensack

to heavenly Jerusalem).  Transfiguration
chicken shack – here Hen
gathers his brood again
into the spare refectory (Franciscan

                *

cornerstone) where Piero limned
an emerald almond branch
lit by a thread (match-
fuse flaring) like sun-skimmed

honey-milk.  So Hobo burbles home
downstream.  The Gulf beckons.
Blue radiance of suns
(YHWH, YInMn) out of Pacific foam...

& in RI, in San Francisco Bay
orange arcs of rainbow
(mulitocular O-show)
fan skyward Hagia Sophia spark-display.

A yellow-black viceroy wavers
from Petersburg, southwest.
Grave resurrection, chaste
Akme-vision... dark cherry life-savers

Persephone crane-dances
limping to the spring.
Natasha’s creaky swing
for Julietta 484   rusty romances

when we dead shall rise   ghost-dancing
circling into the cloud
of dust   meek now, not proud
Frank Muleteer   Jennifer Sing-Sing

abracadabra... Alcatraz
rock flung from sky
become canoe   your eye
be dew   pine-sap    river to Paradise

5.31.17

2.28.2017

Rose Island Light



HIGH C

Hobo takes his descending path
sloping to the great river.
What can he give her,
steady Delta Queen, to stanch the wrath?

Past frigid walls of enmity
feathered with graffiti –
a rust-red major C
like an iron magnet... Rimini

or Cleveland?  Venice, maybe –
where the blind king lies,
his crazed hawk’s eyes
closed (petrified) beneath the sea.

The crane dance of the manic poets
circles the salted harbors
of the Gulf.  The Earth bears,
pining, their smoldering caskets

toward one windy maelstrom-vortex –
matrix of Rose Island Light.
Human massif, beaming bright
rotating manna-sun, whose Artifex

is spoked with rays like peacock’s eyes;
radiant Ancient of Days
out of the heart of praise
within a ring of living creatures

breathing fire against the cold
accidia, the starved
& shriveled souls carved
with the scar of Queequeg’s mappemunde

                   *

the raven-star, the midnight sun.
& the Nazir of poets chants
one Galilean entrance –
lacustrine circle, Aquarian –

out of the sea as rapt Columbia,
planetary bird of clay;
cloud-shade of Day
for restoration of Terra Incognita.

Hobo beheld this mighty mandala
like a rose wheel of limestone
light, through human bone
& muscle, limbs & ligament, figura

tattooed by Piero della Francesca
as a mirror for your glance –
as Miriam in moody trance
harbors the light ray’s umiltĂ .

Like the Hart of Marsden Hartley
in a rose from the sea,
in a sea-knell’s 33,
out of the sunken chest floats free

the vision of immortality –
Love’s salty clarity
spouts from the clay
enchanted unison, octave’s high C.

So Hobo lay in his muddy riverbed
south of St. Louis.
His clay revolved; his
turtledove hummed overhead.

2.28.17

1.30.2017

slab of puddingstone



ALMOND LEAF

My lovely Providence, a microcosm
in the ruins of modernity.
Gray pebble by the sea,
colonial casque.  Slow periplum

around a clamshell iron rim –
like horseshoe crab
with buttresses, or slab
of puddingstone Bermuda-dream.

Today’s your birthday, spiny Jenny.
Evergreen of grief
& joy – almond leaf
of love’s firm spiral (funny

soul’s integrity).  You showed me
Piero della Francesca –
candid paisan Maria
pendulous with incendiary

monochord (trompette marine).
You showed me Providence
over your mother’s dense
grass gravestone (swan depression).

April is your azimuth;
mine too.  The cave
where Earth’s a voided grave,
where Berryman’s a vernal mouth.

Cicadas of Apollinaire
buzz over ĂŽle-de-France.
The veil of Adams’ Isis
tears – Columbia croons everywhere.

1.30.17

Newport, RI (near Berkeley's Seat)

10.12.2016

down by the Rio Espiritu



CAVERN-KITCHEN

Cottonwoods mime autumnal Golgotha
down by the Rio Espiritu
Eli, Eli, why have you...?
– branching-out concavex vesica

(tree become history).  Now the mirror
of round Galilee reverts
as when murky Po River’s
backward film flows to Ravenna shore;

magnetic gravity of Mary
reels the molting dove
into the tumult of
new-found Columbia’s eyrie –

cavern-kitchen full of Piero’s light,
her mummer’s earthbound feet
tap blessings to the fleet
in spires of crane-dance patter-flight.

The almond is a little tree
whose acorn eye marks
spoken blooms – arcs
from a sparkling diamond sea

triangulating stainèd glass
from humped Cahokia
to Saarinen-eye.
A speeding Spirit of St. Louis

soars to Notre Dame & Chartres;
steep-waltzing Trinity,
one 1-3-2 will be
your eagle-masque (dive, mère-maître).

