Friday, April 10, 2015

What’s poetry for Stevens?

A short sampling: “Poetry is a purging of the world’s poverty and change and evil and death,” a poem is “a meteor,” “a pheasant,” “a cafe,” “the disengaging of (a) reality,” “a health,” “the body,” “a cure of the mind,” “a renovation of experience,” “a pheasant disappearing into the brush,” “a search for the inexplicable,” “a revelation of the elements of appearance,” “the scholar’s art,” “a nature created by the poet.” “The poet looks at the world as a man looks at a woman.” “In poetry you must love the words, the ideas and the images and rhythms with all your capacity to love anything at all.” And of course, “The poem must resist the intelligence / Almost successfully”

Friday, April 3, 2015

On impersonality, meter and repetition

First, as for the coming-and-going presence of impersonality…probably I consider these things - the personal and the impersonal - to be facets rather than paradoxes, or a Möbius strip more than a duality. Poetry is primarily emotion, feeling, sensation, passion, but it has to alternate between, to interleave, the personal and the impersonal, subjective and objective - partly out of respect for sheer common sense; and partly because in most of us there is an inner necessity to seek perspective, connection, objectivity in tragic circumstances; and partly because it’s when passion has hurt us most that we learn the meaning of dispassion, and learn to pray for detachment. But there is also an always present moral principle that cuts poetry into facets both personal and impersonal, depending upon which way we turn it and which angle we hold to the light, this principle being - to paraphrase a sentence of the sixteenth-century mystic Moses Cordovero - that one’s self has something of all other selves within it, and that other selves have something of one’s self within them. This could be poetry’s motto. And again it reminds me of Gershom Scholem’s comment about the spiritual universe, that “the sparks of the Shekinah are everywhere, scattered among all the spheres of metaphysical and physical existence . . .”

Second, as for the insistence of meter in the lines…meter is pure emotion (technique, for artists, is an emotion, a passion - technique means only the way a thing is done, and the way a thing is done is one of the most passionate preoccupations an artist can have - not separable, despite critical habits of discussion, from what is being expressed). Meter’s energy and urgency, its redoubling emphasis of the way thoughts feel, is like a wordless vow underlying the words, perhaps translatable into words as: So help me God (four stresses in a row there, and no pause). And this trait of insistence you mention, the tenacity, relentlessness, is personal; I don’t give up.

And last, as for use of repetition: repetition can be a prodigious, last-ditch effort to remember what happened, in circumstances of pain or panic, here on earth in “the scene of the soul’s exile,” among the cliffs of fall; or an effort to find, or to establish, a pulse; or to try to create a pattern - as if to arrange a chain of molecules which, if lightning strikes, could become animated. Or it can be a magic spell, when all else fails. Or repetition can be a way of saying: I will keep telling this until I get it right; or until I have made this thing that must happen, happen; or until this prayer is answered; or until the tale I am telling has come to its own end, or has come true; or if nothing can come of this tale, then at least I will keep saying it until I know that the tale has been heard, whether here on earth or in the upper spheres - so help me God.

- Gjertrud Schnackenberg