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.
to a sign
meant to wait
sing upon sight
four sore Sage eyes
on the thrown
out no anchor
horse heroine float
vigil & voice
accord or carry
water in words
worlds wade wander
full flung futures
cling sing be to
in pixels past
passion our war
drobes and drones
when nows are night’s next
a collide a scope
against dawn low
hanging free (but) farther
at finger fruit tips
for remixing a rerun
weigh word models
set us in morning
not herd nor here
to account for
costs of accosting
a tomb’s marrow
is our morrow mastered
or mask arcade
costume & cast kit
time has come
back but boneless
truism lick spit
a street sweet girl mi-
nus a nosegay
pale glow who
knew why you ?
yolked blow & spray
2 86 words
4 “nervous” down ?
sin daisy knows
bounce bow to de
sign of a posy
spice spit a lap
dog art decorum
or rum or meat
gutter or stage
an ornament of the worm
fever felt drama-
mine won’t decay
Poetry that interests me and what I try to adhere to in my work is a poetry that eschews and challenges normative and easy syntax and grammar and shoots for a radical enjambment of loaded ideas through puns and sounds forcing and patterns of (dis)connections. (No prose poetry is a steadfast rule for me.)
I currently live in Toronto where I work for a small non-profit publisher and create analog collages when I’m not walking my dogs. (You can find my artwork here: http://heavenforahelmet.tumblr.com/ ) My poetry has been published in DitchPoetry.com, Guerilla Pamphlets, and Take It To The Streets Poetry.
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.
Aesthetics of Immersion Poetry
Kenyatta Jean-Paul Garcia
Literature is created through the usage of three devices – style, sentiment, substance. Of these the device which separates prose from poetry is style. Style is the single most important aspect of poetry. Whether coming in the guise of paragraphs or in broken lines, style must be of the utmost concern to the poet. Tone, meter, imagery must push the form into being, from there sentiment is established via metaphor. A single image running through the three lines of a senryu or 21 syllables of landay can be in itself a notion of so much more than what is easily read. This is what pushes poetry into distinction from prose.
The next important aspect of style is a question of story. There may be some innate desire among some to feel the need to tell something and thus the narrative. This is understood. This is where style again must come through. Here is where style disrupts, shatters or perhaps illumines story in a way unlike prose.
The poem is not a short story in broken lines. The poem is a poem. Poetry is the art of another way. It is the art of different approach and perspective. And perspective should be of serious thought to the poet. Forget reliable and omniscient narrators. Think of voice and participants and the act of being. Understand time/space. Let style adjust understanding. As sentiment is established throughout the course of the poem, those events/ideas will create a sense of lyricism. And form must comfort that. Form has the responsibility of carrying sentiment. Caring for sentiment.
Words (and their counter – space – and their complement – punctuation) need to be carefully chosen. Substance –the actual words, punctuation, and space are there also to convey sentiment in le mot juste. even if it means forcing words to work in an unusual way. Noun, verb, adjective are subject to change in poetry. All can act. All can be acted upon. All add image. All are image. And image is everything.
The image is the poem.
A good story makes one read on. A great poem makes one stop. This stop is to let the mind fill in the image. Or fulfill the image. Or to let the metaphor be carried to its end on the other side of the poem’s conversation.
As all poetry is correspondence. Exchange is the work of the poem via the combination of style, sentiment, substance. Poetry talks to/answers to memory. In such, Proust is poetic at its best. But it is his style which disturbs his poetry. Though he breaks story, time, hero, and creates a sense of perspective as none else other than Beckett (who obviously comes out of his shadow), he lacks a certain style in tone and meter. And space. He does not allow for the gap, the space, the time to examine – to fulfill the image. Poetry enjoys its spasms and its sense of specific sparsity regardless of overall length.
To get into the technicalities of esthetics in poetic style, a poem must if not carry then deliver a sentiment via its conversation. The poem should feel interactive. The poem should have something to say. Nonsense is an aspect. It is not a totality of the poem. If absurdity is to be used, it must serve a purpose. (And there is a purpose to Dada and language poems. There’s something to be said about questioning grammar itself. And there’s something to removing communication from language which was created just for the purpose of communicating. And of course, one should always challenge prescriptive linguistics.)
The poem after this, while maintaining/creating a style, must enter a reader into difference. It must slow the reader into thought. Into questions. Into pause. Poetry’s closest cousin may not be song but comedy which understands pause and not explaining itself. After this is the comic book which allows each frame to act as a part of the context/text or to be its own individual pictorial representative of an else. And oh, how the rules are meaningless in comics. Anything can happen – see Arkham Asylum’s up and down versus left to right reading. Let stanzas/movements be the rooms they are – filled with their own furniture.
The stanza is not nutmeg to complement the cream of a béchamel. The stanza is root vegetable after root vegetable to create the stew within the overall broth of white space.
