interview wilmer clive
Misael Ruiz Albarracín
Misael Ruiz Albarracín
1) How was born The mystery of things? "It emerged over the years from individual poems or there was any deliberate plan?
not plan my books so aware, in advance, but when I have written enough poems, I begin to organize them thematically, a process that sometimes generate new poems to fill gaps. I like my books have some sort of consistency, but is not strictly necessary. In any case, had already published a short book, The Falls , at another house, a small publishing house called Worple Press, and wanted to reprint some of those poems in this selection, which is much larger. Finally, I saw the way these shorter poems and had written that could become the first part of a book that would conclude to "Stigmata." The two halves of the book are interrelated, for example, the comparison between the sacred and the sexual is common to both parties.
..
not plan my books so aware, in advance, but when I have written enough poems, I begin to organize them thematically, a process that sometimes generate new poems to fill gaps. I like my books have some sort of consistency, but is not strictly necessary. In any case, had already published a short book, The Falls , at another house, a small publishing house called Worple Press, and wanted to reprint some of those poems in this selection, which is much larger. Finally, I saw the way these shorter poems and had written that could become the first part of a book that would conclude to "Stigmata." The two halves of the book are interrelated, for example, the comparison between the sacred and the sexual is common to both parties.
..
. 2) The sequence "stigma" can be read as one long poem. Do you think that a poem of some length narrative structure needed to support it?
not think I need a narrative structure, but a narrative structure helps to shape the poem and to communicate its meaning. It is similar to the Renaissance sonnet sequence in which they used to be some kind of plot implicit but is not the plot that matters. In "Stigmata" there is a rudimentary plot, a love story that fails, "but above it wanted to create the character of women targeted by the poem has been hurt by life, have lost loved ones, inclined to mysticism, etc.
not think I need a narrative structure, but a narrative structure helps to shape the poem and to communicate its meaning. It is similar to the Renaissance sonnet sequence in which they used to be some kind of plot implicit but is not the plot that matters. In "Stigmata" there is a rudimentary plot, a love story that fails, "but above it wanted to create the character of women targeted by the poem has been hurt by life, have lost loved ones, inclined to mysticism, etc.
3) In these same poems are some references to Dante. To begin the Beatrice is a 'you next to me " - that leads to different levels of consciousness, and there are also resources related metric chained trio of Dante. In fact, even Dante and Beatrice displayed in the last poem in the series. In his treatise Convivio, Dante suggests that there are four possible ways to interpret his poem: literal, allegorical, moral and anagogic (spiritual). To what extent is this also true in your case?
Well, Dante is impossible to ignore! It has always been important to me, but I recognize that this is very present, which is even pushy. In fact, the woman he thought when he wrote the poem was in turn then writing a book about Dante, so we talked a lot about him. On the other hand, the same topic is almost gruesome: a human love that seems to lead to love of God. But I remember well how the trio appeared. When I started writing it was very difficult, almost painful, express and poems ended up being very short, compact. For some reason they had all three lines, and finally, I grouped a few to create the first two poems, "The visit to La Verna" and "An appointment." That gave me a model for fluid poems. Immediately saw the resemblance to the trio of Dante and I thought it was adequate. But I tried to play the terza rima in all its aspects. In two sections, the narrative parts of the poem, "The Conversation" and "The Resurrection of Piero (2)" - I appropriate an action deliberately Little Gidding TS Eliot. Uses alternating male and female lines to evoke the structure used by Dante without the impact of the rhyme. So there, in a way not only to Dante but also evoke Eliot. As for the four modes of interpretation, not a poem systematic in this regard, could not be defined four levels - , although there are different levels of interpretation. Virtually everything must be understood literally, although most of the literal events are based on a spiritual significance, and also use many symbolic elements. Especially in "The Resurrection of Piero (2)" where, like Dante in the Vita Nuova , use the dream to bring to light various symbolic levels: things like the fans have not seen in nine months-which, incidentally, was literally and sense nine months of human gestation and, by association, that of rebirth. It is also reborn in other ways: the revival of the relationship, the rebirth of the self and, perhaps, the rebirth of poetry.
4) Eugenio Montejo, a Venezuelan poet who has recently been translated into English, once said that there are poets the same blood type and poets of the verbal kind. You can enjoy and admire the latter, but we can only feed on those who have our same blood type. What poets would you say the same blood type?
