Showing posts with label Marianne Moore. Show all posts
Showing posts with label Marianne Moore. Show all posts

Sunday, January 15, 2012

Marianne Moore


Marianne Moore's "Poetry" is widely anthologized and often cited, and it shouldn't be a mystery as to why this poem among the hundreds she wrote is the one that an otherwise indifferent audience remembers: it's a poem about poetry. She rather handily summarizes an array of clichés, stereotypes and received misgivings about poetry a literalistic readership might have ,feigns empathy with the complaints, and then introduces one crafty oh-by-the-way after another until the opposite is better presented than the resolution under discussion. This is not a subject I warm up to in most circumstances--poets, of their accord, have demonstrated the sort of self-infatuation that many of them, left to their means-to-an-end, would remove themselves from the human scale and assume the ranks of the divine, the oracular, the life giving, IE, develop themselves into a priesthood, the guardians of perception. Moore's poem, though, presents itself as a contracting string of epigrams that seem to quarrel, a disagreement between head and mind, body and spirit, and a larger part of her lines, as they seemingly across the page away from the statements preceding the line before it, is that no really knows what to make of poetry as a form, as a means of communication, as a way of identifying oneself in the world. It frustrates the fast answer, it squelches the obvious point, and poetry adds ambiguity that would rile many because of lines that start off making obvious sense but which leave the reader in a space that isn't so cocksure. Little of the world seems definite anymore once a poem has passed through it, and the reconfiguring of imagination , the retrenching, the retooling of perception a required of the reader to understand a bit of the verse (the alternative being merely to quit and admit defeat) is bound to give a resentment.

Moore's poem seems to be a response to Dorothy Parker's ironic declaration "I hate writing. I love having written". The reader may hate not understanding what they've read, but love the rewards of sussing through a poem's blind alleys and distracting side streets.

POETRY
Marianne Moore

I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it, after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-
ball fan, the statistician—
nor is it valid
to discriminate against "business documents and

school-books"; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry, 
nor till the poets among us can be
"literalists of
the imagination"—above
insolence and triviality and can present

for inspection, "imaginary gardens with real toads in them," shall we have
it. In the meantime, if you demand on the one hand, 
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.

The agony, the contradictions, the dishonest sleights of hand that deceive you in the service of delivering a surprise, an irony, an unexpected image, all of this is worth resentments a reader suffers through. One is, after all, made better, made stronger by the exercise of the will to read and confront the poem on its own terms. Moore is a shrewd rhetorician as well as gracefully subtle poet. Clever, witty, sharp and acidic when she needs me, Moore is clever at playing the Devil's Advocate in nominally negative guise, saying she dislikes it but mounting one exception to the rule after another until we have an overwhelming tide of reasons about why we as citizens can't exist without its application.

It works as polemic, indeed, crafted as she alone knows how, and it adds yet another well-phrased set of stanzas that want to turn poets into more than mortal artists, but into a priesthood, a race of scribes attuned to secret meanings of invisible movements within human existence. It sort of stops being a poet after the first jagged stanza, not unlike all those pledge breaks on PBS that tirelessly affirm that network's quality programming while showing little of it during their pleas for viewer money. It's not that I would argue too dramatically against the notion that poets and artists in general are those who've the sensitivity and the skills to turn perception at an instinctual level into a material form through which what was formally unaddressable can now find a shared vocabulary in the world-- egalitarian though I am, there are geniuses in the world , and those who are smarter and more adept than others in various occupations and callings--but I do argue against the self-flattery that poems like Moore's promotes and propagates.

I wouldn't regard this as a polemic of any sort, nor a manifesto as to what the writer ought to do or what the reader should demand. Reading it over again and again after that makes me think that Moore was addressing her own ambivalence toward the form. After one finishes some stanzas and feels contented that they've done justice to their object of concentration, some lines appear contrived, other words are dull and dead sounding aligned with more colorful, more chiming ones,
 Poetry that however grand , beautiful and insightful the resulting poems are in a host of poetic attempts to resolve the problem the distance between the thing perceived and the thing itself, we still have only poems, words arranged to produce effects that would appeal to our senses that are aligned with this world and not the invisible republic just beyond our senses. Poetry is a frustrating and irritating process because it no matter how close one thinks they've come to a breakthrough, there is the eventual realization of far one remains from it. Poetry as Sisyphean task; one is compelled to repeat the effort, and not without the feeling that they've done this before.



