Reference text-planning another "frontier" ...
non-design another text "Frontier" on a design that will keep this.
The feeling-suspect, for many, is that by Williams on the poetry
do not differ much from making outright: if poetry is
dissolved by the prose of the world why not take the prose of the world
poetry?
Williams instead calls into question the lawfulness of poetry as
random and chaotic process of making explicit lyric ego, and that
assumption of language as a record, that there is homologous
any liberating from external constraints .
denies that any kind of 'write' operation is correct from the point of view
ethical and political, nor that poetry is used as
time (as suggested romantic)
synchronization of self (positive or - and it makes no difference in negative) with the cosmos as
or imagined.
Rather poetry (and the option to certify a metonymic
against a metaphorical discourse, especially in Al Que Quiere!, But already in many parts of The Tempers
) hypothesis is "technical" construction of a
space geometrically and architecturally articulated (
built for humans, is well known as a "home" SE p. 177) and the artist, as
for Poe, is "engineering" (SE p. 35) which produces "tricks" (p.
SE 293), 'objects' other self. (I.AG. p. 294 et seq.).
The poem is also not, as I said, liberating moment, or is
only insofar as it frees itself from the "tradition" that
its predecessor (the formal constraints in themselves that underlie
a cultural desire constriction) and in doing so is free if
itself and takes on a new categorical imperative formal and / or thematic
the rejection of the act of lyrical contemplation of the self reflected in the aspects
"more appropriate too '( read: 'expected' I.AG.
p. 305) of world in which they live.
Once again, the example comes from Poe to Williams. Indeed, in contrast to the hypothesis
"romantic" that the man fled the
companies in search of their lost moral integrity, in the
nature, sublime, in so doing, their unhappiness, "
in solitude," EA Poe had designed models for writing (in this case Williams
choosing formal policy) that indicate
and accelerate the breakdown process of the American literary tradition in
to-image and its function, namely in relation
of himself. Poe had in fact chosen to
take the city (town) and I a moment of meeting - scontrotra forces opposite sign
inseparable (the "resort" against and towards individuality
and vice versa), thus reversing the expectations of its audience
unlike, for example, of what he had done
patrolling the obvious, JF Cooper.
Williams intends to work in this direction. Forced to confront, on the other hand
as did others, with economic bankruptcy and ideological
the first 900, try to avoid the obvious: that the
reformulation, in poetry, "flight", or in
the "literature" (Following the example of Pound, Eliot and Fugitives) or
into new images of "materiality", such as that of
"city" (New York) hired a new metaphor 'positive': the 'bridge'
Crane that aims to tell the story, but does nothing but return it
in parentheses, the values \u200b\u200brienunciando 'mythical' of chaos.
Williams wants to dismiss myths, mythology, languages, and not borrowed,
start all over again, I propose a lyric that is recognized
squalor of the city, in the banal, the bipolarity of
natural size (ie flowers, but the roots and mud)
in depression, there are compromises to the end, the imagery and language
.
In this sense, outside of the dream that is far from easy
assumption of a size "utopian" ego
posing as a privileged space of discourse in verse, the poem registers of the lacerated
'I against A and the dissonance of
his speech against the tradition, in other words,
"poetry" tout court, is it not true that, born as a monologue,
prayer between self and other (not a given that, in the various versions of:
of, god, universe), the poem had become hymn to the ego if
himself as the sole reference point of their despair
(Whitman and loves singing "himself," because no longer recognize
nothing, aims to recognize and read all over his body as the
'America and America - wounded - as his body)?
Williams goes a step further: the operation radicalized Whitman,
you look upon itself by the "things", because when they read the
immediate experiencing individual.
As Duchamp had taught. The speech that focuses on '
apparatus' material 'things' through which the individual
explicit, the composition of the Education of the most famous and
antologizzate Williams is not a speech to a funeral, or
death, or the solitude of the ego, but on a hearse around and
which takes place in the poetry as "Good night," which does not relate
the dream (vision of the three jeunes filles en fleur), but on
sink and parsley on a kitchen in the evening.
not because they are "poetic" but simply because they exist and why they are bound to bring
the lyrical ego.
The "poetry" is a corollary that is not subliminal experience of self that recognizes nell'impoetico
uncritically, but it re-know,
misurandovisi and accentuating the mechanisms of conditioning, according
a process of uncovering and analysis of the total space of the '
things ", to and against the man, who the address in '
accuracy', borrowing through Duchamp and the Cubists, will, from there to
qua1cheanno her.
The difficulty of the warrants, along with poems derivative,
as it was along the lines of Pound, Browning and Milton, the presence of
a series of essays (among others "Chicory and Daisies,"
" Love Song, "" Hero " and "El hombre") in which the "word" try to translate
physical energy, the nodes of the passion and mystery of
non-meaning and non-translatable 'Winter Sunset' and 'port').