Montejo
What he says seems true, and I'm sure it happens with most poets, but somehow in my case it is not. That is, Dante, George Herbert and Wordsworth are probably my same blood type, so you're right, but there are many poets crucial in my work that have a sensibility very different from mine. Thom Gunn, for example, I was very close. I was attracted to his method but poets are completely different. We agreed on what should make a poem and what captures the reader into the poem, but did not think the same things about, you know, life. In Gunn I am interested in a special way the constant tension between order-in poetic terms: formal control - and passion, even potential anarchy of content. I think the expression of deep feelings is more effective if done in a cold and content. Valery said that no poet can still be romantic once he has learned his art: when we learn the value of the form we become classical. I do not know if always true, but it has been for me a long time. Actually, now I begin to have an age, I wonder if I should unlearn some of that passion for order.
5) In an interview he gave to yourself Thom Gunn said he "matured as a writer is partly to be able to add more experience to the heart of your poetry." It is very difficult to combine with poetry and humor, however, the mystery of things begins with a humorous poem, "Bottom's Dream." In the book there are some poems with a humorous component, such as "Superwoman", "In the library "-at least that's what I think, 'Ruin' or 'Recorded Message." Is humor something new in his poetry?
Very sharp of you! Some time ago I found it impossible to write poems that were not solemn. It was something I dislike about my work. I attach great importance to the humor in my life and seemed to leave me out of my poetry was left out an important dimension not only of myself but how I see things and I think it should be. The problem is we can not decide when we are funny. Either you are or you are not. He wrote humorous poems, non-post, jokes and jeux d'esprit for friends. The blockade ended one day when I started writing poems one of those circumstances, "a poem in which I laughed at myself, and became a serious poem. It is entitled "Two Journals" and belongs to my book Of Earthly Paradise. I think the reader perceives, although not strictly humorous poem, that the language I use is. Overall I do not write "poems of humor" but in my poems there is some humor. I think "A Vision" is also a humorous poem, but I like that you can read just as if it were not: this is only one part of speech that I have at my disposal. By the way, I know why, but I have noticed that many of these poems have something in common: they are a mockery of myself. I guess it's a way to reduce serious tone, in my case, is like a vice.
6) "In the Library" reminds me of Paolo and Francesca of Dante and how they fell in love with each other while reading. Love and reading are intimately linked to the end of the poem when the voice of the poem demands to be "read into you."
I really do not remember having thought. But I think you're right: reading is something intimate. It is something we do in private and something we share with people we are close. Share words of another person's head is really very intimate. Dante's passage deserves the fame he has. It is so erotic! "Quel giorno più non vi leggemmo ahead." It is an inescapable rhythm ...
I really do not remember having thought. But I think you're right: reading is something intimate. It is something we do in private and something we share with people we are close. Share words of another person's head is really very intimate. Dante's passage deserves the fame he has. It is so erotic! "Quel giorno più non vi leggemmo ahead." It is an inescapable rhythm ...
7) Would you say that one of the hidden contradictions which created enough tension to keep alive a poem is, in his work, the conflict between the instinct of the body and spirit equally pressing requirement ? Is the word "ghost" where both body and spirit, are you?
