I am interested in something I brought up a few days ago, this question of the image as a complex of feeling and intellect. & how the poem or song creates the conditions - sets the stage - for a symbolic or dramatic expression of the image.

I'm thinking of the image-complex itself as a subset or reflection-in-miniature - a dramatic re-presentation - of a larger whole, a life-complex, let's say: the complex or "whole" which is experience per se. Mimetic holism.

And the relation of these aspects to style: the values of clarity, simplicity, order, intelligibility, emotive-expressive power. Because the deep & moving experiences - or recognitions - of life can display not only subtlety and mystery, but also a resolving, overwhelming simplicity of thought & feeling. (Not to mention the simplicity in mundane ordinary everydayness!) I'm saying poetry has a right to be simple and direct as well as original and obscure.

We live in an amazing "Alexandrian" age of multiple discourses, each of which can quite easily form its own worlds of self-referentiality. So perhaps the most important intellectual tool of the practicing poet is his or her private sense of an interlocutor, a listener.

Probably a lot of the bitterness and frustration of poets has to do with their own muddled sense of who they want to address.

I think poetry contests are fine. I think magazines, institutions, cliques, poetry schools, etc. - they're all fine. I'm not kidding. I used to worry about this stuff too... now it seems all fine to me. Why bother, why worry, why complain... work on your own qualities, that's all that matters.

Not because I delude myself into thinking I have an opening - far from it. I do believe, though, that any poet these days can get published, one way or another.

I like this definition over at JM's: "A tautology is a tautology." This is almost a poem.

A tautology is a tautology:
when is a tot not a tot?
A tot is a tot.
Yes, quite.
Tut-tut.

I see Abolone was just in AZ too. How come we missed each other? I think the coyotes had a conference over behind the saguaro, but I was further north, or something.

A WAITING GAME

 
           Sic tempus, cum sit mensura motus, mensurantis animae est instrumentum. 
           [Thus time, since it is the measure of motion, is an instrument of the
           measuring soul.]  - Nicholas Cusanus
 
 
Each day has its particular gravity
as each time varies with each local place.
Hours gradually slow to an eternity,
sometimes.  Traveling home again, to face
an April rain in Providence, obscurity
of vision seems to gauge a waiting grace.

 
Once Nicholas Cusanus figured grace,
chance and will within the gravity
of a game (De Ludo Globi).  You’d face
a ring of nine concentric spheres: eternity
rolled into an ovoid ball you’d try to place
in the central O.  The game’s obscurity

 
(exactly equal to the general obscurity
of everything) exemplifies the grace
inherent in defeat, since chancy gravity
haywires the ball: no one loses face
who tries their best.  And if eternity
is the reward of a long wait, my place

 
is assured:  master of running-in-place,
rolling these spheres of absolute obscurity
(always slightly imperfect) with the grace
of an also-ran, I know there’s gravity
in the fall of a sparrow. (Look, face
the sky next Monday: almost an eternity

 
of scientific patience may win eternity
of fame (almost), if the rocket can place
those perfect balls of quartz past gravity,
perfectly aligned with IM Pegasi (grace
go with Gravity Probe B!), in the obscurity
of silvery space... where I would hide my face

 
34 years to see the shadow of your face:
veiled double, in the foyer of eternity,
polishing your mirror over a last place
called Providence: circuitous obscurity:
dove-like sister: light, gray-winged grace:
pebble, black hole (waltzing gravity)...

 
and if there’s gravity in the thought of your face,
I’ll find my place on the ninth hole of eternity
nestled in the obscurity of your blind grace.

 
                                  4.13.04 

LETTER TO EMILY D.


 
 
You would have liked it here.  The sun flares colors
clear as the sea-floor.  The Navajo
make tracks circled in clay so sharp, so
clean – bladework of feathers, aloes, arrows...

 
And then, the Grand Canyon resembles you –
the Colorado scribbling a planet down
through dry spectral layers to the wet
blood-red and prehistoric marrow.

