Perlophonies

"que de sang caillé sur mon chemin griffé de lumière, l'or défunt des réverbères"

Tag: poetry

Mary Szybist on Poetry and Prayer, Being Heard.

“I have always been attracted to apostrophe, perhaps because of its resemblance to prayer. A voice reaches out to something beyond itself that cannot answer it. I find that moving in part because it enacts what is true of all address and communication on some level—it cannot fully be heard, understood, or answered. Still, some kinds of articulations can get us closer to such connections—connections between very different consciousnesses—and I think the linguistic ranges in poetry can enable that.”

 

Mary Szybist – A World Beyond the Glass: An Interview with Mary Szybist (The Paris Review, April 8, 2014)

Frank O’Hara and Personism

“[Frank] O’Hara stated that one day in 1959 while writing a poem for a specific person, he realized that he could “use the telephone instead of writing the poem, and so Personism was born.” Personist poetry speaks with immediacy and directness of everyday experience, in everyday language. O’Hara’s statement, “You just go on your nerve,” is reminiscent of the spontaneity and antiformalism of the Beats; his insistence that Personism “does not have to do with personality or intimacy” suggests an affinity for the poem as a work of art rather than a means of expression.”

 

Postmodern American Poetry. A Norton Anthology. Ed. Paul Hoover

Adorno on the Impossibility of Representing Nature or Industry in Art

“That today any walk in the woods, unless elaborate plans have been made to seek out the most remote forests, is accompanied by the sound of jet engines overheard not only destroys the actuality of nature as, for instance, an object of poetic celebration. It affects the mimetic impulse. Nature poetry is anachronistic not only as a subject: Its truth content has vanished. This may help clarify the anorganic aspect of Beckett’s as well as of Celan’s poetry. It yearns neither for nature nor for industry; it is precisely the integration of the latter that leads to poetization, which was already a dimension of impressionism, and contributes its part to making peace with an unpeaceful world. Art, as an anticipatory form of reaction, is no longer able – if it ever was – to embody pristine nature or the industry that has scorched it; the impossibility of both is probably the hidden law of aesthetic nonrepresentationalism.”

 

Theodor W. Adorno – Aesthetic Theory (Transl. Robert Hullot-Kentor)