The commotion of the animals, the pushing elephants, the rolling horses, the tireless yet immobile Wolf, seem like analogues to restless mind Moore at one time might have desired to have calmed by the writing of poetry. There is the prevailing myth, still fixed in a good number of people who go through various self help groups, that the writing of things down--poetry, journaling, blogging, writing plays or memoirs--is a process that, in itself , will reveal truthful things one needs to know and thereby settle the issues. Writing, though, doesn't "settle", finalize or cement anything in place, it does to set the world straight , nor does it resolve anything it was addressing once the writing is done with. It is, though, a useful process, a tool, one may use as a means to get one out of the chair, away from the keyboard, and become proactive in some positive way.
The expectations of what poetry was supposed to do--create something about the world that is permanent, everlasting, reveal a truth who's veracity does not pale with time, whether a century or hour-- are crushed and a resentment when realizes that the world they're attempting to conquer, in a manner of speaking , will not bow to one's perception, one's carefully constructed stage set where the material things of this earth are props to be arranged on a whim, and that the mind that creates the metaphors, the similes, the skilled couplets and ingenious rhyme strategies is not calmed, soothed, serene.
The world continues to move and change, language itself changes the meaning of the words it contains, the mind continues to tick away, untrammeled. Moore's animals, in the restless paradise, are themselves restless, non contemplative, instinct driven toward species behavior that is about propagation and survival, creatures distinct from the contemplative conceit of the poet who thinks he or she is able to sift through the underbrush for secret significance. I've always heard a weary tone in Moore's poem; a mind that in turn wrestles with matters where poetry doesn't reveal what's disguised but only what the poet can never get to. Her poem echoes Macbeth's famous speech rather nicely
She should have died hereafter; 
There would have been a time for such a word.
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

She seems not a little dismayed that poetry is only part of our restless species behavior and that the language we write and expound to bring coherence to the waking life are only more sounds being made in an already noisy existence.

Friday, October 7, 2011

Edgar Guest and Marianne Moore: the task of the modernist poet


There's a smart,concise essay by Robert Pinsky contrasting the styles of poets Edgar Guest and Marianne Moore  in the current edition of Slate online. It is of value because he more or less isolates the reasons why no reads Guest these days, the poet who was once the most famous poet in America, and why the formerly obscure Moore continues to gain readers the many decades since her first publication.
Edgar Guest was not an incompetent writer, of course, but that does make him a good one. As with the faded phenomenon of Rod McKuen in the Sixties, Guest's singular ability was to take on a persona that reduced a great heap of cracker barrel wisdom, cliché and hick town wisdom into an attractive speaker who would seem to come along an endless string of life's events just after they happened and reveal the moral that only required a clear sighted commoner to brush the trail dust from.

By the time McKuen emerged during the Sixties a perhaps more poet archetype had filtered through mass culture and, abetted with the then current notion that rock-lyrics-were-poetry-- was able to take the idea of Poet as Tragically Solitary Romantic Hero and reduce it to appealingly two dimensional depiction of a Man Too Sensitive for Life's Many cruelties who was consigning himself to travels far and away, usually on boats , usually arriving at coastal cities in deepest mist to choruses of foghorns and sea gull cries. His universe , with all it's references to anonymous and genderless others in the form of the familiar sounding  yet effectively distancing pronoun "you", was solipsism with the worst social implication; although others in McKuen's imagined travels and romances are indeed present, although they have names and histories unique to them if one chose to investigate the sources of McKuen's muse, it is only McKuen's emotional state that matters. The essence of Hemingway's code --live by your own rules, do not impose your pains, wound and heartbreaks on to others , and seek experiences that are vital and apt to increase your appreciation of the Life You Have--is boiled down to a shriveled, grayish root . Where Hemingway's thinking was that one had to be prepared for others to follow their own consul as well and and summarily at conclusions and actions that are likely contrary to one's internalized philosophy, McKuen's premise is merely a set up for failure; the man's poetry leaves you with a feeling of unearned fatalism and acting out. This is a middle aged man writing as a sensitive teenager  who desires experiences his body has yet to know.  McKuen equates defeatism with the poetic spirit; Hemingway, in a manner of speaking, tried to show us how to take a punch and then get back into whatever game it is we've decided to take part in.This was perfect material for the teen ager who wanted to graduate from Bob Dylan records. The irony is that it is the lyrics of a songwriter that have survived the decades better than the generically defined page poetry of either Guest or McKuen.