 
For Scripture precedes history – your insight
precedes Scripture – April’s alpha and omega
purl playfully from your soul-saga.
Who finds you meets a palm-tree full of light.

      
                                              Phoenix, AZ
                                              4.12.04

Back from a week in Arizona, to attend wedding w/side trip to Grand Canyon. First time in Southwest. Also read Emily Dickinson in sustained way for 1st time. A good combination.

The Canyon appears to absorb all time & space, & reflect it back in spectra & vast perspectives. The river digs down to igneous layer, 1.8 billion years old or so. Visitors seemed immediately joyful & relaxed, even though you walk continually along the edge of dangerous immense cliffs. (but you knew this already. saw Man feeding Coyote from car window along highway 64 at dusk. saw condor with 9.5 ft wingspan floating below me. there are only 8 of them in the park, currently : along the rim, met a ranger carrying bulky antenna equipment - he tracks their position by transmitter.)

Today my father turns 77. Happy b-day, Dad. Here's an old (& I guess rather dated) poem from Way Stations. Meant to be vaguely a "shape" poem (shape of Minnesota).

         ARROWHEAD


 
       
              A
 Maze of lakes in northern Minnesota,
 Crisp air adrift on owl's wings
 Between the wide gray skies
 And a long swath of muted pines,
 Waves lapping, lapping
 Against the riding prow
 Of the motorboat, my father
 At the tiller, smiling, looking
 Out toward the shore, quiet,
 His beard growing rough now
 After a day or two in the woods –

  
         I'm afraid of diving too deep
 Back into the skin of the past,
 My callow bones, the large
 Boy head full of springing
 Phantasms, upstart to replace
 A sense of imperfection
 With voracious all-devouring
 Enveloping thought – fishline,
 This daily bread of blind birdsong.
 Before you, Iron Range long gone, I
 Will always be that unbound, reedy son.

The Times really watered down my letter to the editor about Al Franken. Took out most of the funny stuff, I thought. Al was not a great wrestler. He was a great all-around theater guy. He and Tom Davis took one of my short stories & produced it as a one-act play, which was a high point for me in high school.

Here's an odd little poem for today. I'm heading to the Southwest tomorrow, for a wedding - be back around April 12th. See you then!

LAKE ORPHEUS


 
 
Twinkling stars
echo in the lake;
whiff of shore-slime
mingles with night air;
long ago, another time.
You’re buried there;
I can’t return.

 
Paltry words
yearn to fly home,
fly earthward, back
to the spring-world –
fluttering they rake
the skies, onward
they roam... yet

 
where you are
they cannot see
(through the deep
untroubled mirror
where you keep
almost forever,
wakeful E.).

... so: poetic mimesis is the "objective" representation of a non-objective reality. Do I contradict myself? No - that's why you call your topic, your subject!

Assignment : make a replica of a mirror, including all it reflects, while looking at it in a mirror. (You may request assistance from Roger van der Weyden).

Mandelstam : "the word is Psyche."

Thinking about previous post, on the status of the image:

It seems like this would be an issue only if the poet were attempting to depict something, or present a vision of something. And not only that, but to depict something in a moving or compelling way. Or in a complete way: ie. the mimesis or representation of an experience in its wholeness (an action, in other words).

A tragedy or a comedy affects us emotionally, while simultaneously offering a perspective - a detached point of view (the spectator) - from which to interpret an action (which is another element of the complete representation of a scene or event).

What am I getting at, here? Not sure, exactly. When does a poem move beyond being simply a form of talking, or joking, or complaining - self-presentation, generally? Is it when the poem's language begins to model something separate from both the speaker and the event itself - an image of it, an icon?

This would be something distinct from mere manner - it would be style engaged with something outside itself, a "subject". & does this have something to do with the difference between poetry (a form of mimesis) and rhetoric (a form of persuasion)?