Some well chosen (well, all well-chosen) substance is the nutmeg and perhaps a freshly ground pepper and a secret ingredient or specialty perhaps. Le mot juste is the mustard or thyme no non-saucier saw coming.
Through the careful interworking of style, sentiment and substance comes the poem. The poem is work with language not play. Words work. And words employ. Words are at play as an athlete is at play knowing this game is a means by which a certain contract will come. Language is the medium of all literature. The poem must put this language to its use or give it a new job.
At the same time, poetry is a product and requires producers and raw material.
To conclude, image is the blood of the poem. Image immersed in the words. Immersion poetry. Beyond expression, concept, process and out of focus/without focus should be the images running through. Through shattered narrative, through spastic, through sparse, through conceptual – the image. More to the point, the idea of the image. The trigger to thought. First the spark (of consciousness) in writer’s mind then spark in reader’s mind. Poetry of unwriting – leaving space for completion elsewhere.
To read is to perceive.
To write is to convey realthought where realspeak was unable to.
Kenyatta Jean-Paul Garcia is the author of This Sentimental Education and Enter the After-Garde along with two other collections of poetry. He was raised in Brooklyn, NY and has a degree in Linguistics. He has studied several living and dead languages in addition to philosophy and poetry at SUNY Albany and Hudson Valley Community College. He spent over ten years working in restaurants – cooking, washing dishes, etc. Currently, he works overnights putting boxes on shelves. By day, he runs kjpgarcia.wordpress.
(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)
The Poetics of Immersion
Sentiment and Sensibility
by Kenyatta Jean-Paul Garcia
Withinside of experience is poetics
an unhidden poetry runs its course through occurrences
a further unhidden poetry has been handed down and lived in for centuries in myth, fable, folklore, philosophy, religion, worldview, and other notions often marked as ‘culture’
images have existed
images created are tangled with past images
ideas are images to be
images are ideas had
images are ideas being had
the image and idea (of the image) is the center of the poem
even when the poem has no center or focus, the image/idea is
a direction of a poem is an image
a whole piece can turn on a preposition
into (for example) is an image/idea immersed into the wordery of the poem
the wordery is the added imagery of words surrounding the essential image
a room described is often done so just to place in or out of it the agent or patient of the lines
a poem finds its place immersed into other poetry at all points
no words exist alone
there is no alone with words
a single word is a combination of concepts, idea, and (what) sensiment imag(in)es
sense is a two-way conduit for sentiment
sensiment(al) is the poet’s stock of ingredients, materials, detritus, etc for poetry
sensiment is found art
sensiment is art forced upon artist via life and the image/idea occurring and being processed
the poem occurs within the overall web of poetics/wordery/sensiment
poem as written/being written is an act of immersion (at times invasion)
poem inserts into web of myth and history and truth and wish and current events and the POP
the pop the today’s need for myth with truth being subjected to wish
the poem once inserted into the umbrella of wordery undergoes the next step which is to be immersed into the reader
the reader more properly defined is the perceiver of poetry
the perceiver once in contact with the poem is in the poem is withinside the occurrence of the piece
minimalism, distillation and small vocabulary further allow for an enmeshment with the poem once the perceiver is immersed in the poem
the poem immersed in the experience of the perceiver
immersion poetry is NOT conceptual poetry
concept is but an aspect of/step towards idea
immersion poetry is not found poetry
all poetry is found in the cosmic and psychic language of the real and irreal/subjunctive worlds
possibility is its own myth
wish is a pantheon governing the will
immersion poetry enters this world wrapped in other wordery
it comes through and with all art and all pop
it comes with myth attached
it comes via quote via reference naked but for the air it has relationship with
it comes knowing it itself is at times nothing other than a paraphrase a para-image para-idea
it gives room for continuation
it is conversation
it is called to respond
it responds to call
it calls for response
respond and correspond is immersion
it does by being allowed to do
to do is to be received
perception is reception where poetry is concerned
where poetry has flourished in its immersion
as but a petal coming from and returning to a mythic center
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.
Critics, theorists, linguists, translators, poets, teachers and students, Altpoetics is calling for all those bits of poetic musings which tend to have no place on poetry blogs or in the vast amount of poetry journals/zines.
Altpoetics is looking for manifestos, mission statements, process pieces and any theory on poetics/poetry, language and translation. This is the place to voice all those odd and innovative ideas about writing. This site can also be a place to dig into older theories (as new tends to sprout from old) but really, there’s no need to continue to sing the praises of decades old manifestos. Let this be the place to voice your own ideas. The future is yours to create.
Altpoetics isvery interested in writing as a response to other writing/writers. Letters to the past and poems re-visioned/re-imaged are also of great interest.
Altpoetics is also looking for slipstream work -writing which shows innovation or a new/different approach. Altpoetics is especially desirous of work which pushes the limits of the lyrical narrative.
Please send 2000 words or less in a .doc attachment to firstname.lastname@example.org. (Previously published material is welcome.) Also, please title the piece and send a short bio within the attachment. And, a cover letter is appreciated.