10.12.16

8.01.2016

each poem starts fresh


TROMPETTE MARINE

Soft breeze moves the cucumber leaves
climbing the fine mesh.
Each poem starts fresh
upon a labyrinth the wind conceives

the way Dante struggled like a goat
to rise above the black-
white chessboard (epileptic
knight, squirming from Hell’s dank moat

toward one firefly-mote of light).
O civil wars of cousin
wolves!  Striving in frozen
latitudes of predatory fright-

might, ice-blue treason – all
spite-pirates of the broken
sheep of state – forsaken-
&-forsaking sacrifice!  Ravel

me then, Ariadne, in your primordial
& woolen salience
of J... into the silence
of a pregnant Jubilee, where Piero’s wall

glows in the morning light (& swells
a womb within a cave).
Search the high nave
of the Milky Way – Francesca dwells

up there (with Jenny Littletree) – among
the Shaker Indians, Quakers –
meek paisans, peacemakers –
fused by trompette marine of song.

8.1.16

7.28.2016

as in a game of hide-&-seek


PINE ARK

Piero the geometer
graphed the perfect dome
(that marvelous human home
& winking sea of gray matter)

beneath the curvature of San Francesco
in Arezzo – a flock of swans
of radiant intelligence
about their Queen, before the portico

(Temple of Solomon).  He’s hidden
as in a game of hide-&-seek
the wooden matrix (meek
logbox from Tree of Life).  When

Helena comes to Jerusalem
she’ll draw it out again –
sliver from a lion’s
paw, grim rib from Adam’s

galley mast.  Constantine dreams
his tiny golden honey-cross.
Mary’s Pneuma-moss
wells in the quiet kitchen... gleams.

Sweet psyche-legends circulate
around a forgotten rock
in Magdala.  The flock
is scatter-gathered... salty fate

& jittery salts plank-walk the yellow-
black monarchs of love.
Their cedar treasure-trove
is one pine ark (Jonah chi-rho).

7.28.16

6.26.2016

One golden witchetty grub


Once again, I countermand my own resolution... the urge to share is hard to resist.

FINAL ACT

They’ve found a fracture in the stone
unnoticed before.
The Holy Sepulchre
is buckling beneath the weight of its own

chapel.  & the confessions have
at last made common vow –
the alpha & omega
of restorations.  Centuries of

soot from votive candles must
be wiped clean; the vault
shored with titanium bolts
& stabilizing mortar, all the dust

blown free – for a strange energy
is here.  The Holy One
has set his seal upon
Jerusalemthe seal of a kiss (hey

ey yo).  Blind King Oedipus
is pharmakon – both
curse & cure; an oath
of the Aranda limns a sacred circus

for the Origin beyond hunger
& prey.  Man is both Man
& Grub; one handspan
joins them, sacred totem-pair

distinct without division, separation
or confusion.  Would
you return to the Wood
where, riven-branching, all began?

                      *

All the world’s a stage.  The Totem
glimmers in earth-cavern
like a mémoire of perfection;
handprint of omni-profundum,

quiet & invisible as wind.
The hand carves a circle
over gray sea, pearl
of adamantine quiddity – your mind

& heart, your soul, my wounded Psyche.
What will they find then,
beneath the slab?  One
golden Witchetty Grub?  One Nike,

linen, soiled by jogging Time?
I think they might unveil
a lost fresco – pale
replica (by Piero) of the same

design that, through the Ice Age,
lifts the crocus.  Stubborn,
indomitable baton,
both crozier & calumet – rage

will not overwhelm your calm beauty.
I think of Late Romances
revolving into dances
all around the Globe... O, we

have not yet seen the final act!
Ineffable victory
of meekness... it shall be,
because it is, always.  O blooming Fact!

6.26.16


5.16.2016

Sur le pont d'Avignon


SUNSET ROOM

The cutthroat sun over Minneapolis
leaks light into many
dark corners.  Rimini
in mind (a limpstone palimpsest

beneath shellfire).  Go & strike
the tents, men long way
to Tipperary.  Say,
Francesca, if you can – how to make

things new.  Peer into womb
of earth-cavern, Ezra –
all the way to Ravenna...
At far end of Pontus rest him tomb

where Theseus stole them golden fleece
Maximus   whose sea-blue
eyes of   geomatrix   (thrum
true)   abstract chamber piece

like waves reiterating   into nautilus
the human sum   reframed
from steel teeth (Somme
bad dream)   the whole shark armistice

To turn   from bull’s-eye bulletins
down a narrow corridor
or trench file   war
in the hand, in the mind   sin’s

armature   in the marrow   Guillaume
& Jesus   the   steamboat pilot
metymorfs   the whole plot
in a forest   of masts   high sunset room

5.16.16

5.12.2016

Womb in the cave-shade


ALMOND ARK

They were farmers & shepherds in West Branch,
cartwrights & blacksmiths, laboring
through pain... the rusty ring
of iron clamps, the thick stench

of horse manure, the pigs & cows...
yet took their time for quiet
in the Meeting House – let
runaways abide, lambs browse.