*

On somewhat of a side note, I remember once again those long & varied wrangles on the old Buffalo discussion list. Realism & nominalism; language poetry & poetry per se; postmodernism...

When I look back on it (and I'm sure my memory is playing tricks on me), it seems that at the core of many of those debates - for me, anyway - was that poetry's general function or purpose seems inextricably bound up with this problem of representation. & why, for me, does this seem so serious an issue? Because the special capability of poetry to present vivid, living, holistic images of reality gets at an intrinsic quality of that reality itself - its living, spiritual, "non-objectivity" if you will; its aspect as creation or work of art or manifestation of beauty. This is the ultimate equation or mirror between the reality itself and its icon, and why wholeness - the integration of the intellectual & the emotional & the sensible - is its criterion.

Cusanus' philosophical emphasis on the mystery, the unknowability, of God, rhymes or complements the poet's unique sense of the difficulty of expression - its emotional basis, the sense that its authentic rewards must be earned.*

This encapsulates his appeal for me.

*(How else offer an adequate image - rather than a dry resume or empty abstraction - of experience? What other import is there for the notion of the image as an "emotional-intellectual complex", or Eliot's problem of "dissociation of sensibility"? & what drives this demand for wholeness in representation, but a notion of creative vitalism or spiritual wholeness as inherent to reality itself? I could easily wax polemical, too, about how poetry offers complex wholes, represents lived experience. This gets into issues of style. I won't go there now.)

The (non-semi-annual) Monthly Henry Report

What's up with this Henry? Well, I've been able to write short poems. Haven't been able to do that for years, until now.

& lately, my readings of Nicholas Cusanus, & various books about painting, etc. (& seeing paintings), have given me the sensation, anyway, of beginning to formulate... not a poetics, or a theory, exactly... but a new (for me) conception...

I feel very close to Wallace Stevens these days. But it's as though I'm thinking on a complementary track. That is, where he thinks of poetry - the "supreme fiction" - as an adequate replacement for the belief in God - for the mythopoetic mind which has always created that profound figment (I almost wrote "fogment") -

I tend to understand the mirroring and mimetic function of art - which creates holistic abstracts of reality - as the only adequate means of expressing religious meaning: that is, a vision which allows even for the possibility (or the possibility of an adequate representation) of a "sacred" order or "divine" reality or "logos" or "wholeness" experience.

Why am I putting these words in "quotes"? For the very same reason I write poetry : because prose provides an inadequate argument for, or representation of, what I understand to be "reality".

This does not mean I think poets are special people, or all poetry is sacred, or any of that baloney.

I have a lot more to say about this mirroring or mimetic function, but it is so cool that I am putting it in my poetry as much as possible, rather than spelling it out, at the moment.

What else is happening? I am very happy to be blogging my poems. It has given me renewed faith in blog poetics. I think poetry bloggers are the Walt Whitmans of today. Blogs have the potential to redirect the editorial & critical function of contemporary literature (specifically, poetry - fiction is too much to read online) more directly to the reader. Hi, Ron.

I know, friends, I know: the poem I posted below is a little silly. But let it stand, let it stay. . . today's a day for fools & foolishness.

THE PLAY'S THE THING

 
 
Gray April day; rain, clouds, and mist.
Thinking of an old farmhouse in Paradise
(near Newport); George Berkeley lived there
for a while, dreaming of Bermuda.

 
The dreamiest philosopher.  He’d meditate
(and wait for mail) on Berkeley’s Seat,
a little cave of overhanging stone
set amongst horsegrass, facing out to sea.

 
Ultimate idealist.  Of course the tree exists,
George, whether I think of it or no!  Hosts
of angels testify to my existence, too:
O God, methinks me here, solid as yew...

  
as the western world tumbles to anarchy
in Cyprus, isle of Love.  Undone by jealousy
(Iago’s for, Othello’s for, Desdemona, his),
the force that knits together contraries –

 
the power binding Africa to Venice,
white to black – succumbs to malice
bred of emptiness, coarse unbelief
in anything but Lust, Greed, Self:

 
wit feeding on unreasoning hate
poisons the island: rabid fraudulent
Iago rips apart that which he cannot be –
Desdemona (mercy manifest, all charity).