I agree, but let me add something. In 1973 I went to see some friends and traveled together to Iran visiting historical sites. Among other places, went to Isfahan, which for the Iranians is something like a cross between Florence, Chartres and Paris-by far the most beautiful and deeply civilized, and also the ancient capital -. The great mosques built during the reign of Shah Abbas I think contemporary of Philip II, are miraculously beautiful. They are all built with primary forms and surface decoration and because they are Muslim, there is no representation in them human. However, I was told that much of this decoration was Armenians carried out by craftsmen who persuaded the Shah to be installed in southern Iran. Were Christians. He offered a neighborhood for living in Isfahan and allowed them to build their own churches. The name of the neighborhood is Julfa and, after seeing the mosque Shah and others, went to visit these Armenian churches. Having been traveling for two weeks in a Muslim country was a shock because the inside was covered with human figures: the Christian story, of course. I was surprised that, contrary to what we think today, Christianity is concerned and always has been concerned about the body and material existence: the primary events of human life, birth and death the Nativity and the Crucifixion, the newborns and pregnancy, blood and pain, and animals: sheep, camels, donkeys, etc. The central rite of Christianity is a meal, with bread and wine. In my opinion, the whole mystery of Christianity is derived from the mysteries of the body, the strange pathos of being mortal, in whose center is the act of propagation: sex. I tried to include all this in a poem of the series' Stigmata 'entitled' walled garden ':' There is no faith or hope to ignore / the smell of flesh, nor love / the proximity of animals: the lost sheep ... '. It turns out that the religions of Abraham have always seen an analogy between ecstasy sexual and spiritual exaltation. The traditional interpretation of The Song of Songs is crucial in this regard, and is also in the mystics and the great devotional poets of the Middle Ages and the centuries XVI and XVII. You have San Juan de la Cruz, we at John Donne, George Herbert and Richard Crashaw. In Herbert happens in a quiet and modest, but is steeped in that tradition, and the convention of many of his poems directly from the romantic tradition of Petrarch and Sidney, "When first thou didst entice to thee my heart, / I Thought the brave service "[" When my heart first fell in love, / I thought, how wonderful service "] (" Affliction "[1]). When reading the poem takes us to realize that is not addressed to a woman but to God. So, as a result of all this, I got sick of the words 'spiritual' and 'spirituality', I started to feel foreign to my way of understanding life, and began to interest the word medieval, ghostliness [the ghost] , using, for example, the mystics of the fourteenth century. The word "ghost" meant so much "spirit" as we call 'ghost-apparitions, and in modern English medieval remains the expression "the Holy Ghost" ["the Holy Spirit] for the third person of the Trinity. It occurred to me that a ghost in the sense of appearance is not so much an abstract spirit as an absent body.
8) You said yourself that "nothing" is a Shakespearean word. Is that "nothing" that takes him and other poets connected to the negative theology of Pseudo-Dionysius?
Yes it is. The way I work, yes it is. But I do not know if Shakespeare knew of the existence of Pseudo-Dionysius. Although I am convinced that he knew the via negativa and, of course, something about it in thought Neoplatonic thinkers who learned of the Italian Renaissance. But Shakespeare is something else. The critic John Kerrigan, in his wonderful edition of Shakespeare's sonnets, describes anything as "that amount so Shakespearean." It is a splendid design that captures all its ambiguity: it is a denial that read as a number [no-thing : literally, "no-thing."] Moreover, nothing in his time pronounced similarly to naughting such as word noting, that means realizing or watch. But naughting is related to naughty , which means that something evil or immoral practice, having sex. If we link the physical expression of love to the inner mystery of love, these various concerns are beginning to link together. For Pseudo-Dionysius, "nothing" was the only means we have to refer to the indescribable. "God is neither this nor that," says Meister Eckhart. Therefore, it is nothing, or, as for the followers of Dionysus, the teacher Eckhart, "anything that is" is God.
9) In his poem "The name of the flowers", has described himself as a "sculptor of air" that is fragmented and has also said that strives to "declare that it is. " Does this imply that the world is first and then the word?
