Metonymy as an Approach to a Real World
Whether what we sense of this world
is the what of this world only, or the what
of which of several possible worlds
--which what?--something of what we sense
may be true, may be the world, what it is, what we sense.
For the rest, a truce is possible, the tolerance
of travelers, eating foreign foods, trying words
that twist the tongue, to feel that time and place,
not thinking that this is the real world.
Conceded, that all the clocks tell local time;
conceded, that "here" is anywhere we bound
and fill a space; conceded, we make a world:
is something caught there, contained there,
something real, something which we can sense?
Once in a city blocked and filled, I saw
the light lie in the deep chasm of a street,
palpable and blue, as though it had drifted in
from say, the sea, a purity of space.
William Bronk is a good companion poet to read along with Wallace Stevens, as both concerned themselves with our ideas of a world unspoilt by skewed perception. Both were poets you could imagine walking among their gardens and cities of perfect forms, the ideal types and not the inferior , material imitations, chancing some thoughts beyond the gravity of the actual planet.
Helen Vendler asserts in her review of new "Selected Poems" that Stevens disguised his true hurts and sorrows with symbolism, merging his high, English inspired cadences with a Yankee's habit of plain speak. His was a seamlessly expressed struggle between the ideal relationships among things, or the ideas of things finding harmony among their distinct qualities, and the tense world he must return to. He was a vice president of an insurance company, after all, an institution designed to protect and amend the quirky happenstance between gravity and clumsy people.
Bronk, in contrast, seems to be in one world who is constantly thinking of the other, and here suggests that it is our ability to coin words or vary our linguistic references to known, quantified qualities that recreates our world constantly, in terms of a musical score, with beats, rhythm, a narrative line that flows or gets jagged according to the tone each moment might take. And it is that skill,developed through various layers of frustrated experience and states of monotonous torpor, that we can again think of what we see as too familiar and what we see as alien and strange as intrinsically exciting, full of intrigue, it's own vital elements we can learn about and learn from. We come to think of the world in other words and not by the clinical terms they're assigned by dictionaries. This availed Bronk to see that light in the street he trudged every day, palpable and blue, as though it had drifted in from say, the sea, a purity of space.
Our language needs to remain vital and up to the task of re-inscribing conventional experiences, lest we miss the whole point of having senses to begin with.