Workshop (II)

VI.

the names indicate. drawn straight parallel to axis. focus after refraction. lens to its centre. the names indicate. situated respectively. rays passing through it. deviated more at edges. a diverging. portions of triangular. light pasing through. name centres. lens size and nature. slide A. glass on axis. passing after virtual diverging. vertical arrow. denoted by the symbol. focus.


VII.

lens thin in centre with F.


VIII.

names straight to principal axis. lens focus to its centre. glass rays slide. distance of displacement. rays in series prism. as is. distance is twice. principal axis S.


*

SYMBOL


one of two
our
origin

so going
or
converging

one of one
our
portion

so going
or
converging

one to one
our
direction

so going
or
converging

*



Talking with Alan last night about Roger Hilton's 1950's abstracts. He explains the way the forms imply an 'outside' space. How the canvas edges interact with the forms so we read outwards.

I think about this and the 'edges' of the poem - first/last lines. Pound, for instance, in Canto I writing the declamatory beginning "And then ... ". and concluding "so that:".

Also the play of forward-backward, in front-behind, positive and negative space and - again - a poem. I'm after the verbal equivalent of frayed edges of paint, under-drawing, overlap, suggestion of depth pulled back to surface.

*

Catch most of 'Notes from the Underground' on Radio 4 as I'm making soup. Despite my usual prejudices concerning such documentaries it's actually quite interesting and fills in some of the context for the Albert Hall Poetry event etc.

Check out http://www.bbc.co.uk/radio4/1968/ for when they put it up for a second listen.