https://www.nytimes.com/2022/04/15/books/review/what-is-poetry.html

an excerpt…

“From time to time I’m asked, with bewilderment or derision, if this or that poem isn’t just “prose chopped into lines.” This idea of the free verse poem as “chopped” prose comes from Ezra Pound via Marjorie Perloff, who quotes Pound in her influential essay “The Linear Fallacy,” published in 1981. The essay encourages an oddly suspicious, even paranoid reading of most free verse as phony poetry, as prose in costume. The line, in Perloff’s view, in these ersatz poems, is a “surface device,” a “gimmick.” She removes all the breaks from a C.K. Williams poem to make the case that a stanza without the intentional carriage returns is merely a paragraph.

I find this baffling — as if chopping up prose has no effect. It does have an effect, the way putting more panes in a window changes the view. The architect Christopher Alexander thought big plate glass windows were a mistake, because “they alienate us from the view”: “The smaller the windows are, and the smaller the panes are, the more intensely windows help connect us with what is on the other side. This is an important paradox.” To state the Forsterian obvious again, adding breaks to a paragraph is not always going to make an interesting poem — but most poets don’t write that way. They write in the line, in the company of the void. That changes how you write — and more profoundly, how you think, and even how you are, your mode of being. When you write in the line, there is always an awareness of the mystery, of what is left out. This is why, I suppose, poems can be so confounding. Empty space on the page, that absence of language, provides no clues. But it doesn’t communicate nothing — rather, it communicates nothing. It speaks void, it telegraphs mystery.

By “mystery” I don’t mean metaphor or disguise. Poetry doesn’t, or shouldn’t, achieve mystery only by hiding the known, or translating the known into other, less familiar language. The mystery is unknowing, the unknown — as in Jennifer Huang’s “Departure”: “The things I don’t know have stayed/In this home.” The mystery is the missing mountain in Shane McCrae’s “The Butterflies the Mountain and the Lake”:

the / Butterflies monarch butterflies huge swarms they
Migrate and as they migrate south as they
Cross Lake Superior instead of flying

South straight across they fly
South over the water then fly east
still over the water then fly south again / And now
biologists believe they turn to avoid a mountain

That disappeared millennia ago.

The missing mountain is still there. As for what is on the page, the language that changes the shape of the void, I’m of the opinion it can be almost anything. One of my favorite books that no one has heard of is “Survey Says!,” by Nathan Austin. It’s just a list of guesses ventured by contestants on “Family Feud,” arranged, most ingeniously, in alphabetical order by their second letter, so you get sequences like this: “A bra. Abraham Lincoln. A building. Scaffolding. Scalpel. A car. A card game. A cat. A cat. Ice cream. Ice cream. Ice cream. Ice cream.” We get the answers; the questions are missing. “Get a manicure. Get a toupee. Get drunk. Retirement fund. Get out of bed. Get ready! Let’s go with manuals. Get sick in there. Let’s say a pet. Let’s say shoes. Bette Davis.” The poetry seems to perform hypnosis, the found rhymes and assonance and anaphora enacting an enchantment, a bewitchery; it seems to be giving subconscious advice. Get ready! You must change your life.”

~another love poem~

In the thousands of years of Earth’s foregoing,
marking the reign of humans, all seek sapience,
knowing full well, neither first or last am I to mark
this day’s commencement with a need, a desiring,
to notate this not unusual but definitively unique
calendar notation with a tribute, neither requested
but freely given to the person who lies beside me.

Did I wake commanded or so compelled to scrabble
a collection of words, sequences, initially disordered,
into a shape, to chisel these sendings of a chest into a
living disbursement, a statute, a marbleized creature,
that empties and releases a sensory disposition rumbling
into a messy, mediocre utterance of sentience while they
sleep quiet, pockmarked by dreamed mumblings, dreaming?

No, I did not.

News headlines come demanding see me, insistent that
I am urgency, but one displaced by the next, making them
instantly stale by pealing replacements. This poem, a self-
appointed task is now eased, spent and spurted into an
lifespan of a length unknown and untold. Here I end, ceased
and resisting, demurring, desisting another stanza, The hour
approaches the seventh hour before noon, rising time. Go now.

