Monday, November 16, 2015

Poetry connecting to the material we're made from

When I said that poetry tries and wants to make contact with reality, that is, with uttermost-being (truth, God, whatness, somethingness-nothingness, chaos-order) -- to the Veda seers, the vibrating void; to the eighth-century Chinese poets, that-which-is-self-engendering; to mathematicians, a veil of numbers; to the Jewish mystics, the En-Sof; to Christian mystics, the indwelling of God and emanation of Christ in all things; to the animal kingdoms on earth, the starry night; to contemporary physicists, the excitation of superstrings; to cosmologists, the residue of an explosion of something to whose pre-explosion existence there is perhaps, as my friend Elaine Scarry once said to me, ‘no door’ -- I am referring very specifically and particularly to the material we are made from, this animated-in-us matter which we, in turn, express such a passionate drive to know (and which, in turn, has evolved a way to be known, through us, and is the source and object of our wonder and compulsion). - Gjertrude Schnackenberg

Monday, November 2, 2015

Freedom, Constraint & Emily Dickinson

Merely because poet and modern society are in conflict does not mean art necessarily gains by freedom. It is a sentimental error to think Emily Dickinson the victim of male obstructionism. Without her struggle with God and father, there would have been no poetry. There are two reasons for this. First, Romanticism's overexpanded self requires artificial restraints. Dickinson finds these limitations in sadomasochistic nature and reproduces them in her dual style [Wordsworthian and Sadean]. Without such a discipline, the Romantic poet cannot take a single step, for the sterile vastness of modern freedom is like gravity-free outer space, in which one cannot walk or run. Second, women do not rise to supreme achievement unless they are under powerful internal compulsion. Dickinson was a woman of abnormal will. Her poetry profits from the enormous disparity between that will and the feminine social persona to which she fell heir at birth. But her sadism is not anger, the a posteriori response to social injustice. It is hostility, an a priori Achillean intolerance for the existence of the female version of Romantic solipsism. - Camille Paglia