Guest, it should be remarked, made a living cleverly rearranging, rephrasing, re- branding what it was his audience already believed in; there was nothing of surprise in his work, but rather a steady path toward a conspicuous set of resolutions. He was, in practice, a propagandist for the Way Things Ought to Be, a softly reactionary set of ideas that were not, in his writings, revealed as remarkable realizations as the result of following a string of contrary ideas to their metaphorical commonality, not a perception that is caught in composition and shared, indeed, his ideas are not even personal statements of any faith-based belief; they were, flat out, something akin to marching orders, talking points, instructions to a readership to take comfort in their reticence to challenge conventional wisdom , to resist straying from the compound, to be suspicious of education and nuance. Comic and technically skilled as Edgar Guest's pieces might have been his poems were by and large the disguised dictates of what Nietzsche referred to as "slave morality".

In essence, Guest is instructing his audience not to budge and to instead on a collective memory of a past that never quite existed, certainly not in the static , perfected, perfect balanced paradigm where a man,his family, his neighbors and the world about all of them existed in a common sense, "natural" harmony. He does this to nearly toxic degree with his homily "Home" , where the corniest of cornball American dialects informs the presumably willing readership a set of conditions , drawn from the baldest and least convincing of  stereotypes about rural life, that are required for a house for a house to gain the legitimizing and ennobling essence of being a "home". Pain, suffering , catastrophe are suggested as those things that make you part of an Order of Things that cannot be dismantled; new ideas, new technologies, new kinds of neighbors from different ethnic groups are not just suspect, they are wrong to be. Guest's hackneyed verse, filtered a meticulously contrived speech of common man wisdom, was contemptuous of modern ways, of being seemingly cut off at the root from a past that was, until then, continuous , coherent and seamless, generation to generation. There is something to be argued for  learning lessons through our own history as a people, but Guest turns into gummed up rhymes seeking easy places to land to launch a sinister agenda of mediocrity:


Ye've got t' sing an' dance fer years, ye've got t' romp an' play,
An' learn t' love the things ye have by usin' 'em each day;
Even the roses 'round the porch must blossom year by year
Afore they 'come a part o' ye, suggestin' someone dear
Who used t' love 'em long ago, an' trained 'em jes t' run
The way they do, so's they would get the early mornin' sun;
Ye've got t' love each brick an' stone from cellar up t' dome:
It takes a heap o' livin' in a house t' make it home.


Simply, Guest discouraged the impressionistic view of the world, detested the subjective, was annoyed to great extent at those poets who decided that their responsibility was not to their audience's need for walled-off security but rather to their own sensibilities as they sought to gauge the interaction of their personalities with the flux and flow of a world outside themselves, entirely separate from their wishes. Moore rather brilliantly had the quality of actual thought in her poems, and the best poems, such as her most famous "Poetry" or this poem "Silence", read as skillfully, artfully distilled notions, half thoughts, material items, memories that are tracked as they culminate into an eventual perception. Something other than what the writer wanted to see or say is revealed; the recollection of her father's speech about the virtues of short visits contrasted against his final offer of "make my house your inn" bring us neatly to Moore's terse knockout punch:" Inns are not a residences".