means exactly that. There is a book entitled Donald Davie Ezra Pound: Poet as Sculptor , published when he was a student, who has exerted a great influence on me. It is a book to which I return again and again. In fact, perhaps I should say that Pound has had a great influence on me, which would be completely true, but I do not know if he had identified in his sculptural metaphor for not having unraveled Davie, making a brilliant way. Pound, as you know, was deeply influenced by his friendship with the sculptor Henri Gaudier-Brzeska, who I am also an ardent admirer. Also admired Italian Renaissance sculpture, particularly the low relief, such as Agostino di Duccio, and Epstein and Brancusi, Gaudier contemporary. All these direct carving sculptures valued: the cut of the chisel on the stone. Pound thought, as I had thought Ruskin before him, to carve the stone gave an added value to the stone itself is a valuable and beautiful object, which predates the work of art and the artist's activity increases value. Pound was looking for a poem to do something similar, a poem for that language is like stone. The poet has a body language that already exists, the creative achievement of a particular culture, and size that language to produce the idea of \u200b\u200binterest. It's a very physical theory of language, and my poem "The name of the flowers" from there. What is language? Is it an artifact? Well, yes, but is also a product of the body, which is shaped and filtered by the breath, and breath air is only part of the world we inhabit. Speaking create a form from the air. That is what I wanted to go. I care much how art succeeds in forms and accidents of the world in which we live, of nature, if preferred. I greatly admire the American abstract expressionist, Rothko, Kline, de Kooning and, above all, Jackson Pollock. Pollock let the paint to act as his own nature, drip, spill and flow. Use it, it explodes, it is true, but there is a kind of humility to recognize that what they do so according to their nature. I do not interpret the usual way, as an expression of the unconscious, but as a new type of landscaping, an art in that instead of representing a natural scene allowing natural processes created the work for you under controlled conditions. Another of my heroes is the composer Olivier Messiaen, using transcripts of birds singing to their own music. I like that about him. When we hear the birds sing melodious sound, but if we include his song in a musical piece human strangely discordant sound, its rhythms and musical intervals and not familiar to us. Messiaen makes us see the limitations of human perspective: that there is an order outside of our own, we are part of, yes, but also part of other beings, and we must learn to adjust to their harmonies. All this is related to what Ruskin said of Turner and landscape art in his book Modern Painters , which speaks well of the mountains, leaves and clouds like paint. Ruskin says: "All great art is the expression of man's delight in the work of God, not his own." I think it's true. At the same time I think it's important not to confuse we, the human artifact, so we represent. There is a wonderful sentence in the essay on Lancelot Andrewes of TS Eliot. Andrewes, as you know, was an Anglican preacher of the late sixteenth and early seventeenth centuries. He was the principal translator of the Bible James K ing and extraordinary preacher, a kind of avant-garde literary critic! Eliot says of his method: "Take a word and squeezes out every way to draw in it." In his sermon "On Repentance", which had great influence on the poem "Ash Wednesday" of Eliot himself, devotes several pages to reflect on the different meanings of the word turn [Back, turn]. Andrew Eliot says that "takes a word and clear the world from it." "Word" [ word] and 'world' [ world] are almost the same. However, there are the same and, in my opinion, it is important to Eliot.
Yes it is. The way I work, yes it is. But I do not know if Shakespeare knew of the existence of Pseudo-Dionysius. Although I am convinced that he knew the via negativa and, of course, something about it in thought Neoplatonic thinkers who learned of the Italian Renaissance. But Shakespeare is something else. The critic John Kerrigan, in his wonderful edition of Shakespeare's sonnets, describes anything as "that amount so Shakespearean." It is a splendid design that captures all its ambiguity: it is a denial that read as a number [no-thing : literally, "no-thing."] Moreover, nothing in his time pronounced similarly to naughting such as word noting, that means realizing or watch. But naughting is related to naughty , which means that something evil or immoral practice, having sex. If we link the physical expression of love to the inner mystery of love, these various concerns are beginning to link together. For Pseudo-Dionysius, "nothing" was the only means we have to refer to the indescribable. "God is neither this nor that," says Meister Eckhart. Therefore, it is nothing, or, as for the followers of Dionysus, the teacher Eckhart, "anything that is" is God.
9) In his poem "The name of the flowers", has described himself as a "sculptor of air" that is fragmented and has also said that strives to "declare that it is. " Does this imply that the world is first and then the word?
