theory

Metawriting by KJP Garcia

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Deep Reflection

 

first:  deep song                                                                                                                                                     second:  deep image

currently:

deep reflection

.

lyricism                                                                                                                                                               confessionalism

everyday/mundane

POP!

.

sur                                                                                                                                                                                              hyper

realism

.

symbolism                                                                                                                                                                      futurism

DADA

.

expression                                                                                                                                                                commentary

.

VOICE/LANGUAGE

TALK/THOUGHT

* * *

pond is where Narcissus and Echo’s bond is completed.  surface is conduit and what is seen/heard is endless circuit of sensory.

* * *

reflection always contains more than merely what was presented for perception and surrounding frame is also more of picture.  ambience = experience.  atmosphere accounts for all that cannot be described.  what notes which were not played are for subconscious fairies to hear.

* * *

minutes can’t last long enough to be displayed in full.  sensation is always in translation.  heart to mind/brain to gut.

* * *

“one perception leads to another”

/

“work with mental ears”

(Olson/Prynne)

* * *

each poem dies for its own sins

its ‘withouts’

its omissions

its inabilities

which are

shut mouth                                                                                                                                                                 open eyes

/

open eyes                                                                                                                                                                   shut mouth

one foot fearing

to be in front

of another

one

* * *

if it is there it can be conveyed

if it occurs it can become

experience

if it is experience(d)                                                                                        it is shared

* * *

the glass                                                                              the eye                (5 senses)                                                 the memory

(mirror/window                                                               form one triad                                                          (thought, prediction

spectacles)                                                         upon that                                                                            fantasy)

is

camera

capturing

quick as can

        be movements in the midst

while also letting its own existence be understood not as observer but as observed

also

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n_true-p by Franco Cortese

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n_true-p

by

Franco Cortese

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.

Ent. Ropey.
Where?
Noware.
Tare?
No, tear.
Bear?
No: Bare.
So?
There.
The re-?
No.
Where?
There

a
is         canyon
a

next to the plane Butt
There!
are sections of plane
within     canyon
the
and sections of canyon
along the plane.

What is this?

Cause a plane is both
wind-upping lane
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
concenterated flush
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
or ability
capped
on
.top.

Poetic Statement:

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.

Three Poems by Tim MacKay

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Three Poems

by

Tim MacKay

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
a sign

__________

in pixels past
passion our war
drobes and drones
= infinite
when nows are night’s next
a collide a scope
against dawn low
hanging free (but) farther
figures dance
at finger fruit tips
for remixing a rerun
weigh word models
set us in morning
maze-and-scene
not herd nor here
to account for
costs of accosting
a tomb’s marrow
is our morrow mastered
or mask arcade
costume & cast kit
hybrid hour
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
erectus bouquet
bounce bow to de
sign of a posy
spice spit a lap
dog art decorum
or rum or meat
mercury rinse
gutter or stage
an ornament of the worm
fever felt drama-
mine won’t decay
forever florid

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.)

Bio:

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.

CLick here to read the chapbook The Lie of The Land

Deep Image

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Some Principles of Deep Image

as written in a letter to Robert Creeley November 14, 1960

By

Jerome Rothenberg

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

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Aesthetics of Immersion Poetry

by

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.

Bio:

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.

Aspects of Cognitive Poetics

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Aspects of Cognitive Poetics

by

Reuven Tsur

(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)

To continue reading click here

The Poetics of Immersion

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Immersion Poetry

The Poetics of Immersion

out(be)come

be(in)ginnings

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 exist

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

for communion

it gives

it is conversation

it hears

poems hear

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