 In the brief span she brings together a father's personality where he was at a remove from those he ought to be close to, that he would preface his desire to have little to with others with the flattering comparison with great poets and their stoic virtues, that he would open up his house to his daughter merely as a place to stay temporarily, not as a home. There is quite a bit here, voiced in simple language, linked implication, not rhetorical gestures. Where readers had read Guest, quickly understood what he had to offer and soon enough boxed up his volumes as attitudes in American culture began to change, Moore and others of her like remain the ones we can re-read and discuss without embarrassment .The best poems remain relevant, and it might be said here that a truly modernist work remains modern long, long after it first finds the light of day.

Sunday, February 21, 2010

"Poetry" by Marianne Moore: the craft for the Sisyphus in all of us

Slate poetry editor Robert Pinsky gives readers Marianne Moore's widely anthologized "Poetry" as a topic discussion a few months ago. It was a a joy to read again/It shouldn't be a mystery as to why this poem among the hundreds she wrote is the one that an otherwise indifferent audience remembers: it's a poem about poetry. She rather handily summarizes an array of cliches, stereotypes and received misgivings about poetry a literalistic readership might have ,feigns empathy with the complaints, and then introduces one crafty oh-by-the-way after another until the opposite is better presented than the resolution under discussion.

This is not a subject I warm up to in most circumstances--poets, of their accord, have demonstrated the sort of self-infatuation that many of them, left to their means-to-an-end, would remove themselves from the human scale and assume the ranks of the divine, the oracular, the life giving, IE, develop themselves into a priesthood, the guardians of perception.

Moore's poem, though, presents itself as a contracting string of epigrams that seem to quarrel, a disagreement between head and mind, body and spirit, and a larger part of her lines, as they seemingly across the page away from the statements preceding the line before it, is that no really knows what to make of poetry as a form, as a means of communication, as a way of identifying oneself in the world. It frustrates the fast answer, it squelches the obvious point, poetry adds an ambiguity that would rile many because of lines that start off making obvious sense but which leave the reader in a space that isn't so cocksure. Little seems definite anymore once a poem has passed through the world, and the reassembling of perception required of the reader to understand a bit of the verse (the alternative being merely to quit and admit defeat) is bound to give a resentment. It's a headache one would rather not have. Moore's poem seems to be a response to Dorothy Parker's ironic declaration declaration "I hate writing. I love having written". The reader may hate not understanding what they've read, but love the rewards of sussing through a poem's blind alleys and distracting side streets.



POETRY
Marianne Moore

I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it, after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-
ball fan, the statistician—
nor is it valid
to discriminate against "business documents and

school-books"; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"—above
insolence and triviality and can present

for inspection, "imaginary gardens with real toads in them," shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.


The agony, the contradictions, the dishonest sleights of hand that deceive you in the service of delivering a surprise, an irony, an unexpected image , all of this is worth resentments a readers suffers through. One is , after all , made better, made stronger by the exercise of the will to read and confront the poem on it's own terms. Moore is a shrewd rhetorician as well as gracefully subtle poet.Clever, witty, sharp and acidic when she needs me, Moore is clever at playing the Devil's Advocate in nominally negative guise, saying she dislikes it but mounting one exception to the rule after another until we have an overwhelming tide of reasons about why we as citizens can't exist without it's application.

It works as polemic, indeed, crafted as she alone knows how, and it adds yet another well-phrased set of stanzas that want to turn poets into more than mortal artists, but into a priesthood, a race of scribes attuned to secret meanings of invisible movements within human existence. It sort of stops being a poet after the first jagged stanza, not unlike all those pledge breaks on PBS that tirelessly affirm that network's quality programming while showing little of it during their pleas for viewer money. It's not that I would argue too dramatically against the notion that poets and artists in general are those who've the sensitivity and the skills to turn perception at an instinctual level into a material form through which what was formally unaddressable can now find a shared vocabulary in the world-- egalitarian though I am, there are geniuses in the world , and those who are smarter and more adept than others in various occupations and callings--but I do argue against the self-flattery that poems like Moore's promotes and propagates.I wouldn't regard this as a polemic of any sort, nor a manifesto as to what the writer ought to do or what the reader should demand. Reading it over again, and again after that makes me think that Moore was addressing her own ambivalence toward the form. After one finishes some stanzas and feels contented that they've done justice to their object of concentration, some lines appear contrived, other words are dull and dead sounding aligned with more colorful, more chiming ones,an image seems strained and unnatural, an analogy no longer seems like the perfect fit.