means exactly that. There is a book entitled Donald Davie Ezra Pound: Poet as Sculptor , published when he was a student, who has exerted a great influence on me. It is a book to which I return again and again. In fact, perhaps I should say that Pound has had a great influence on me, which would be completely true, but I do not know if he had identified in his sculptural metaphor for not having unraveled Davie, making a brilliant way. Pound, as you know, was deeply influenced by his friendship with the sculptor Henri Gaudier-Brzeska, who I am also an ardent admirer. Also admired Italian Renaissance sculpture, particularly the low relief, such as Agostino di Duccio, and Epstein and Brancusi, Gaudier contemporary. All these direct carving sculptures valued: the cut of the chisel on the stone. Pound thought, as I had thought Ruskin before him, to carve the stone gave an added value to the stone itself is a valuable and beautiful object, which predates the work of art and the artist's activity increases value. Pound was looking for a poem to do something similar, a poem for that language is like stone. The poet has a body language that already exists, the creative achievement of a particular culture, and size that language to produce the idea of \u200b\u200binterest. It's a very physical theory of language, and my poem "The name of the flowers" from there. What is language? Is it an artifact? Well, yes, but is also a product of the body, which is shaped and filtered by the breath, and breath air is only part of the world we inhabit. Speaking create a form from the air. That is what I wanted to go. I care much how art succeeds in forms and accidents of the world in which we live, of nature, if preferred. I greatly admire the American abstract expressionist, Rothko, Kline, de Kooning and, above all, Jackson Pollock. Pollock let the paint to act as his own nature, drip, spill and flow. Use it, it explodes, it is true, but there is a kind of humility to recognize that what they do so according to their nature. I do not interpret the usual way, as an expression of the unconscious, but as a new type of landscaping, an art in that instead of representing a natural scene allowing natural processes created the work for you under controlled conditions. Another of my heroes is the composer Olivier Messiaen, using transcripts of birds singing to their own music. I like that about him. When we hear the birds sing melodious sound, but if we include his song in a musical piece human strangely discordant sound, its rhythms and musical intervals and not familiar to us. Messiaen makes us see the limitations of human perspective: that there is an order outside of our own, we are part of, yes, but also part of other beings, and we must learn to adjust to their harmonies. All this is related to what Ruskin said of Turner and landscape art in his book Modern Painters , which speaks well of the mountains, leaves and clouds like paint. Ruskin says: "All great art is the expression of man's delight in the work of God, not his own." I think it's true. At the same time I think it's important not to confuse we, the human artifact, so we represent. There is a wonderful sentence in the essay on Lancelot Andrewes of TS Eliot. Andrewes, as you know, was an Anglican preacher of the late sixteenth and early seventeenth centuries. He was the principal translator of the Bible James K ing and extraordinary preacher, a kind of avant-garde literary critic! Eliot says of his method: "Take a word and squeezes out every way to draw in it." In his sermon "On Repentance", which had great influence on the poem "Ash Wednesday" of Eliot himself, devotes several pages to reflect on the different meanings of the word turn [Back, turn]. Andrew Eliot says that "takes a word and clear the world from it." "Word" [ word] and 'world' [ world] are almost the same. However, there are the same and, in my opinion, it is important to Eliot.
10) "It follows that whatever we say or write is just a new version of what has been said previously?
try to squeeze the words, as Andrewes! In fact, I think the value of the language derives from its common usage. 'm Not interested in originality. Of course, we are surprised the artwork genuinely unprecedented, but do not think that is our goal. Our individuality is largely accidental and the sum of a whole culture has a lot more interest than I ever could have. It should be a point of view much more widespread than it is. Is tied to what Kristeva calls 'intertextuality' anything you can say is original. When you start talking to your mother you are quoting. So I enjoyed writing these poems from other writings. And not just about Shakespeare and the Bible. In "The Falls", for example, there are references to Gerard Manley Hopkins, St Paul, Ruskin, Henry Vaughan, Dante and, although the reader can not be traced, Wordsworth and William Carlos Williams.
try to squeeze the words, as Andrewes! In fact, I think the value of the language derives from its common usage. 'm Not interested in originality. Of course, we are surprised the artwork genuinely unprecedented, but do not think that is our goal. Our individuality is largely accidental and the sum of a whole culture has a lot more interest than I ever could have. It should be a point of view much more widespread than it is. Is tied to what Kristeva calls 'intertextuality' anything you can say is original. When you start talking to your mother you are quoting. So I enjoyed writing these poems from other writings. And not just about Shakespeare and the Bible. In "The Falls", for example, there are references to Gerard Manley Hopkins, St Paul, Ruskin, Henry Vaughan, Dante and, although the reader can not be traced, Wordsworth and William Carlos Williams.
11) In his poem "A Vision" seems to find in Catholicism, or in the Mediterranean countries, a merger or midpoint between flesh and spirit.