Their silence lodged in protest against
violence itself –
the insolence of Guelf
& Ghibelline, the gangs, the hunts...

the iron dream of domination
locking the brain-cave
in its frozen grave
(creak-echo of damnation).

There was a spring in Tuscan hills,
coiled like a rusty serpent –
green with moss, bent
into turtleshell... old Williams’

spiral (out of Coke, Blackstone).
Mules’ rustic rights
& supernatural delights
limp into leaves of a live-oak woman –

her heavy womb in the cave-shade
like a Negus by the Nile
hidden for a while...
almond ark of spring (oak-apple maid).

5.11.16

Quaker Meeting House, Scattergood School, West Branch, Iowa

4.12.2016

Yellow-gold forsythia


TWO CIRCLES

Down by the spring river, tossing sticks
in prehistoric Mizz,
my Jordan – little Isis-
canoes, or Ferrarese six-

wheelers; in my mind’s darkroom
recalling you – Love’s raven-
haired sybil (guardian
at the Rock’s entrance).  Your gloom

when my father’s birthday wheeled around
each April.  The yellow-gold
forsythia enfold
your mother’s grave, who died... O sound

those flowery depths, Ophelia
and rise again!  He was
a good man – rays
of intellectual Amor blessed his day;

he might have walked her from that grave.
A little light only,
through camera oscura...
you know.  You showed me her cave

in San Francisco’s spare kitchen –
where a thin light-blade
infiltrates the Maid
so Piero’s hypno-sarabande might spin

anew (red cedar, blue spruce, evergreen).
Rembrandt’s Self-Portrait with
Two Circles... one light-heavy scythe
defines this wheel’s circumference (unseen).

4.12.16

12.21.2015

Light riding, westward


UMBRIAN BEAM

On the shortest day, in these northern parts
the river is quiet, the sky
is gray.  A heaving sigh
of flesh, my body is... (the old poet’s

confession).  Too heavy for
this rusted lattice, locked
in Mississippi ice (rock-
frigid rictus).  JB – metaphor

for Job, mayhap.  Job, an icon
of hectored humanity –
who in latter day will see
my Redeemer stand before me, on

the earth.  Sparse light, thin
calumet of raven-smoke...
parting curtains with a stroke
of ink, an Ariadne-thread (woolen

quipu).  The trumpet plays tattoo
above furled Flemish loess
in Queequeg runes (remorse);
lambfields of returning, clumps of yew

veiling a furtive limestone chapel.
Under an alcove of
blu oltramar, Piero’s dove
rays Mary’s robe into mandorla

made with fingertips – Umbrian beam
piercing raven-umber
(barely).  & though they slumber
now, soon shall they wake... in Jerusalem.

12.21.15

9.21.2015

Life's unwritten history


BRUEGEL SCENE

Summer loses weight, becomes
translucent at the end.
Sunlight slants graveward
with a farewell glance, & autumn’s

trumpet-call is barely audible
amid hilarious
alarums in the circuits
of the starlings (swarming, risible).

& so you wonder where you are
on earth.  John Berryman’s
in jasper, John’s in grey;
Man’s in a graveyard green (so far

from here).  Splat in a corner
one cloud-turtle (from
Iona) lifts her drum-
shell from the sea – almost another

comber, very salt & watery.
I’ll join the starling circus,
friends – I’ll whistle us
to Minneapolis, SE of Rimini.

That raven’s in the Bruegel scene.
His glance is like one
wintry oeuil upon
her apron – by the deep tureen,

at dawn, in the spare refectory;
feathered in soft silence
on a wall of remembrance.
What’s up, Dad?  Unwritten history.

9.21.15

September 21

9.03.2015

Scent of an ending

Summer fading, a For Sale sign on the house... getting ready to leave Little Rhody.  Yet still remains one rose out back, a very bright one.

PETAL-FAN

September.  One late crimson backyard
rose remains.  Knot
not exactly Ruby, not
Desire – but Steadfast Fire (framed

by maroon foundation of the house).
Afloat upon your thorns,
a crozier, or serpent’s
copperhead – magenta compass,

planetary pole.  Away beyond
all foregone Oregon
disputes – those Diomedan
straits of Fenris-Greyhound –

54Âş32-by-Four!  Ringing
the International Date
Line – must I hesitate?
Princess in a shower, singing.

We clambered to the clear high room
where SF in a bay flamed
orange bloom – became
entangled like a quipu sum (loom,

cedars).  Weight of one iron anchor
filled that octagon
with spray of azure ocean
when Evening Star fired his tangential

thread of light into shade-womb
of piers – that San Franciscan
adamant, where limestone
Rhodi petal-fan (leaf-shaken hum).

