the Walls of the City Shake"
Trouble with conventional form (fixed line count & stanza form) is, it's too symmetrical, geometrical, numbered and pre-fixed—unlike to my own mind, which has no beginning and end, nor fixed measure of thought (or speech—or writing) other than its own cornerless mystery—to transcribe the latter in a form most nearly representing its actual "occurrence" is my "method"—which requires the Skill of freedom of composition—and which will lead Poetry to the expression of the highest moments of the mind-body—mystical illumination—and its deepest emotion (through tears—love's all)—in the forms nearest to what it actually looks like (data of mystical imagery) & feels like (rhythm of actual speech & rhythm prompted by direct transcription of visual & other mental data)—plus not to forget the sudden genius-like Imagination or fabulation of unreal & out of this world verbal constructions which express the true gaiety & excess of Freedom— (and also by their nature express the First Cause of the world) by means of spontaneous irrational juxtaposition of sublimely related fact, by the dentist drill singing against the piano music; or pure construction of imaginaries, hydrogen jukeboxes, in perhaps abstract images (made by putting together two things verbally concrete but disparate to begin with)—always bearing in mind, that one must verge on the unknown, write toward the truth hitherto unrecognizable of one's own sincerity, including the avoidable beauty of doom, shame and embarrassment, that very area of personal self-recognition (detailed individual is universal remember) which formal conventions, internalized, keep us from discovering in ourselves & others—For if we write with an eye to what the poem should be (has been), and do not get lost in it, we will never discover anything new about ourselves in the process of actually writing on the table, and we lose the chance to live in our works, & make habitable the new world which every man may discover in himself, if he lives—which is life itself, past present & future.
Thus the mind must be trained, i.e., let loose, freed—to deal with itself as____________________
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Publication information: Book title: Esthetics Contemporary. Edition: Revised. Contributors: Richard Kostelanetz - Editor. Publisher: Prometheus Books. Place of publication: Buffalo, NY. Publication year: 1989. Page number: 345.
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