I would not say much. I have been educated in a Protestant culture, which often determines my prejudices. There are many aspects of Protestant culture that I repudiate, but do not look to Catholicism as a solution to my problems. I like the Mediterranean countries, but not an uncritical way, and I think I'm still mostly a person of the Protestant north. But it is true that I see in the Mediterranean Catholic gives a much less problematic with the things of the flesh than in England, which suggests the tacit assumption that flesh and spirit are not completely decoupled. Mediterranean dimension "A Vision" was not premeditated. What story in the poem is something I saw in England and when I started writing about it, I came to a head in a natural way of analogy Italian. In the English environment in which I grew up he despised the religion of people like my imaginary Sicilian peasant. Was considered superstitious by Christians as atheists. For me, as I am now, that's what I like. Actually, I feel envy. When he was twenty years I lived a year in Padua. I remember the impression it made me visit the Basilica of San Antonio de Padua. There is a place where people who prays for a miracle cure leaves a votive and in so doing, kiss a stone. It seemed primitive and superstitious, what I call " fleshly" ("flesh") in my poem. I was recently in Padua, for the first time in many years, and returned to witness the ritual. On this occasion I was moved. I guess in part I was touched by his persistence, but I also like the way many Italians, not just simple people, expressed through their devotion to objects physical. After all not so different from the way we express our feelings to others through contact, etc. On the other hand, I do not idealize the Catholic world. The immense value that Protestants give to the word is something you could not live.
I would not say much. I have been educated in a Protestant culture, which often determines my prejudices. There are many aspects of Protestant culture that I repudiate, but do not look to Catholicism as a solution to my problems. I like the Mediterranean countries, but not an uncritical way, and I think I'm still mostly a person of the Protestant north. But it is true that I see in the Mediterranean Catholic gives a much less problematic with the things of the flesh than in England, which suggests the tacit assumption that flesh and spirit are not completely decoupled. Mediterranean dimension "A Vision" was not premeditated. What story in the poem is something I saw in England and when I started writing about it, I came to a head in a natural way of analogy Italian. In the English environment in which I grew up he despised the religion of people like my imaginary Sicilian peasant. Was considered superstitious by Christians as atheists. For me, as I am now, that's what I like. Actually, I feel envy. When he was twenty years I lived a year in Padua. I remember the impression it made me visit the Basilica of San Antonio de Padua. There is a place where people who prays for a miracle cure leaves a votive and in so doing, kiss a stone. It seemed primitive and superstitious, what I call " fleshly" ("flesh") in my poem. I was recently in Padua, for the first time in many years, and returned to witness the ritual. On this occasion I was moved. I guess in part I was touched by his persistence, but I also like the way many Italians, not just simple people, expressed through their devotion to objects physical. After all not so different from the way we express our feelings to others through contact, etc. On the other hand, I do not idealize the Catholic world. The immense value that Protestants give to the word is something you could not live.
12) The birds and the plants seem to form a substantial part of his poetry. It's very obvious to a English reader, because birds may have allegorical poems in English language but very few real birds. Theirs are two things at once, as in Bede's Sparrow and all the birds biblical Behold, the Fowls of the Air . Think you belong to a symbolic substance that is natural or necessary, perhaps, of the English literary tradition?
think it's a very English thing. It is a product of English Romanticism, and is something we share with the Americans. In fact, part of my childhood. I was raised in the belief that must be treated with compassion and even reverence for God's creatures. That makes me an environmentalist instinctive instinct increased dramatically when, at age twenty, I discovered my main literary hero, John Ruskin. Although Ruskin belonged to a tradition that began in the eighteenth century writers like Coleridge reached and Gerard Manley Hopkins in the nineteenth century. As Davie said in his book on Pound, it is a tradition that, in the twentieth century, regained some of the major poets of American modernism: Pound, William Carlos Williams and Marianne Moore. They do not usually generalize about the "Nature." Sometimes they do, but generally focus on concrete examples, and natural things that we talked about are not necessarily symbolic. While observing the insects in his cage at Pisa, Pound wrote: "When the mind swings by a grass-blade / an ant's forefoot shall" save you "[" When the mind oscillates with a blade of grass / will save the front leg an ant. "] But back to my poetry, it is true that birds are prominent. They are among the natural world and the world we create through art: for its striking visual beauty, they are also creative, for his song-and because the fly seems to belong to both the spirit world and the meat. But I think behind my hobby is something very personal. My father died when I was about four years. My mother said that the year before my father died he used to read me a book on birds and that, after death, I often named a bird, often difficult names, as told, as "lesser spotted woodpecker ", the" minor peak. " I thought that maybe my father had begun to teach me to read and, in my unconscious, birds, reading, and my father are all interlinked.
