A( )negative prefix is a( )n indefinite article taken’ a( )step back 2 look back a( )head. Thus not U or Mu or Me, but yus. Thus no chair is the chair, a( )nd e’erfore no chair a chair, for the particular is not the category a( )nd hence the category, in particular, isn’t.
next to the plane Butt
are sections of plane
and sections of canyon
along the plane.
What is this?
Cause a plane is both
and hand and
upstanding line with out-jut’d
face a sideways wayside and
profile in file filed under H this
face itself a more
dashed—-strait a bit more
ahead than that 1irst.
What, the tuck?
Cause a canyon is more than that;
canyon the tin can yawning
and meat-manifestering yon then canned
in gross grocers abandon
refusing to re-fuse and or and
to not dom yon as in the jamming-in of
ur’s err butt rather don it and do on it, an a-ban
rather than strict(ur)e) banning
or constrict(ur)e) nabbing
canyon an open-can-do on yon
itself a yonness outfacing yon yon
nessness like like and
and every everything ishish or or or esquesque
a sort of done-douse mirror of scales
iting watchself with sprawling unhe’s
actually quite easy to uphilt
with t’his t’here resident stranger
whose eyes ownly eye can see
only when facing away from me
this seeing seeing without need
still in need of coursing need
itself of course
O – and course of course.
So face me the wanting wanting
all you want O cold kingly carn,
night sky of my eye
and starry breadth of mhind I
looking out onto itself
from the sideside into.
Turn to face me to your
art’s content, see if
the ware I ( – where?) wear
cares, or if I can, and if I am, or
if it matters and if cans can
can as such, and thus whether they am
as well as well, as as and as a
thing to can; whe’er voub or nern;
whe’er a( )n (in)bound(e(a)d) openness
Poetic sensibility exists (at?) the boundless boundary of meaning and language. The inherent, inescapable ambiguity at the heart of language facilitates an ontogenic interplay that constitutes a new terrain for and topology of truth, one that defies truth-as-staticity, with its sickly want for clean cohesion and clear correspondence, for a more multiplicitous ground defined more by indefinity and else than anything else. Poetry can facilitate types of rhetoric that are unencapsulable by normative narrative or essay, and no less true for it. Poetry can break into the interstices of language and grope closer to the currently-ungraspable. That place, where things are never always what they appear to be, is the only place where truth has a chance, and that place is the place(holder) that poetry poiesizes.
Some Principles of Deep Image
as written in a letter to Robert Creeley November 14, 1960
The poem is the record of a movement from perception to vision.
Poetic form is the pattern of that movement through space and time.
The deep image is the content of vision emerging in the poem.
The vehicle of movement is imagination.
The condition of movement is freedom.
(The Beginning of a fascinating piece of writing)
“When one considers the perceived qualities of poetry, one cannot escape facing a rather disconcerting issue. Words designate “compact” concepts, whereas some poetry at least is said to evoke diffuse emotions, vague moods, or varieties of mystic experiences. Furthermore, as brain-research of the last few decades seems to suggest, language is a predominantly sequential activity, of a conspicuously logical character, typically associated with the left cerebral hemisphere; whereas diffuse emotional processes are typically associated with the right cerebral hemisphere. Thus, while we can name emotions, language does not appear to be well suited to convey their unique diffuse character. Accordingly, emotional poetry, or mystic poetry ought to be a contradiction in terms. We know that this is not the case. But this presentation of the problem emphasises that we have all too easily accepted what ought not to be taken for granted. The major part of this paper will discuss some ways poetry has found to escape, in the linguistic medium, from the tyranny of clear-cut conceptual categories. The case studies to be presented will illustrate how emotional qualities can be conveyed by poetry; and, as a more extreme instance, how “altered states of consciousness” are displayed by strings of words. One of the key-words in this respect is “precategorial information”; or, perhaps, “verbal imitation of precategorial information”. Two additional key-words will be “thing-free” and “gestalt-free”. Psychologists distinguish “rapid” and “delayed categorisation”. “Precategorial information” is more accessible through the latter. It will be pointed out that the reader’s decision style may be decisive here. Persons who are intolerant of uncertainty or ambiguity may seek rapid categorisation and miss some of the most crucial aesthetic qualities in poetry, including emotional as well as grotesque qualities. ”
(Some Aspects of Cognitive Poetics by Reuven Tsur – https://www2.bc.edu/~richarad/lcb/fea/tsur/cogpoetics.html)
APPROACHES TO LONG POEMS OF THIS NARRATIVE
by Kenyatta Jean-Paul Garcia
Anna Elena Eyre
- Although temporal this narrative is non-chronological, non-hierarchical and non-linear and more akin to that of a spiral with layered complexity as well as the backward, forward and present trajectories of moment(s).