She too dislikes it, I think, because poetry will always come up short of getting to the world without our censoring buffers; Wallace Stevens solved the problem of cutting himself from the gravity of his real life by no attempting to launch his persona , via metaphor, through the imagined barrier between our perception of events and what is there, sans a mediating ego, and landed himself among his Ideal Types, his Perfect Forms and Arrangements, but the strength of his language. The metaphor he would have used to address qualities otherwise unseen of a thing her perceived became, in his method, the thing itself, a part of his Supreme Fiction. William Stevens voided the decorative phrases and qualifiers that he felt only added business to the world a poem tried to talk about and made a verse of hard , sharp, angular objects. Moore, though, seems to insist in Poetry that however grand , beautiful and insightful the resulting poems are in a host of poetic attempts to resolve the problem the distance between the thing perceived and the thing itself, we still have only poems, words arranged to produce effects that would appeal to our senses that are aligned with this world and not the invisible republic just beyond our senses. Poetry is a frustrating and irritating process because it no matter how close one thinks they've come to a breakthrough, there is the eventual realization of far one remains from it. Poetry as Sisyphean task; one is compelled to repeat the effort, and not without the feeling that they've done this before.

The commotion of the animals, the pushing elephants, the rolling horses, the tireless yet immobile Wolf, seem like analogues to restless mind Moore at one time might have desired to have calmed by the writing of poetry. There is the prevailing myth, still fixed in a good number of people who go through various self help groups, that the writing of things down--poetry, journaling, blogging, writing plays or memoirs--is a process that, in itself , will reveal truthful things one needs to know and thereby settle the issues. Writing, though, doesn't "settle", finalize or cement anything in place, it does to set the world straight , nor does it resolve anything it was addressing once the writing is done with. It is, though, a useful process, a tool, one may use as a means to get one out of the chair, away from the keyboard, and become proactive in some positive way.

The expectations of what poetry was supposed to do--create something about the world that is permanent, ever lasting, reveal a truth who's veracity does not pale with time, whether a century or hour-- are crushed and a resentment when realizes that the world they're attempting to conquer, in a manner of speaking , will not bow to one's perception, one's carefully constructed stage set where the material things of this earth are props to be arranged on a whim, and that the mind that creates the metaphors, the similes, the skilled couplets and ingenious rhyme strategies is not calmed, soothed, serene.

The world continues to move and change, language itself changes the meaning of the words it contains, the mind continues to tick away, untrammeled. Moore's animals, in the restless paradise , are themselves restless, non contemplative, instinct driven toward species behavior that is about propagation and survival, creatures distinct from the contemplative conceit of the poet who thinks he or she is able to sift through the underbrush for secret significance. I've always heard a weary tone in Moore's poem; a mind that in turn wrestles with matters where poetry doesn't reveal what's disguised but only what the poet can never get to. Her poem echos Macbeth's famous speech rather nicely:

She should have died hereafter;
There would have been a time for such a word.
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.


She seems not a little dismayed that poetry is only part of our restless species behavior and that the language we write and expound to bring coherence to the waking life are only more sounds being made in an already noisy existence.

Wednesday, August 13, 2008

No more poems about poetry

I've posted this elsewhere a year ago and would have been happy to let the archive swallow it whole until retrieved, but the subject is an arguement that cannot be settled, and it seems that I'm not yet done thinking about it. The immodest musings on meta-poetics are posted here where new readers might find something to either cheer for or sneer at. I am assuming , of course, that there are those who are interested in my half wit opinions and can stand my careening sentence structures. -tb
____________________________


April, hardly cruel with its longer days and constant sunshine, does not seem so cruel in Southern California these days. T.S.Eliot, author of the fateful phrase that would be oft-cited sans context or coherent application, would doubtlessly agree with that assessment had he come through months of rain, gloom, mudslides and general grayness. The burgeoning of spring, the blossom of flowers, a quadrillion butterflies taking to the air, with all this you couldn't help smile and think life in April was worth waiting for, that this is a month worth savoring every sunny nanosecond of daylight for.

