Tuesday, May 30, 2006

"Like kindergarten 10 o'clock in the morning light"

Working by analogy from Philip Guston's paintings of the 1950s, is it possible to talk about light in the poem?

I remember Berrigan discussing light & colour in 'Talking in Tranquility', the interview with Tom Clark. He's explaining the effect of different times of day upon his - & other's - poems:

"Yeah. I also like to use the famous light at 5.15 a.m.. Like when the sun is sort of up, but it's only a quarter of the way up." (p.22)

However, is he implying more than simply notation? Putting it another way: can a poem have its own light?

Developing the analogy with Guston further*, how do we discern the equivalent of painterly 'touch' in a poem? Certain preferences for placement of verbs or adjectives? Tenses? Syntactical inversions or slippages? When/when not to break a line? A tendency to use long vowel sounds? Soft consonants? ... I'm going to think about this.


(* or, for that matter, Morton Feldman composing as described by Toru Takemitsu: "He was extremely nearsighted and wrote his music as if touching the notes with his eyes. Whenever I hear his music I think of its tactile quality, of his eyes ’hearing’ the sounds.")

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