I abhor poems. I read them and teach them and abhor them. I even write some. I teach them to students (of course not my own buts of offal, for Godâs sake) and squeeze what I can out of them, make them laconic where they are verbose and posturing, wise and prophetic where they are clumsily speculative. They say nothing so elaborately, they reveal nothing, they lead to nothing. Worse than wall-paper or a notice outside the departmental secretaryâs office. Give me a lucid bit of prose any day.
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And immediately I regretted it.
I thought how paltry, how vulgar, what a mean act!
I despised myself and the voices of my accursed human education. - D.H. Lawrence
I abhor poems. I read them and teach them and abhor them. I even write some. I teach them to students (of course not my own buts of offal, for Godâs sake) and squeeze what I can out of them, make them laconic where they are verbose and posturing, wise and prophetic where they are clumsily speculative. They say nothing so elaborately, they reveal nothing, they lead to nothing. Worse than wall-paper or a notice outside the departmental secretaryâs office. Give me a lucid bit of prose any day.
Silences
âThough even after all the fading and furring, so many lines still remain, now seeming like even sparser fragments of the whole: a warm look in the eye when the face is lost, a smell that recalls a music whose melody is out of range, the memory of a room when the house or its location is forgotten, a field of pasture by the side of the road in the middle of a void. So time dismembers the images of our time. Or to put it in an archaeological way, it is as if the details of our lives have accumulated in layers, and now some layers have been displaced by the friction of other events, and bits of contingent pieces still remain, accidentally tumbled about.
We must not force our poets to limit the world any further. That is a crime against life itself. If the poet begins to speak only of narrow things, of things that we can effortlessly digest
and recognise, of things that do not disturb, frighten, stir, or annoy us, or make us restless for more, make us cry for greater justice, make us want to set sail and explore inklings murdered in our youths, if the poet sings only of our restricted angles and in restricted terms and in restricted language, then what hope is there for any of us in this world?
Those of us who want this are cowards, in flesh and in spirit. We fear heroic heights. We dread the recombining of the world, dread a greater harvest of being. We sit lazily and demand that our poets draw the horizon closer. We therefore become separated from our true selves. Then even beauty can seem repugnant. Then, we no longer recognise who we are, and we forget what we used to be, what states we sometimes inhabited, what extended moments of awareness.
Listen. Donât try building a metaphysical German underground for what was nothing more than schoolgirl mice-nests. Would that I rather did my schoolwork properly! Fortunately, the everyday chaff of inappropriate yearnings cleared up like a fog at university.
Donât know if I am getting better or dying. The children say that I keep saying the same things over and over. Thatâs true. But my days are so barren that I sometimes think: How in Godâs name can this be regarded as a life? Is there not a way to bypass it? I drill all around me, but my life is as small and bare as a penny.