POETICKS

I’m skipping ahead to old blog entry #796 today to make a point about my recent cryptographiku. #796 has Cor van den Heuvel’s poem:

.                                               tundra

I go on in the entry to say I believe Eugen Gomringer’s “Silencio,” of 1954, was the first poem to make consequential  visiophorically expressive use of blank space:

.                      silencio silencio silencio
.                      silencio silencio silencio
.                      silencio          silencio
.                      silencio silencio silencio
.                      silencio silencio silencio

I finish my brief commentary but then opining that van den Heuvel’s poem was the first to make an entire page expressive, the first to make full-scale negative space its most important element. Rather than surround a meaningful parcel of negative space like Gomringer’s masterpiece, it is surrounded by meaningful negative space. I’m certainly not saying it thus surpasses Gomringer’s poem; what it does is equal it in a new way.

I consider it historically important also for being, so far as I know, the first single word to succeed entirely by itself in being a poem of the first level.

Then there’s my poem from 1966:

.                 at his desk
.                         the boy,

.                                writing his way into b wjwje tfdsfu xpsme

This claim to be the first poem in the world to use coding to significant metaphorical effect. Anyone who has followed what I’ve said about “The Four Seasons” should have no trouble deciphering this. I consider it successful as a poem because I believe anyone reasonably skillful at cyrptographical games will be able (at some point if not on a first reading) to emotionally (and sensually) understand/appreciate the main things it’s doing and saying during one reading of it–i.e., read it normally to the coded part, then translate that while at the same time being aware of it as coded material and understanding and appreciating the metaphor its being coded allows.

I’ve decided “The Four Seasons” can’t work like that. It is a clever gadget but not an effective poem because I can’t see anyone being able to make a flowing reading through it and emotionally (and sensually) understanding/appreciating everything that’s going on in it and what all its meanings add up to, even after study and several readings. Being able to understand it the way I do in my explanation of it not enough. This is a lesson from the traditional haiku, which must be felt as experience, known reducticeptually (intellectually), too, but only unconsciously–at the time of reading it as a poem rather than as an object of critical scrutiny, which is just as valid a way to read it but different.