A Poetics (66 - 68)
Astoria, New York
66. Defining
My work in poetry is a project to help expand the definition of poetry, to move the poem off the pages and out of the air, to the screen and into the body, to make the poem an expression of language, even if muffled, even if humbled out of sense, that will captivate more than speaking, that will be a more heightened state of living within the realm of language in all of its forms: semantic, syntactic, visual, sonic, personal, corporeal, social, and performative.
67. Verbal
Gustaf Sobin claimed that "the poem is verbal, rather than nounal," because he imagined only one poem, and, as with any poet, he imagined only the poems he made, poems of the voice and sound, poems of movement and reverberating sound, poems that are rich, like sweet butter, with sound. His were and are poems of water and wind, of the movements of nature, and of mind within that world. But all poems are not, and all poems don't need to be. Some poems are individual words, where the poem has to begin, with the first sound of any word. Some poems are pwoermds, which often appear to be nouns, which are motionless, except in the mind, except through the mind. A poem always moves somewhere and –how, but not always with verbs.
68. Music
Poemas musicas. Poems as music. Those poems that move in the direction of music but are not quite music. Those poems of the ear, the sound setting the sequence of the sound to follow. These are poems for the tongue, too, for the tongue is meant to speak them, even if they live their lives being heard within the ear without ever hitting the air, without ever vibrating through and out of the body. A poem tends to music that tends to want to affect the emotion of a body, as a human is always a body, as a human is always a mind moving, and sometimes towards sound.
ecr. l'inf.
66. Defining
My work in poetry is a project to help expand the definition of poetry, to move the poem off the pages and out of the air, to the screen and into the body, to make the poem an expression of language, even if muffled, even if humbled out of sense, that will captivate more than speaking, that will be a more heightened state of living within the realm of language in all of its forms: semantic, syntactic, visual, sonic, personal, corporeal, social, and performative.
67. Verbal
Gustaf Sobin claimed that "the poem is verbal, rather than nounal," because he imagined only one poem, and, as with any poet, he imagined only the poems he made, poems of the voice and sound, poems of movement and reverberating sound, poems that are rich, like sweet butter, with sound. His were and are poems of water and wind, of the movements of nature, and of mind within that world. But all poems are not, and all poems don't need to be. Some poems are individual words, where the poem has to begin, with the first sound of any word. Some poems are pwoermds, which often appear to be nouns, which are motionless, except in the mind, except through the mind. A poem always moves somewhere and –how, but not always with verbs.
68. Music
Poemas musicas. Poems as music. Those poems that move in the direction of music but are not quite music. Those poems of the ear, the sound setting the sequence of the sound to follow. These are poems for the tongue, too, for the tongue is meant to speak them, even if they live their lives being heard within the ear without ever hitting the air, without ever vibrating through and out of the body. A poem tends to music that tends to want to affect the emotion of a body, as a human is always a body, as a human is always a mind moving, and sometimes towards sound.
ecr. l'inf.
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