I've been thinking lately about my
Now & Later school of poetry... and also I've been contemplating the "mainstream" and the ol' narrative lyric. Because I spent a day very much in that camp, at the Meacham Conference, with Marvin Bell and Richard Jackson and Rodney Jones and Jack Myers and Tom Rabitt. And I enjoyed the readings very much, and loved the event.
But then I got to wondering why, though I tend to read this sort of poetry (e.g.James Wright), I lean toward new writers on the other side of the coin. Why do I LOVE Sabrina's work, or Matthea Harvey's poems, if I'm so "mainstream"?
And I looked down at the copy of Immortality I'm re-reading for the hundredth time, and thought about the unexpected. In logic, in history, in chronology.
I considered that I chose, in THE STICK game, to be both Letters to a Young Poet, and a James Thurber Fairy Tale.
The unexpected is NOT abstraction. It isn't when logic breaks down or gets encoded. It isn't when you can't understand. It is when you are surprised by an alternate logic, forced to re-understand the world. THIS is what I like that I find in all types of poetry. THIS is, for me, the
Now & Later.I've been imagining a series of paintings lately, paintings I would paint if I could paint. In the paintings there is a room, and on the walls of the room are trees, identical to the trees that can be seen at a particular angle through the door-jamb of the room. There is no door, just a rectangular space with a border of wood, through which the trees can be seen. Hanging next to the door is a mirror with exactly the same border as the door jamb, and the mirror reflects back the wall-trees from the other side of the room. From certain angles, it is clear that the mirror is a mirror. From some it isn't.
This is a world that makes sense, a self-contained logic. You could build it if you wanted, but it has an abstract or surreal quality too. Like La Petite Prince. Like Genesis. Like poetry.