Archive for January, 2010

Entry 70 — More Poems from My Past

Sunday, January 10th, 2010

10 January 2010

One Poem poem I found while hunting for poems to add to my upcoming book that isn’t great but certainly expresses my opinion of those who believe poetry should be a servant of politics:

.    Protest Poetry
.
.    Poem was angry.
.    He had just read
.    yet another puritan’s denunciation
.    of poets who declined to write protest poems
.    about contemporary social ills, war, etc.
.    To demand that a poet write such things
.    made no more sense to him
.    than to demand that a cook
.    bake protest pies,
.    or a shoemaker
.    cobble protest
.    boots.
.
.    Let neurotic seekers of victims
.    to pass their self-pity off
.    as compassion for,
.    in high and correct-
.    in-all-the-best-circles profile
.    take care of the protesting.
.    All the social woe in the world
.    was but a comma compared with
.    that final enormous text
.    it was the poet’s duty
.    to add his yes to,
.    however frailly.
.
.    Or so Poem claimed
.    in the protest poem
.    he immediately wrote

.

A much different poem I found in my hunt was this:I’d come across a poem or poems by Ezra using the horizontally-split word technique and at once wanted to try it myself.  I don’t find the result satisfactory–but it has potential, I think.

Entry 69 — Hunting Up Old Poems of Mine

Saturday, January 9th, 2010

I’ve been gathering and fiddling with Poem poems for a collection Arnold Skemer is going to publish later this year.   I’ve found around 25 that weren’t in the collection of Poem poems Geof Huth did and seemed to desrved to be in the new collection, but will probably go with only 19 or 20 as a few seem out of place with the others–not that there’s much of a theme binding them all.

As I was doing this, I got curious as to how many Poem poems I had on hand.  I’d found only thirty or so.  I figured I should have  or four or more per year since the first collection.  So I checked the date of the latter–and found to my dismay that it was published late in 1995–14 years ago.  Since then I’ve averaged only about two Poem poems a year.  I did know that I’ve have slow years but I thought I’d had a few good ones to make up for it.

I continued hunting for Poem poems, finally finding a few more in a file of old poems I had forgotten I had.   One or two weren’t bad.  I also came across this:

It’s a visual poem I made for some project of Crag Hill’s that either never came off, or came off without my poem.  I think it’s unpublished even at my previous blog.  I quite like it.   Another pice of mine I came across is this:I’m posting int now not because I like it but because I can’t figure it out.  I understand that columns with letters running down them in alphabetical order keep going until they line up in such a way as to spell winter, but . . .  Okay, now I see that winter causes the alphabets to restart downward.   The year is chaotic until winter occurs by accident, and it imposes some kind of order on it.  But what has that to do with Stevens?  And why wouldn’t spring get things in order?  Why are so many of the columns on the left so random.

I should write notes to myself about some of my creations.  Actually, I’ve made a few poems I wrote notes to msyelf about, but the notes didn’t help.  I suspect that if I don’t pretty fully understand what I’m up to in a piece as soon as I’ve made it, I never will.  Nor will anyone else. Yeah, I know–even if I understand one of my pieces, it’s unlikely anyone else will.  I expect quite a few people to be able to understand the top one in today’s entry, though.

Entry 68 — Verosofactuality

Friday, January 8th, 2010

Some of my most boring and infuriatingly frustrating arguments over the yearshave been over what poetry is, mainly with those who refuse to accept any definition of it.  The worst are the Philistines who find it impossible to accept anything as a poem that they don’t like.   Having gotten into another such argument this week with a Shakespeare Authorship Wack who won’t let me define poems objectively as little lineated verbal constructions intended to give aesthetic pleasure (to give the quickest, simplest definition) because then I would be able to call myself a maker of poems and thus more likely to know what went on in Shakespeare’s head when he made a poem than the wack, who is not a poet.  For him a poem is something indefinably wonderful made out of words that only a few persons are capable of making–Shakespeare and perhaps one or two others (He mentions Donne and Milton, but really believes only one poet ever existed, Oxford, the author of Shakespeares Sonnets and other works), but no one later than Milton, and most certainly not I.

What can I say?  Nothing.

Stewing about it after vacating the argument, I came up with my solution for any difficult intellectual problem: a coinage.  This one was, “verosofact.”  I do agree with the subjectivists that nothing is 100% objectively true, but don’t care.  That’s because, for me, there exist what I’ve just dubbed, “verosofacts,” which are close enough to being 100% objectively true to be taken as 100% objectively true.  True beyond reasonable doubt.  Of course, there are degrees of verosofactuality–as I believe I discussed in this blog of mine recently: scientific verosofactuality is closer to absolute certainty that historical verosofactuality, but the latter is still close enough to absolute certainty to be considered true beyond reasonable doubt.  Like the verosofact that William Shakespeare of Stratford-upon-Avon wrote the plays and poems attributed to him.

My coinage comes from my earlier coinage, “verosophy,” of the search for significant truths that science, history, philosophy and like endeavors are.  A verosofact is a verosophical absolute truth.

I don’t see how one can make any effort to find any even semi-consequential truth about existence without granting the eixstence of verosofacts.  I think almost everyone, for instance, accepts cause and effect as an absolute, although many do so only unconsciously.  Ditto the laws of logic.  And that there is a difference between material reality (for me, a verosofact) and other kinds of hypothesized realities, none of them capable of being verosofacts though not necessarily non-facts.

Sciences is not uncertain, only not absolutely certain, only verosofactual.  Well, a mixture of verosofactuality and uncertainty not yet classified as either verosofactual or contrafactual.

The ultimate verosofacts, the existence of material reality, and the validity of logic and cause and effect, are givens–the axioms that make verosophy possible.