- The idea of the image of an occurrence is the motive for this narrative and the motivation for readers to enter into the story as well as to have the story enter into them.
- This narrative emphasizes transition/attention/relation not action/conflict/heroism.
- This narrative is no longer storytelling, it is story-talking.
- This narrative is highly interpretative on behalf of the reader because of authorial choices.
- In this narrative the reader in some ways becomes the writer because the text requires participation to be determined. It is because of participation that we can locate and re-create a poetic tradition that requires personal enactment.
- This narrative engages delimited and ultra-discursive identity, naming, setting, plot and experiences.
- This narrative wishes to escape the literary narrative (resolution, coda, evaluation and exposition) to bring about a linguistic narrative (intuitive temporal sequencing, displacement, coordinate clauses, orientation complication, and an abstracted exposition).
- This narrative is primarily textual and utilizes translation of oral poetic strategies including: patterns of recurrences; morphology; deixis; pitch; juxtaposition; minimal vocabulary; variation; improvisation; rhyming that can be but does not necessarily have to be sounded but rather based in associative resonances; as well as rhyming that is unpredictable and spontaneous.
- This narrative is a mirror or window that has been shattered but each shard is a piece of and offers another jagged perspective of the whole that is necessarily indefinite.
- This narrative explores othering, exile, hybridism and errantry.
- Voice is key to this narrative.
Ghazal For Ginsberg
E. S. Cormac
Tell us this story, goddess daughter of Zeus, beginning at whatever point you will.
I have studied your immense enumerations grey beard
I carefully crafted lines in response to shopping list strophes jazz beard
Thrown away to mind’s inner recesses and 182GB of RAM that’s all I have left either way
It is our pleasure to report neon fruit hydrogen jukeboxes the least of worries, father beard
It started off beautiful lines echoing your madness devoured minds of generation
Poseidon’s blinded children air out intimacies despite song of emperor’s fiddle, vigilant beard
It lead away to Troy’s shores and roster of ship’s crews using exacting turn-o-phrase
They snap fingers in cafe bravo to poetic truths of high school journal keepers now, beat beard
Lines stopped weary of flowing thoughts returned to foreign fiord
Struggle self society is it lost in transliteration mouthings, pariah beard
I am tired of them. I am tired of their flying circus. I don’t want to be a clown. I want to look outside
IWW, CCCP, LBGT, your Spartan Phalluses battled Barbara Billinglsy boulevards kabala beard
I will no longer write of the I, the me, the we, the ours.
It is our pleasure to report, sertraline, fluoxetine, replace cerebellum scars now, committed beard
I will become Clipper of Coupons for Packets of Tea. I, soldier of emperors, swear, grand beard.
I am having a slow epiphany beatnik beard.
The beatnik poets as a whole, and Allen Ginsburg in particular, struggled against the norms of society. Through verse and prose they spoke of taboos, railed against mainstream America, and confessed dark desires in a style that also rebelled against the formal literature of the time. Whether through translation or imitation this style is what is most remembered and copied today. Hidden in the human caricature that has become the Beat Writer’s are the real life struggles of men against their society. A society they felt alienated from somehow.
For one of my poetry classes, we have been reading John Felstiner’s Can Poetry Save the Earth. In preparation for a Skype session with Felstiner on Monday night, he sent us a list of poems he wanted us to consider, along with some questions about each. In regards to William Carlos Williams’ infamous “The Red Wheelbarrow,” he asked the simple question: “How much depends, and why?” I’m a ramble-thinker. I blab & (attempt to) condense, so welcome—my process of figuring out the answer to that question.
The choice of the word “glazed” in particular strikes me as it positions the reader in a very specific relation to both time & weather—two things completely out of our control. The wheelbarrow is not “dripping” or “drenched,” as it would be if it were currently raining, yet it’s not “dry” or even just “damp” as though the rain’s been over for…
View original post 502 more words