Grim facts do emerge in the month in spite the manic-cheer leading of the previous paragraph, the sorry and necessary fact that Federal Income Taxes are due by April 15, though one can absorb this philosophically however much it hurts to pay out what's due; death and taxes and all that. It is such an inevitability that it's pointless, you'd think, to have anxiety attacks over the fact. It is part of the texture of the day, a constant recurring weave in the tapestry of life. And all that.

A worse occurrence , a worse sin of existence, is National Poetry Month, where we will have the usual suspects , those few poets whose names are known by the mainstream reading public, engage in all sorts of self-congratulation and puffery , all in a grandiloquent attempt to sell poets and their work to a larger crowd of book buyers. Besides the fact that it doesn't work--those who don't buy poetry books, or care not to read poems at all are not likely to start the enterprise merely because Robert Pinsky or Billy Collins provide soothing assurance that poems are good for the digestion--what irritates me is the oncoming onslaught of poems about poetry. Readers are invited to observe poets attempt to make love to themselves in any number of verses where poetry is the subject.

Poetry against poetry is an amusing theme the first time you do it, but the contrarian stance can't mitigate the general obnoxiousness that it remains poetry about poetry all the same. Beyond the fact that it's usually a self-congratulatory clustering of poets praising themselves on being the "antennae of the race "(Pound's dreadful hubris-choked flourish), it illustrates a grating, even willful failure of imagination. "Failure" is perhaps too dramatic a word. "Laziness" would be a better fit.

Poets, regardless of their politics, religious beliefs, spiritual nuance or circumstance of gender, race, or even intelligence, have an over all need to deal with the world around them, to grasp experience as something raw and full , and then compose a poem about it all when there is something on the mind worth recording and revealing to a curious audience; it ought not carry the reminder that the author is a poet having the experience and who wrote the poem the reader currently holds, presumably reading.

It detracts from the job at hand, it dilutes, and it practically demands that the reader be grateful for the privilege to be in the presence of a soul more sensitive and attuned to life's nuance than him or herself. The promise of self-reflective art, brought to us in the Sixties by Godard and the sleeping sickness called Structuralism, was that once we understand the mechanisms and devices that form our ideas of meaning beyond the conventional, we will then be free to address social relations in words that would empower the reader to change society—to make a better world, to coin an odd idea.

Not much of that has happened in four plus decades, but the habit remained in poetry beyond the flesh-eating foisted on the art by those who misunderstood , I think, what L=A=N=G=U=A =G= E Poets were up to and centered their career making verse their subject matter. The Language Poets, one should remember, considered language as their starting point , with the work of Rae Armentrout, Barret Watten, Ron Silliman, Bob Perleman and others , in various ways and strategies, interrogating, contesting and disassembling entrenched assumptions and conventional wisdoms about tongue we define and hang our perceptions on. Theirs was a project to witness contradiction, paradox and ambiguity, to take up the modernist task of fashioning a rhetoric that vibrates and gives way to the unpredictability of events and experience and perception. Not to everyone's taste or thinking , but Language poets, I'd say, are interested in maintaining poetic dictions as a resource the writer and reader can take themselves beyond the increasingly inane pronouncements of the publisher's preferred vocal style.