The speech recorded in his own strength and the strength lapidarietà
and / or loneliness of the individual, without yielding rhetorical: in "
Prelude," for example, tune with the cosmos is recorded in less grandiloquent
aspects. And attention is focused on the word hypothetically
simultaneously employed as a verbum (
able to record the cosmos) and its negation, in other words
against Whitman and compared with a '' Armony Show 'use of the word
as correlative with the "thing" and doubt-certainty of
own inability to know except through a dissolution of the ways
tradizionalidi registration "literary" of reality that is the choice of
explore simultaneously reality and ways of
translation of reality, denying the syntax "figure")
its traditional features, as in "Figure Metrics."
Hence the 'non-heroic "the real, because beyond the surface,
of obviousness, an excavation, registration forms, will highlight
humus as the primary weakness' A mo 'apology'), the epic
antiepicità existence 'Instructions'), the squalor, as in the paintings of Edward Hopper
, streets empty and silent, the desire of
trascinandosela leave their homes behind and the need to "talk
" substantial reality of the city "
Williams
The operation then moves along the coordinates of
Whitman's poetic project, but without sentimentality, with the courage of
squalor (as will later Ginsberg), and the certainty that the
overlap of the "dream" (fancy-poetry) to reality should not
mean a distorted reading, but a modification,
through the provision of alternative models of reading.
In this sense, the story goes, in the negative, in the city, in the life of
'personae poems that touch. Usually through the female figures
"
Images of rags, of fences, in the courtyards of remittances
speak one 'other' America, tell America that Stieglitz photographed
; approached so puritanical 'precision',
a very short step from the assumption of hyper-realist reading of reality, it mythically
opposed to a positive reality, 'Beautiful' in the absence
complain.
emphasize the squalor of the existence of the artist "McB),
against the fiction of the dream, the fetid basement against the dream with your eyes open
" Keller Gegen Dom ») of concrete against a 1'astrattezza
liberalism any 'Portrait of a woman in bed').
The awareness that the time has come to settle permanently
hypothesis esperienzale "romantic" is accompanied by the dream that reality can be
lyrical yet possessed by the ego and
individual identified by the word.
Williams that is, it continuing to deny the possibility of making art,
the second lesson of the historical, and so silently registers the
her captivity in the language, with interesting and courageous
disbanded within the poem.
The last hypothesis is that the fictional rendering of reality is more true of
true and that the products of the imagination are more constrained to the real
the horrific, true, "your child petals would be enriched," it
law in the composition entitled 'The ogre ") and woman owned
through poetry is" dead leaf "because, beyond its
beauty the landscape in which it appears, the spoils. Reading in depth
detects imbalances in the world of quality and complaint - assuming
as hyper - the absence of a dividing line between
"dream" and reality, not because the dream (poetry) has replaced the
real, but because the real has "invaded" the dream, so that the
dreamlike dimension is not configured as an alternative to more
real, but as a record of reality distorted data.
intelligence records with clarity the 'grotesque' in reality and in
what is supposed to "other" than the real game
beyond irony, the monstrous reality. The writer records the
dissolution of the self in lyric things, but irreversible deformity multi
own point of view, "The Ogre"), the permanent impermanence
their choice of words.
And the disharmony of the options is subject to state, according to the lesson
Duchamp, the theory of non-choice, namely the impossibility of
a choice that is independent from the "new-gorge": the
malice, squalor relationships "sentimental" asphyxiated, the
loneliness, "monstrous" in fact, which seems to not save anyone
, (the "children of the coroner," "the little daughter of the murderer), and
that seems to have eroded and shaped the whole of the real. The poem
become a big fiction, terrifying, and as the wax museums
reveals precisely the "monster" of the world, within and against which
Williams projects his 'dreams'.
The poem is really finally dissolved in the prose of the world started with an intention
epic, Williams ended up revealing
anti-epic of the American reality, through the experience of the historic
. Inside the damnation of poetry, has
advertised (as Poe) his despair and 'things' that
despair that are correlative-conditioning.
At most runs the risk that Williams is the object of contemplation
as exhibition and illustration thereof,
sometimes end up just to advertise the "things" rather than
their deep structures.
What is a risk, the latter course by many, because sometimes, that rises
the vanguard "against the commodification aesthetic there
rushes inside."
The poem does not delete it but "moves", one after another, the
'objects', it changes the perspective in relation to the eye, reveals
different angles, hidden recesses, crevices and inlays, gloss and
design, rust and dust, and urges the look, the director, puts it at
fire, so as to produce unintentionally and without there being any
account, 'in-house, a moment of exchange between the image and look
between the "passivity" of the objects and the tension / attention
intelligence. What to do? On the other hand
Williams had argued that it is necessary to avoid dying so your image is owned by
death, but poetry is not about the objects, the
are no longer mere "removable" even by the imagination:
"The bomb speaks. / All the repression, the witchcraft trials in Salem
/ the latest / bonfire of books: / have a confession /
that the bomb / entered into our life / to destroy us. "
Note: by BARBARA Lanati, William Carlos Williams "