Am I a child writing for infants?  Maybe.  I do believe everything I’ve said extremely simple and obvious.  It’s difficult to achieve such final simplicity, though.

Entry 67 — #725 through #727 Plus #730

Thursday, January 7th, 2010

Around this time four years ago, nothing much was going on at my old blog.  I posted my “Homage to Shakespeare” visual poem in  #725.  The reproduction is too poor for me to want to re-post it here.  In my next entry, I discussed details about an improvement I’d added to my blog having to do with its entry point.  Next a discussion of various mainstream works of art I like such as tghe musical, Pippin.  I’ve already covered #728 and #729 here a few entries back.  In #730, I gave a link to a first-rate ongoing summary of his work as poet, publisher and critic by Karl Young at Big Bridge.  In the same issue of Big Bridge is my “Arithmepoetic Portrait of Blue.”  Nice to know it’s there.  Sad that no one has ever commented on it except for my good friend Gregory St. Thomasino, who said something about it when he had it and others of the series it’s part of in his webzine, Eratio.

Entry 66 — “When Poem’s Cat Died”

Wednesday, January 6th, 2010

.              When Poem’s Cat Died
.
.              Poem,  generally too good-natured
.              ever to think of accusing God
.              of existing,
.              snapped when his cat died,
.              wondering how many points God
.              had given Himself for letting that happen–
.              just one or two, because
.              she was, after all, only a cat?  Or
.              a full ten, because she was Poem’s cat?”
.

Entry 65 — The First Poem Poem

Tuesday, January 5th, 2010

From #731 the introductory poem to my series of Poem poems:

.             His Origin

.             He was just fragmentary echoings
.             of Stevens, Roethke, Hughes
.             some misslept vagrant thought one day set racketing
.             through Crazy Jane’s untrellised ardors,
.             shedding feathers and farting
.             as he faltered into words princed
.             eventually, with occasional fingers,
.             genitals, and voice struggling always
.             to light up
.             with silence.

Entry 64 — Notes from Four Years Ago

Monday, January 4th, 2010

My black day of yesterday looks to become a black week, but I’m trying to keep going, if weakly.  Hence, this, which is from #724:

I quite like some of the above but never did anything with any of it, that I can remember.

Note: #722 and #723 were almost completely uninteresting entries about my minor problems as a writer–for instance, how often I find some pages I’;ve been written and am appalled at how bad they are.

Entry 63 — A Black Day

Sunday, January 3rd, 2010

A few minutes ago, I went into my bedroom for some reason.  I noticed that I’d left my closet door open, so went to shut it.  Before doing so, I paused to  make sure my cat Shirley wasn’t inside, not wanting to shut her in.  But just a couple of hours previous to that, I’d buried her in my back yard.  That’s how my mind has been working this black day.

Last night, Shirley had suddenly become extremely weak, barely able to move.  After a few minutes, she seemed to start recovering.  She napped on my lap until I went to bed, bringing her with me.  She spent most of the night on my chest.  I feared for the worst, but also remembered that cats generally want to be alone when they’re dying, and she seemed to want to be with me (as she had all week, I then remembered).   Maybe she’ll be okay, I dreamed.  I planned to take her to the vet in the morning, but at around 4 A.M., she suddenly got off me and went into the hallway.  There she lay down near a vent–for the warm air, I thought.  I put a blanket over her, then went back to bed.  And hour later I was up again.  When I checked on her, she was dead.  Ten-years-old, in seemingly perfect health until these past few days, and then not really off till last night.

These kinds of things bother me more and more as I age.  That’s normal, I guess.  But, damn it, she was such a good cat, only getting angry with me two or three times, when I accidentally stepped on a side of her foot.  Unless you count her scolding me for being late with a meal, but all cats do that.  It’s going to be hard going on without her.  I’ve had a cat for 23 straight years.  But I’m not replacing her: I can’t stand having another cat die on me.

In any case, I’m not up to a poetry-related entry today.  Maybe I will be tomorrow, but I wouldn’t guarantee it.

Entry 62 — An Apple from #728

Saturday, January 2nd, 2010

There are a number of current visual poets who do not consider the above poem, one of the most popular visual poems of all-time, highly. So, to continue to be a Prime Annoyer in vispo circles, I’ve taken it upon myself to defend it. On the surface, it is merely a specimen of visual onomatopoeia, or poem whose text says what it looks like–or, if you prefer, poem whose graphic elements show what its text says. I think even those who don’t think much of it would admit that it was clever and effective for its time. I think it may be more.

What I like about it, what I think makes it special, is its worm. I believe its critics fail to appreciate how subtle it is. I doubt a person who has never seen the poem, particularly a person with little or no experience with visual poetry, will find it right off. If he does, it will act as a welcome counter to the boredom generated by all those instances of “apfel.” It will also seem apt. A rather fakey apple has become a real, flawed apple. Or does the poem suddenly concern not an apple but a worm in his home? In any event, it must take on larger symbolic meanings–about decay, the impossibility of perfection, the secretive intrusion of evil, etc. The glossy glibness of the apple makes it possibly a parody of magazine advertising–which is carried out with attractive pictures concealing worms.

Note, too, that the worm does not share the apple’s onomatopoeia–that is, it doesn’t look much like a wiggly thin worm. So it’s breaking with the rest of the poem is all the stronger.

Conclusion: the poem may not be a masterpiece of the first order, but it does not reflect unfavorably on Visual Poetry, as some contend. Indeed, I wish the distance from such a work of most art called “visual poetry” by its makers were considerably less.

Entry 61 — 2 Poems by Geof Huth

Friday, January 1st, 2010

They’re from #721: