Friday, January 1, 2010

second notes for the new decade

I tend to think that the best relationship between practice and theory , as regards the arts (and poetry in particular) is when one blends with the other in a seamless fashion. It's a process that begins with the work itself, a reading and rereading of the poem, let us say, and then , after some routine reflection, referencing any number of critical schemes I think might work in bringing what's contained in the stanzas out from under the subterfuge. Seamless is the word I'd like to use, and it applies here although the handy term has diminished impact with overuse;all the same, theories of criticism , for me,are a way of extending the poem into general discourse.

Poetry works in many ways, but so does criticism, and a pragmatics of interpretation is the most useful way for me to make a poet's work something other than another useless art object whose maker adhered to someone else's rules. My gripe is a constant one, that each succeeding school of thought on what poets should be doing are too often reductionist and dismissive of what has been done prior. This isn't criticism, it's polemics, contrary to my notion that what really matters in close readings is the attempt to determine whether and why poems work successfully as a way of quantifying experience and perception in a resonating style.