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* there is a fear in academe of the emotional & sensorial and because poets frequently work in the university or other zones of higher learning these days, such modes of reading/interpreting poetry in which the intellectual is privileged always over the feeling as conveyed by sound now predominate.

*what do I mean by the feeling conveyed by sound? well, feeling that is simply, naively produced without considerations for the music of diction/form/style is a raw emoting better suited to the diary. it is not converging with its art. it cannot be art-full and so will fail to wrench, shudder.

*there is an opposition to emotional art because one apparently cannot discuss/interpret or analyze it within the realms of higher learning which is where poetry is mostly read these days – as part of a curriculum, not a life.

*emotional scholarship seeks to channel the ravages of existing in the world through the many peepholes into grief, anger, sorrow, memory, adoration, ecstasy available in and provided by the works of thinkers who have transmuted and re-presented theories of such (at times undesired) practices of living. in this manner, it aims to vivify intellectual approaches and balance the tipping-off points of feeling.

*when one’s personal experience is transmitted through a close attention to all the manifestations of craft then ideally, a fusion of human pain or joy occurs alongside the cooler abilities “recollected in tranquility” as the famous dictum of Wordsworth’s goes – to produce a work that affects at a somatic level without sacrificing art’s priorities. in fact I don’t think a poem – for instance – can impact at that essential depth without such considerations being paramount. the latter (craft) doesn’t have to exclude the former (emotion) as it very often does.

*why is there so much “heart-less” poetry written in North America, showy in terms of allusiveness, form, style, but detached, determined to remain aloof, alien from the guts of what happened, what impelled, what perhaps spurred the words to emerge in the first place. no, scrape the abjection off and deliver the sanitized product instead.

*sensorial formalism aches precisely for a commingling of intensities. the carving of tears into a language-sculpture in which moistness lingers on the surface of stone. that necessary paradox. the un-fearing of body, death, the individual agony without disdain for a fine honing and an (eventual) rehearsed delivery into the world.

by Catherine Owen & Warren Dean Fulton