What's happened in the wake of these writers is a fungus that's seeped into the marrow of the Body Poetic and given a generation of poets a way to write without having to make some greater sense of their experience. Less disguised, this means that many poets are seduced but the surface sex and sizzle of an antifoundationalist theory and are with pages of alleged verse that hasn't a single communicable notion in them. There is in all this maze traipsing a lack of ideas; nothing seems to be said about being in the world in details or nuance that makes the prospect convincing . Craft and style are essential to honing emotional content into something greater than mere confession or less appealing forms of monomania--I'm not wholly enthralled with the idea of poetry being a substitute for therapy or group-groping apologetics--but the continual emphasis on poets and poetry as subject matter represents a flight from the standard practice of poetry as an extraordinary way to fathom that unexplainable condition of being human. Carpenters who talk about hammers and nails only don't get houses built. Poets writing poems about poetry aren't being poets at all, but is rather being dime store Hamlets practicing meditative poses in the perfume counter mirror, so much erudition impaled with the spike of their own cleverness, afraid to wander through the door and perhaps have an experience.

Marianne Moore's "Poetry" is widely anthologized and often cited, and it shouldn't be a mystery as to why this poem among the hundreds she wrote is the one that an otherwise indifferent audience remembers: IT'S A POEM ABOUT POETRY!! She rather handily summarizes an array of cliches, stereotypes and received misgivings about poetry a literalistic readership might have ,feigns empathy with the complaints, and then introduces one crafty oh-by-the-way after another until the opposite is better presented than the resolution under discussion.

POETRY
Marianne Moore

I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it, after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-
ball fan, the statistician—
nor is it valid
to discriminate against "business documents and

school-books"; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"—above
insolence and triviality and can present

for inspection, "imaginary gardens with real toads in them," shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.


Moore is a shrewd rhetorician as well as gracefully subtle poet.Clever, witty, sharp and acidic when she needs me, Moore is clever at playing the Devil's Advocate in nominally negative guise, saying she dislikes it but mounting one exception to the rule after another until we have an overwhelming tide of reasons about why we as citizens can't exist without it's application.

It works as polemic, indeed, crafted as she alone knows how, and it adds yet another well-phrased set of stanzas that want to turn poets into more than mortal artists, but into a priesthood, a race of scribes attuned to secret meanings of invisible movements within human existence. It sort of stops being a poet after the first jagged stanza, not unlike all those pledge breaks on PBS that tirelessly affirm that network's quality programming while showing little of it during their pleas for viewer money. It's not that I would argue too dramatically against the notion that poets and artists in general are those who've the sensitivity and the skills to turn perception at an instinctual level into a material form through which what was formally unaddressable can now find a shared vocabulary in the world-- egalitarian though I am, there are geniuses in the world , and those who are smarter and more adept than others in various occupations and callings--but I do argue against the self-flattery that poems like Moore's promotes and propagates.

Novelists, playwrights , and journalists have had their mediums rightly demystified over time so that the title itself--novelist, playwright, ET AL--does not by association inoculate a writer against proper judgement; criticism, as such, deals with these scribes as craftsman , and the larger issue, literary wars and preferences aside, is how well an author writes, with how well they are doing their job.

The mystique remains,somewhat, for the poet and it is one that a good number of poets, good, bad and resoundingly mediocre, seem to want perpetuate. Moore, I think, had whimsy in mind when she wrote her piece, but the impulse to have poetry as the subject matter of new work keeps the medium unapproachable for many for no real advantage other than what appears to be vanity and status. There's a tendency to keep the edges of poetry blurry, smudged, indistinct as to the terms one is given to talk about poets and their work. One in this area doesn't want to give the whole game away.

Enough. Enough. If a poet has something besides themselves and their gift to share with us, please, let's read it, let's hear it, let's compare notes about life in this world. What poetry has lost in large portion is the capacity to evoke a sense of invisible structures behind the details of everyday life that , given the occasional hunch or flash of inspiration, could be sensed however momentarily and provide the reader with some extra energy to live fully another few hours on this plain in the attempt to make the world yield more beauty and fairness, and in it's place has come, in equally large portion, a self-consciousness that brings attention back to the poet as-arbiter-of-meaning, a broker of slippery signs who is so conceited (knowingly or not) about their nominal privilege and power that they can well dispense stanza after stanza of mirror-gazing narcissism without risking their standing over the minuscule dominion they lord their constructed value over.