    9.3.15

9.02.2015

The occasional ark

Sometimes the macrocosm & the microcosm bump into each other, I guess.  I was reading some old Ravenna Diagrams, about a painting of St. Augustine by Piero della Francesca (I saw it at the Frick), in which Augustine's cloak is a crazy quilt of leather Gospel stories.  This got me thinking about Melville's Queequeg & his tattoos.  & then there was a story today on the BBC about the divided Bering Straits islands, Big and Little Diomede (divided for decades between USA & USSR).

In some sense the earth is a human body... in some nonsense, anyway....

WOLSEY RED

On a sultry 16th, in the month of Caesar
I was ambling down by the Blind
King, on Wickenden –
betwixt the Golden Sheaf (or Fleece) &

her Sheep’s Clothing – like a raven
in wolf gear, or some Pierre
o’Cesca – like That Man there,
following his own tattoos into an Inchon

Dept. of the Interior.
Aboard the good ship Keep-U
(between Racquel & Rue – 
achh...) skirting an ice curtain

somewhere... in a Wolsey red, mate.
Weaving around blind
cataracts, muzzled
shoals – paring bears in the Strait

below White Narrows (it was 1728).
I don’t know why ‘twas done.
The Inuit intuit none
of our designs.  Split Diomede? Great.

They look you in your eye as though
you were in RI!  Weird.
I only see weed (black widow’s
weed).  A coffin exchange came through

the aerial, Mira – maybe
amygdaloid inside?
Keep the white slide
for video, Queequeg. That’s my knee.

9.2.15
Little Diomede Island (Ignaluk)

1.26.2011

Oren Izenberg intro

I'm very intrigued by this preview/intro to a new book by Oren Izenberg. It reads as quite clear & sensible to me... looking forward to seeing the book itself. Some of the emphases he outlines here seem related or fairly close to some things I've been blogging about (more incoherently) for some time : that is, the connection between a philosophical and ethical concept of "the person" as fundamental to our engagement with the aesthetic & artistic dimension of poems & poets...

I see this as a dimension I've sketched out elsewhere as "incarnational." A loaded (overloaded) word, I realize : in my scribbles it refers in part to a sense of life, reality, time, the cosmos, etc. as centered in, & somehow proportioned for, the person... the person as an ethical, teleological, aesthetic "end" or ultimate & self-sufficient framework or life-purpose...

A few days ago, reading a book by Hubert Damisch, A childhood memory by Piero della Francesca, I came upon a passage where Damisch discusses a theological concept called the Verbum infans, or "infant Word" (as the Piero work he analyzes is an image of the pregnant Virgin Mary). Damisch remarks that the Verbum infans, as (purely verbal) Word of God, in a sense disappears, or goes silent, as it is "made flesh", become incarnate, in the living divine Person (of Jesus).

The comment fertilized some inchoate ponderings on my part, which I am still working out. I thought about the particular aesthetic dimension of poetry - of the imaginative constructions of art & their inherent value as beautiful things, as ends in themselves. & I thought about how this involved representations : mimesis, recognizable impressions & images from the shared experience of both artist and audience, poet & reader. & I thought about how poetry seems to tend toward the dramatic : from the mini-dramas of a lyric poem to the full-fledged spectacle of a narrative or dramatic story, a novel or play. & I thought about something that Plato worried about : the danger that our artistic ("virtual") representations might actually displace or replace the reality which they represent. This is a way in which "Word becomes flesh" - the poetic word embodied in dramatic mimesis - which loses itself, goes silent, is absorbed in the larger synthesis, the synthetic whole, of its mirrored images.

How might poetry resist this displacement of reality, this turn to the self-absorption of its own mirrored irreality? I think perhaps poets themselves resist this pressure of the unreal, in various ways... One way they might do this is through a kind of reduction or abstraction - an intentional self-limitation. The poem does not aspire to be a "universal whole" or total mimesis : rather it aims for its own quiddity, or unique integrity - which might very well involve the making of literary fragments & very short poems, rather than cosmic epics or play cycles. (I'm thinking of this in terms of my original reaction to reading some short lyrics by Mandelstam in a Providence bookstore : how I was so taken with their brief, sudden, puzzling, musical but mysterious imagery. A kind of "experience-shorthand" or telegraphy.) Another way that poets might offer resistance is through the intentional cross-over or intercalation of person & poem, of art & experience : with the result that in responding to a poem we react to the presence of both a person & a poem, an artistic creation and a personal communication.... Poets & poetry have a way of pushing through the barriers erected between the objectivity of the art work and the personal charisma or presence of the poet....

But I have to think about this some more. (Paul Celan dealt with some of these questions in his little story "Conversation in the Mountains"...)