 
She calls from the curtained chamber,
from beyond death.  Who has killed her?
Nobody – I myself.  What does she mean?
She's saying love inspired her every action:

 
love for Othello led her to this waste,
love, that still forgives, even the worst,
love, sweeping through the speeches,
through the island, through the universe...

 
– put down the play, turn on the television.
There’s Kofi Annan (black man, African)
walking down a Cyprus road, on mission -
to unite that broken island once again.

Many hundreds of thousands of delighted & delightful hgpoetics Readers over the centuries have queried your obedient Servant privately as to his background, provenance, auspices, etc. with respect to Le Poetique de Fromage, as the rock-solid Cheese Poetics Movement (or the New Moldyism) is known in parts French. Well, I wrote wryly, rocking back in my Ancestral Rocking Chair (handed down by hand through the family for generations since the days of its handsome progenitor & chair-maker Reginald Golde, 1543 - & still rockin'), & leaning into my new-fangled Compooter Writing Utensil, I-He continued to write:

"Cheese. The very word evokes a fume of memories. I was born in the small village of Odeur-de-la-Cesse, in southern Burgundia: a place famed for its local "sheddeur" (a type of Gallic cheddar, known for the special "pop" sound it makes when vigorously engaged or overexcited), where my family (the Gilles-Fichette line, direct descendants of Gethoff Ufh MaHatte, first Lout of Burgundia) controlled & officially manipulated the "Wheeling of the Cheese Order" (as the trucking industry was called in those far-off days). The Wheeling of the Cheese has always been a Gilles-Fichette monopoly (monopoly - the word itself rolls off the tongue like a mighty 6-ft. cercle de sheddeur!), and my father, Conte Louise Louise de Gilles-Fichette (Quant ou Wont), always assumed I would assume the assumption of his role (rolle, roule, whatever) in the same fashion as he did in his time, and as his father had, and as his fatter grandfather had, and as his fattest greatest great-grandfather had, and so on; however, in 1657, while on a visite to Paris, I was struck by a mangy cur of a cheval in the left knee, and have been cursed by the black curse of a severe limp since that time, which unfortunate mishap confined me strictly to leisure activities, such as cheese sniffing, cheese tasting, cheese engorgement, reading, meditating, vegetating, and the composition of verse.

In my spare time, as well, I have occupied my giddy mind in the pursuit of foreign quarrels, as my Uncle Henri IV advised me (in the famous English (Albion perfidieuse!!) play of the same name, by Guillaume Slacksweare, I believe). Wait just a darn minute! That's not what I was going to write here. This dang compooter's gittin' away from me. Start agin. In my spare time, I have spent my sparest time working out a complex Theory of Cheese Poetics. Now Cheese Poetics cannot be reduced to a sound bite (no pun intended!): yet I feel it can fairly be said that the substance, the core, the essence, the saveur essentiale, of the Theory, may be packaged and rolled into the following apothegm:

There is a poetry of life and there is a poetry of poetry, and these two are one. And they meet in cheese.

This is a direct quote from Wallace Stevens, who was no mean connoisseur de fromage.

- Now if you will excuse me, dear excusive Reader - my Uncle Henri is calling me from the Jerusalem Chamber. I believe he left his crown on a pillow there, with some cheese, and I must fetch them immediately, there is a tide in the affairs of cheese and there is no time to lose. Farewell & au revoir & for the BBC News Hour, this is Robin Lustig saying: Goodby.

& just to augment the foolishness this morning, I've added a comment box! Hey! Talk to me.

(& hey, happy April Fool's, too)

HEY EVERYBODY! I am writing great poems.

Read 'em here first!

Blogman