Showing posts with label imagism. Show all posts
Showing posts with label imagism. Show all posts

Saturday, March 26, 2016

Let me just say - William Carlos Williams and Wendell Berry

I love the word just. It’s the word I use when I’m explaining something I still haven’t figured out. It’s the word I use when I don’t want to come off as the b-word (bossy).  It’s the word that does nothing, which is the reason why every writer will tell you not to use this word.

I was surprised to see this useless word appear in William’s poem “This is Just to Say.” Why would a famed imagiste use abstract filler words like just and this in his poetry?  In the poem, the speaker admits to eating someone else's plums and asks for forgiveness. Unlike the title (that acts as the first line of the poem) the confession is clear and shows no hesitation. The poem reads as if the speaker left a note on the kitchen table before leaving for the day. If the poem clearly explains the situation, then why include an imprecise title? 

I relate to the speaker, in that I can’t fully abandon the use of the word just. This idle word is a crutch of honesty. Just is a confession of vulnerability. It bares honesty while admitting a lack of confidence. Writers eliminate this word because they must be confident that language will carry the meaning. However, the vagueness of just and this within the title give the poem meaning. Somehow, Williams directly treats a moment of confession through imprecise language. The title sets a tone of uncertainty that contrast the certainty of the poem. This tonal conflict is created through the differing choice in language. The title offers some type of defense, perhaps born out of uncertainty, for the plum crime. The pairing of a vague title and concrete description nuances the emotion, and thus the meaning, of the poem. William’s experiments with the ways a “direct treatment of the thing” looks like by making hollow words create meaning. With little, empty words, the poem critiques, or perhaps more positively, revises imagism while operating within the poetic tradition.

While William Carlos William’s reevaluates the usefulness of language, Wendell Berry’s poetry commands a reevaluation of material value. The speaker of his poem “Manifesto: The Mad Farmer Liberation Front” explores the negative consequences of loving material, monetary gain. Explicit imperatives structure the manifesto. The speaker encourages the reader to pursue a life of long-term investment with phrases such as: “Ask the questions that have no answers./ Invest in the millennium./ Plant sequoias.” Berry’s poem follows the manifesto tradition in giving explicit meaning and commands. With this form, the reader is offered a new perspective on living. While William’s poetry does not outline a philosophy of living for the reader, his poetry does offer new perspectives on the function of imaginative language.  



Manifesto: The Mad Farmer Liberation Front
Wendell Berry

Love the quick profit, the annual raise,
vacation with pay. Want more
of everything ready-made.

Be afraid
to know your neighbors and to die.
And you will have a window in your head.
Not even your future will be a mystery
any more. Your mind will be punched in a card
and shut away in a little drawer.
When they want you to buy something
they will call you. When they want you
to die for profit they will let you know.

So, friends, every day do something
that won't compute. Love the Lord.
Love the world. Work for nothing.
Take all that you have and be poor.
Love someone who does not deserve it.
Denounce the government and embrace
the flag. Hope to live in that free
republic for which it stands.

Give your approval to all you cannot
understand. Praise ignorance, for what man
has not encountered he has not destroyed.
Ask the questions that have no answers.
Invest in the millennium.
Plant sequoias.

Say that your main crop is the forest
that you did not plant,
that you will not live to harvest.
Say that the leaves are harvested
when they have rotted into the mold.
Call that profit. Prophesy such returns.

Put your faith in the two inches of humus
that will build under the trees
every thousand years.
Listen to carrion - put your ear
close, and hear the faint chattering
of the songs that are to come.
Expect the end of the world. Laugh.
Laughter is immeasurable. Be joyful
though you have considered all the facts.
So long as women do not go cheap
for power, please women more than men.
Ask yourself: Will this satisfy
a woman satisfied to bear a child?
Will this disturb the sleep
of a woman near to giving birth?

Go with your love to the fields.
Lie down in the shade. Rest your head
in her lap. Swear allegiance
to what is nighest your thoughts.
As soon as the generals and the politicos
can predict the motions of your mind,
lose it. Leave it as a sign
to mark the false trail, the way
you didn't go. Be like the fox
who makes more tracks than necessary,
some in the wrong direction.

Practice resurrection.

Saturday, February 13, 2016

Garden of Self: H.D. and Jamaal May

I love when I instantly resonate with a song and I can (and will) listen to it on repeat for hours. H.D.’s poetry brings that same joy as each poem speaks with clear emotion. When reading “Oread” I feel desire and even desperation as the speaker asks for what seems impossible. I spent most of my time reading and rereading the retold narrative “Eurydice,” reliving the speaker's growth from bitterness to defiance. The first and second sections are filled with angry question about the desperate situation of being left in hades:
why did you turn?
why did you glance back?
why did you bend your face
caught with the flame of the upper earth,
above my face?
(I)
The speaker comes to embrace her fate not with anger or peace, but with strength:
At least I have the flowers of myself,
and my thoughts, no god
can take that;
I have the fervour of myself for a presence
and my own spirit of light;
(VII)
In addition to Greek mythology, H.D. uses a lot of nature imagery—specifically garden and botanical elements. She sometimes writes just simply about “flowers,” but also often uses specific images of “blue crocuses” and “the very golden hears of the first saffron” As to what these images are doing I cannot say. In the poem, there seems two realms of nature—hades and upper earth—and then the speaker’s own nature making a display towards the end of the poem.  The speaker’s flowers seem a foundation, an place of assurance and self-dependence.

Jamaal May also explores themes of growth through botanical imagery. The speaker in “I Have This Way of Being” is less of a dialogue than H.D.’s poem. In contrast to the strong self seen in “Eurydice,” the speaker in May’s poem uses the garden as a metaphor for discovery and evolution of the self. May's poem also seems syntactically relate to the imagiste form. I wonder what emotions would develop if May had chosen to make the poem longer. Would a long poem reveal a change in the speaker's feeling about his or her identity? Or would it be an elongated discourse of the same emotion? I enjoy poetry that deals intensely with on emotion. However, as I spend more time with modern poetry, I find myself developing a taste for the long poem and what it can do. 

I Have This Way of Being
Jamaal May
I have this, and this isn’t a mouth
           full of the names of odd flowers

I’ve grown in secret.
           I know none of these by name

but have this garden now,
           and pastel somethings bloom

near the others and others.
           I have this trowel, these overalls,
this ridiculous hat now.
           This isn’t a lung full of air.

Not a fist full of weeds that rise
           yellow then white then windswept.

This is little more than a way
           to kneel and fill gloves with sweat,

so that the trowel in my hand
           will have something to push against,

rather, something to push
           against that it knows will bend


and give and return as sprout
           and petal and sepal and bloom.