Poetry is everywhere, and because it's everywhere it's ridiculous to transcribe it. Why capture something that is all around us. Like water, when we try to hold it in our hands it only slips through our fingers. There one moment, gone the next. At its very best it leaves us wet.
Then again, that may be reward enough for the depraved. PageBoy, at least, seems to enjoy it.
a cutup's not an essay
it's an easy knot
so cut it out, cuteypie!
This from PageBoy (2008-). The following rebuttal is from Masaoka Shiki (1867-1902), who, incidentally, in addition to writing haiku was a literary critic.
on how to sing
the frog school and the skylark school
"... to talk too long, to examine too meticulously, to pile qualification upon qualification and add theory to theory, is to be in danger of upsetting the delicate balance of that life which one wishes to understand, or of destroying the fragile tissue into which one wishes to breathe new life. Here too, 'the letter kills, while only the spirit gives life.'"
- Conrad Hyers (Zen and the Comic Spirit)
Hyers could easily be talking about poetry here. Sontag's Against Interpretation comes to mind, as well as the famous Zen Master Pablo Picasso, who put forth the following koan:
"Everyone wants to understand art. Why not try to understand the song of a bird?"
"It appeared to have little connection with reality and was more concerned with the study of language. 'Distrust of grammar is the first requisite for philosophizing.'"
-Strathern referring to Wittgenstein's concept of philosophy, and then quoting him. He could be discussing poetry, and in essence, is.
"For Levi-Strauss, the great ruptures that had thrilled him (namely surrealism, DADA, cubism) in his youth had led nowhere. The path to abstraction had become a story of failure as modern art degenerated into a series of follies and empty aesthetic gestures."
-Patrick Wilcken (C L-S)
The following is chosen at random from American Hybrid; A Norton Anthology of New Poetry (Norton 2009 ed. Cole Swensen and David St. John).
Empty aesthetic gesture? Or great rupture?
The excerpt is by Etel Adnan and is listed as from IN/SOMNIA. Here is "XIX"
1. Night falling. again. Not again.
long / line no help help / less
terror stop the terr...
terribly all over / over
2. blows bellowing blowing
paper and doors and what
else? Is is it? is it coming?
Yes. time. Last time
3. lasting timing ever-ever
snoring orderal or deal
dealer of cards of smoke
tick / no no end
4. shhh - weee - buzzz
keep held hold-it! keep
insane in / sane the right
to wait wait! waited for
for wait a minute for / the /
dark / light of morning
Note also that often today poems are "from" something else, something much grander we are to assume. We are also to assume that if we were reading the entire something else, we would surely think "Wow, that was something else!" Unfortunately, we rarely get access to this mysterious place all of these fragments are "from," but are nevertheless asked to say "Wow!"
This alone could be a very important distinction between the American avant-garde of 1913 Armory Show New York, which somehow didn't seem to need to qualify its fragments, non sequiturs and general 'avantfulness' by claiming they were "from" some place else, and the avant-garde of the present day, which almost always does.
Levi-Strauss had noted the avant-garde as a "story of failure" in 1959! Fortunately for him he didn't live to read the above-mentioned anthology.