think it's a very English thing. It is a product of English Romanticism, and is something we share with the Americans. In fact, part of my childhood. I was raised in the belief that must be treated with compassion and even reverence for God's creatures. That makes me an environmentalist instinctive instinct increased dramatically when, at age twenty, I discovered my main literary hero, John Ruskin. Although Ruskin belonged to a tradition that began in the eighteenth century writers like Coleridge reached and Gerard Manley Hopkins in the nineteenth century. As Davie said in his book on Pound, it is a tradition that, in the twentieth century, regained some of the major poets of American modernism: Pound, William Carlos Williams and Marianne Moore. They do not usually generalize about the "Nature." Sometimes they do, but generally focus on concrete examples, and natural things that we talked about are not necessarily symbolic. While observing the insects in his cage at Pisa, Pound wrote: "When the mind swings by a grass-blade / an ant's forefoot shall" save you "[" When the mind oscillates with a blade of grass / will save the front leg an ant. "] But back to my poetry, it is true that birds are prominent. They are among the natural world and the world we create through art: for its striking visual beauty, they are also creative, for his song-and because the fly seems to belong to both the spirit world and the meat. But I think behind my hobby is something very personal. My father died when I was about four years. My mother said that the year before my father died he used to read me a book on birds and that, after death, I often named a bird, often difficult names, as told, as "lesser spotted woodpecker ", the" minor peak. " I thought that maybe my father had begun to teach me to read and, in my unconscious, birds, reading, and my father are all interlinked.
13) Although no verse is truly free, we can say that uses both free verse and metric resources based on traditional versification. In "The Falls", for example, alternating both. Does it make a definite purpose? And in the book as a whole?
That started because of my friendship with Thom Gunn. Thom's first play was written following Traditional metrics, with a treatment similar to that of a poet sixteenth or seventeenth century. He did not like inaccurate meters: he liked them to be exact. But as he developed his work was interested in the possibilities offered free verse and the use of the widest possible range of meters. When I met him in 1964, began experimenting with free verse and, of course, talking about it. He had a big effect on me. More specifically, he spoke of an essay by DH Lawrence in which he argues that rhymed metrical forms force the reader to go back over things, to reflect, to engage the past in the present. Free verse is on the contrary, according to Lawrence, the poetry of this. You can create the illusion of a thought or perception that unfolds as you read. Poetry is a process, not an assertion already completed. This may not be applicable to all free verse, but it is true in the case of Gunn and their main models: Pound, Lawrence and Williams himself. So I learned to do well. I must say I find it difficult to write free verse. I have already head metric models that tend to interfere. But I like to oppose the open nature of free verse in the tightest of the verse which follows a metrical pattern. My poem "The Cataract" is built around this opposition. The first and the third section meditation, the second and fourth experiments.
That started because of my friendship with Thom Gunn. Thom's first play was written following Traditional metrics, with a treatment similar to that of a poet sixteenth or seventeenth century. He did not like inaccurate meters: he liked them to be exact. But as he developed his work was interested in the possibilities offered free verse and the use of the widest possible range of meters. When I met him in 1964, began experimenting with free verse and, of course, talking about it. He had a big effect on me. More specifically, he spoke of an essay by DH Lawrence in which he argues that rhymed metrical forms force the reader to go back over things, to reflect, to engage the past in the present. Free verse is on the contrary, according to Lawrence, the poetry of this. You can create the illusion of a thought or perception that unfolds as you read. Poetry is a process, not an assertion already completed. This may not be applicable to all free verse, but it is true in the case of Gunn and their main models: Pound, Lawrence and Williams himself. So I learned to do well. I must say I find it difficult to write free verse. I have already head metric models that tend to interfere. But I like to oppose the open nature of free verse in the tightest of the verse which follows a metrical pattern. My poem "The Cataract" is built around this opposition. The first and the third section meditation, the second and fourth experiments.
