Τρίτη, 17 Ιανουαρίου 2017

Why Poetry? Well, yes!

(Διαβάστε όλο το άρθρο εδώ! Από τους "The Νew York Times")


A Few Questions for Poetry




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CreditStrick & Williams

Why Poetry? Well, yes. Most books of poetry sell a couple of thousand copies, at best. So in a quantitative sense, what’s the point of supporting it? With dollars or sense? Would we make the same argument for investing in an endangered species? Like the great Indian bustard, one of the heaviest flying birds, down to a couple of hundred of its kind.
The issue is larger than the number of collections of poetry sold each year. It’s about the language — our language. Is it, too, endangered? If the depleted language of emails and texts and Twitter is any indication, then there’s a case to be made that it might be.
Still, a question I often ask myself is why so many people (and we’re now talking about millions of people) turn to poetry for all important rites of passage — weddings, funerals, toasts, tragedies, eulogies, birthdays. . . . Why? Because the language of poetry avoids the quotidian — but the best poetry simultaneously celebrates the quotidian. Language that’s focused in such a way that true meaning and emotion is redolent in the air. The poet W.S. Merwin once said: “Poetry addresses individuals in their most intimate, private, frightened and elated moments . . . because it comes closer than any other art form to addressing what cannot be said. In expressing the inexpressible, poetry remains close to the origins of language.”
Why poetry? I sent out a few emails to see what various people had to say. The poet Louise Glück, on the subject of book sales, wrote back, “The books may not sell, but neither are they given away or thrown away. They tend, more than other books, to fall apart in their owners’ hands. Not I suppose good news in a culture and economy built on obsolescence. But for a book to be loved this way and turned to this way for consolation and intense renewable excitement seems to me a marvel.”
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The Greek poet Yiannis Ritsos, jailed for political reasons, wrote his poems on cigarette papers while in prison, stuffed them into the lining of his jacket and, when he was released, walked out wearing his collected poems. They were mostly short.
The Ukrainian poet Irina Ratushinskaya, while in prison, wrote her poems on bars of soap. When she had them memorized, she washed them away.
The novelist Richard Ford differed from the poets in his take: “The question ‘Why poetry?’ isn’t asking what makes poetry unique among art forms; poetry may indeed share its origins with other forms of privileged utterance. A somewhat more interesting question would be: “What is the nature of experience, and especially the experience of using language, that calls poetic utterance into existence? What is there about experience that’s unutterable?” You can’t generalize very usefully about poetry; you can’t reduce its nature down to a kernel that underlies all its various incarnations. I guess my internal conversation suggests that if you can’t successfully answer the question of “Why poetry?,” can’t reduce it in the way I think you can’t, then maybe that’s the strongest evidence that poetry’s doing its job; it’s creating an essential need and then satisfying it.”

Book Review

When you’re looking for a poem to read at a memorial service, what is it you’re looking for? And why are you looking for a poem? Do you imagine that it is in poetry that you’ll find something you could not have said yourself? And when you find the right poem, what have you discovered? What do you hear? What’s been said? And what do you imagine the mourners are going to hear?
Why read poetry? Emily Dickinson wrote: “If I read a book and it makes my whole body so cold no fire ever can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only way I know it. Is there any other way?”
Again, why poetry? I wrote the poet Robert Hass. His response: “ ‘Paradise Lost’ was printed in an edition of no more than 1,500 copies and transformed the English language. Took a while. Wordsworth had new ideas about nature: Thoreau read Wordsworth, Muir read Thoreau, Teddy Roosevelt read Muir, and we got a lot of national parks. Took a century. What poetry gives us is an archive, the fullest existent archive of what human beings have thought and felt by the kind of artists who loved language in a way that allowed them to labor over how you make a music of words to render experience exactly and fully.”
So to the question at hand: Why support poetry? Those of us who engage in the publication and sustenance of the written word do so to insure that language for our future generations remains intact, powerful and ultimately renewed, capable of its role during times of crisis and celebration.
Wallace Stevens wrote that the poet’s function was “to help people live their lives.” And because he was a financial guy as well as a poet, he wrote, “Money is a kind of poetry.” I’d reverse that and say poetry is a kind of currency. As Stevens himself put it, “The imagination is man’s power over nature.”