15/9/06 Projective verse
I. What projective (open) verse
A. the poem is a "high energy-construct"
an "energy discharge" at all points
B. the principle:
"form is never more than an extension of content"
i. "right form ... is the only and exclusively possible extension of content under hand."
C. the process:
"one perception must immediately and directly lead to a further perception" (Dahlberg)
"... one perception must must must MOVE, INSTANTER, ON ANOTHER!"
"that verse will only do in which a poet manages to register both the acquisition of his ear and the pressures of his breath."
"the syllable... is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem."
from out of the root, the syllable, come the dance
"the ear, which is so close to the mind that it is the mind's, that it has the mind's speed"
"it is from the union of the mind and the ear that the syllable is born"
"Observation ... must be so juxtaposed ... that it does not ... sap the going energy of the content toward its form"
"because ... a poem has, by speech, solidity, everything in it can be ... treated as solids, objects, things"
the poem now can be treated as a solid because of speech
"the convention which logic [cf. Breton's remark that Latin logic must be done away with] has forced on syntax must be broken open"
16/9/06
Olson's essay foresees Z's Objectivist Anthology and the Language poets' play with syntax
19-9-06 Tues.
"can tedium produce seeds for herons and storks?" -- Dahlberg The Carnal Myth
obscure dream of late. a bird with very long legs with the shanks of a hawk, but as if walking on stilts with trousers in a swamp manifested itself out of the obscurity while another long-legged bird sprayed long jets of water from its bill that sprinkled me.
I. What projective (open) verse
- is
- how accomplished (as opposed to non-projective
- how stance affects poet & reader
- a change larger than the technical
- new poetics
- new concepts
- some sort of drama
- some sort of epic
A. the poem is a "high energy-construct"
an "energy discharge" at all points
B. the principle:
"form is never more than an extension of content"
i. "right form ... is the only and exclusively possible extension of content under hand."
C. the process:
"one perception must immediately and directly lead to a further perception" (Dahlberg)
"... one perception must must must MOVE, INSTANTER, ON ANOTHER!"
"that verse will only do in which a poet manages to register both the acquisition of his ear and the pressures of his breath."
"the syllable... is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem."
from out of the root, the syllable, come the dance
"the ear, which is so close to the mind that it is the mind's, that it has the mind's speed"
"it is from the union of the mind and the ear that the syllable is born"
"Observation ... must be so juxtaposed ... that it does not ... sap the going energy of the content toward its form"
"because ... a poem has, by speech, solidity, everything in it can be ... treated as solids, objects, things"
the poem now can be treated as a solid because of speech
"the convention which logic [cf. Breton's remark that Latin logic must be done away with] has forced on syntax must be broken open"
16/9/06
Olson's essay foresees Z's Objectivist Anthology and the Language poets' play with syntax
19-9-06 Tues.
"can tedium produce seeds for herons and storks?" -- Dahlberg The Carnal Myth
obscure dream of late. a bird with very long legs with the shanks of a hawk, but as if walking on stilts with trousers in a swamp manifested itself out of the obscurity while another long-legged bird sprayed long jets of water from its bill that sprinkled me.
Labels: small grey Mead notebook
posted by Al Kover(t) at
8:33 PM
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