14) rational and fragmented syntax, free verse and traditional metrics, consciousness and dreams in his poems appear together. What has been described as part of approach "neo-modernist" of his poetry. Could you explain what you mean exactly?
some time I think that some of the experiments of modernism still have many opportunities for development. I have noticed that recently one or two poets have agreed with me on this point and that, far from being postmodern turn toward the modernism and work from their discoveries. My main example is the American poet John Peck, probably the living poet I like. In my book The mystery of things several poems of this kind: "The Falls", "The Holy of Holies", "In the beginning ',' Ruin ',' scale ', these are the most obvious. As in the case of Pound, run by discontinuity and juxtaposition. Combine personal experiences with great cultural events, religious, artistic or otherwise. I went through a phase where I was worried about the analogy. After all, a metaphor is an analogy, but analogies also work to a larger scale. To take just one example, Pound's Cantos are built on a similar principle rather than on a narrative or an argument. But Pound does not establish relations: it merely juxtaposing. So in his poems there is no hierarchy between meaning and image, or at least not very clear. In poems like "The Ruin" I tried to connect a set of vague things like, where "vaguely" is the keyword. In many aspects are similar, which in a strange way I thought deeper, because we try to achieve a similar hinted at a more 'ghostly' deeper than is usually be a mere rhetorical formula. In any case, one of the things I like the juxtaposition is that I can combine my personal experiences with broader cultural movements: for example, in "The Holy of Holies', the destruction of the Temple of Jerusalem and the chance encounter with a prostitute. As I suggested earlier, I dislike the widespread perception that poetry is personal, subjective, not open to the world of facts. The staff is, of course, a role in poetry, but I think it would be an art rather depressing if there is nothing more to it. I like the kind of poetry in which the objects of more or less objective knowledge play a role in relation with my own feelings and experiences. The objective element can be a historical account of the Temple's destruction, to follow the same example, or the name of a bird or a flower. And as to the objective data, I like to be sure they are correct.
some time I think that some of the experiments of modernism still have many opportunities for development. I have noticed that recently one or two poets have agreed with me on this point and that, far from being postmodern turn toward the modernism and work from their discoveries. My main example is the American poet John Peck, probably the living poet I like. In my book The mystery of things several poems of this kind: "The Falls", "The Holy of Holies", "In the beginning ',' Ruin ',' scale ', these are the most obvious. As in the case of Pound, run by discontinuity and juxtaposition. Combine personal experiences with great cultural events, religious, artistic or otherwise. I went through a phase where I was worried about the analogy. After all, a metaphor is an analogy, but analogies also work to a larger scale. To take just one example, Pound's Cantos are built on a similar principle rather than on a narrative or an argument. But Pound does not establish relations: it merely juxtaposing. So in his poems there is no hierarchy between meaning and image, or at least not very clear. In poems like "The Ruin" I tried to connect a set of vague things like, where "vaguely" is the keyword. In many aspects are similar, which in a strange way I thought deeper, because we try to achieve a similar hinted at a more 'ghostly' deeper than is usually be a mere rhetorical formula. In any case, one of the things I like the juxtaposition is that I can combine my personal experiences with broader cultural movements: for example, in "The Holy of Holies', the destruction of the Temple of Jerusalem and the chance encounter with a prostitute. As I suggested earlier, I dislike the widespread perception that poetry is personal, subjective, not open to the world of facts. The staff is, of course, a role in poetry, but I think it would be an art rather depressing if there is nothing more to it. I like the kind of poetry in which the objects of more or less objective knowledge play a role in relation with my own feelings and experiences. The objective element can be a historical account of the Temple's destruction, to follow the same example, or the name of a bird or a flower. And as to the objective data, I like to be sure they are correct.
Cambridge, July 2010
(translation of Misael Ruiz Albarracín)
. ¶
.
IN THE LIBRARY
IN THE LIBRARY
with your book. I can not read,
guess I get confused with your words
while you, hand on hair or caressing your neck,
follow, however, reading.
Since we do not answer my letters or return my calls
and not greet me on the street, write to the moon
or if not, the image that I keep you in my mind,
so complacent with me.
In any case, you defend yourself watching,
grim, your book for fear that you touch;
but I am there, between the words, wanting to be,
like them, read within.
¶
Clive Wilmer (Harrogate, England, 1945) is the author of poetry books The Dwelling-Place (1977), Devotions (1982), Of Earthly Paradise (1992), Selected Poems (1995), The Falls (2000) and The Mystery of Things (2006). Professor at the University of Cambridge, his critical work includes editing the prose of Thom Gunn and Donald Davie two books. In collaboration with the Hungarian poet George Gömöri been translated into English and Radnóti Miklós György Petri. His book The mystery of things has recently been translated by Misael Ruiz Albarracín and published in Spain by Ediciones Broken Glass (2011).
0 comments:
Post a Comment