The choring chords of fibrous tasks that stitch existence into
a sustaining impertinent permanence, list-crossing-off, a-nagging.
The itches of living, ask for scratching, 1st cup of coffee making,
but smile bemusedly that this first and freshest to do, newly added,
is done, dispatched with a line-sworded satisfying crossing off.
She sleeps on, while I soon to rise and quiet paddle to the
kitchen where kept the utensils for sustenance,

I am contented, miraculously, simultaneous,
emptied and fulfilled.

4-14-2021
NYC
7:18am

~for Steve and Marshal~

they crouch round,
white wide eyes,
their skin, *****, like
the darkness that
completes their near
invisibility.

new child arrives when
it declares I’m here, not
seeking acclaim, just a
witnessing to its slimy
amniotic messy, amnesiac
birth.

what does it say, what,
does it know? the stilled birth
of permanent incompleteness.
though hardly alone, it has no
siblings, though, it has much,
much company.

these half-writ poems predestined
to never see light of any kind, neither,
sun or moon or bare bulb glare, bred
to never age, never die, their ultimatum,
to be discarded when the bytes, their
geophysical representation is tossed
into the crusher bin, recycled, reformed,
but still always half-breed, half-writs.

nml
Apr 2, 2022
nyc

Listen to the stories

men tell of last year

that sound of other places

though they happened here
Listen to a name

so private it can burn

hear it said aloud

and learn and learn
History is a needle

for putting men asleep

anointed with the poison

of all they want to keep
Now a name that saved you

has a foreign taste

claims a foreign body

froze in last year’s waste
And what is living lingers

while monuments are built

then yields its final whisper

to letters raised in gilt
But cries of stifled ripeness

whip me to my knees

I am with the falling snow

falling in the seas
I am with the hunters

hungry and shrewd

and I am with the hunted

quick and soft and ****
I am with the houses

that wash away in rain

and leave no teeth of pillars

to rake them up again
Let men numb names

scratch winds that blow

listen to the stories

but what you know you know
And knowing is enough

for mountains such as these

where nothing long remains

houses walls or trees

<~>
“I would recommend On Hearing a Name Long Unspoken. This poem is from Cohen’s 1964 collection, Flowers for ******, which deals with the trauma of the Holocaust and its legacy in 1960s Canada. In this book Cohen describes himself as a ‘front-line writer’ trying to understand totalitarianism, and the poems aim to critique his readers’ complacency in the violence of the world wars, anti-Semitism and colonialism. In On Hearing a Name Long Unspoken, Cohen asks his readers to consider how atrocities ‘that sound of other places’ also ‘happened here.’ He wants us to remember the lives of real people, to remember where people have found solidarity and protection, as well as how they have been oppressed because he is concerned that the stories that are told about the past will make it feel distant and unreal.”

KAIT PINDER, assistant professor of English at Acadia University

~for Robert C Howard, inspired by his “From Many, One”

I know nothing of poetry…

or ballet or symphonic works; a ******,
a passerby, a glimpser of other’s artistry,
neither can I add, nor delete, just observe their
intersection, a triplication, and yet, a snowy
Saturday Sabbath is colored now by their story

a  story of many, a symphony playing a concert
of harmony, the notes are grunts and shoutouts,
the high notes of squealing tires screeches, the bass
of growling heaving hearts, engines-beating revving,
music growing louder, to a crescendo of resounding success

sudden silence is the fiercest applause, a reverbing
mark, echoing in a forested heartland, quietly absorbed
into the scarred bark of the witnessing trees, adding a minute moment to their long playing recordings, approving  an
endeavor of many unasked, self-tasked to help, many into one…

a merging of a singular memory

It happened in a flash.
winding down a Rocky Mountain road,
a trio of travelers,
basking in snow-draped vistas
pulled off for a photo or two.

Their tires locked into a snow bank
and after a few futile wheel spins,
the undeniable truth sank in;
they were stuck!

In moments, the slamming of car doors
echoed across the valley,
an ad hoc community of a dozen Neighbors
formed, converged and began to dig.

After a half hour of elbow grease
amid vapor clouded exhalations
and cries of,
      “straighten the wheel,”
      “slow on the gas” and
      “let’s push together now”
the car eased onto the center of the road.

No one called "meeting adjourned"
but as quickly as it formed,
our ad hoc community
dissolved into the greater band
of good folks working together
for our mutual benefit.

E pluribus unum!