SANGRIA REVERIE
The love in the blood of our
(m)other tongue
knows how we walk the talk *in*.
Although swollen with blood the ground
below the foot, swollen with blood
the poetizing meter
right there what matters in matters
bound in
bound through the blood
an
immanent
immortality.
Throughout our other, soldier-as-poet word
our mothering metaphor repeats "Dear Mom"
to us, poetics soft, enveloping
―winedark.
Enliven us, spirit of deep alterity; pour
libation and sing: sang (masc.) in French
sangre (fem.) in Spanish red. *These*
pour back through black to us the blood
of our _other, feminizing word
poetizing being.
©2014 Sangria Reverie
stephanie pope, mythopoetry.com
notes
1. Blood in French, “sang”, and blood in Spanish, “sangre”, carry gender
distinction, something Bachelard, in his “Reverie on Reveries” intimates will
color reveries. Bachelard says the following, “The difference of gender overturns
all my reveries. It is really the entire reverie which changes gender.” (see ch 1, “The Word Dreamer”
in The Poetics of Reverie (Boston:
Beacon Press, 1971, Daniel Russell, trans.) Concerning the reversals of
masculine and feminine values in passing from one language to another Bachelard
turns to Simone de Beauvoir’s Second Sex
to talk about the femininity of words saying “The woman is the ideal of human
nature and ‘the ideal which man posits opposite himself as the essential other;
he feminizes it (italics mine) because
the woman is the palpable figure of otherness. (altérité) See p.35. Bachelard is pointing out the internal oneirism
in language and the importance of being faithful to the “in”-sight/site/and
cite operating between imagination and consciousness, something Vered Lev Kenaan’s
introduction to Pandora’s Senses also
notes by saying “…the ‘I’ cannot be understood without a ‘you’, and the
masculine is dependent on the feminine. This suggests to me that perhaps it is that the
poetizing of being is dependent on this poetic time and poetic space in its
feminizing “in” site/cite insight operating between imagination and
individuating consciousness.
2. “Sangria” in Spanish literally means “bleeding”.
3. In Pandora’s Senses (Wisconsin:
Univ. Wisconsin Press, 2008) Vered Lev Kenaan notes “Feminine repetition
transposes the said into a new order,” p. 4. Pandora’s Senses gathers some sense using the myth of Echo and
Narcissus saying “The said meets itself
(italics mine) in the form of that which is heard. Echo allows the speaker to
identify the utterance as his own but in objectifying the act of expression,
(recall de Beauvoir’s “it” under
Bachelard’s notice in footnote 1) she (Echo) makes it clear the utterance no
longer belongs to its original owner. Hence… the repetition scene constitutes a
locus of self-enlightenment.
4. For “immanent immortality” and the soldier metaphor see Alan Badiou, The
Contemporary Figure of the Soldier In Politics and Poetry, UCLA, 2007.
5. poetry credit: James Burden’s untitled poem,
The ground below your feet is full of blood
Indian blood
English blood
African blood
Spaniard blood
French blood
And more...
The ground below your
feet is full of blood
And while the beings whose blood poured forth into the dirt may have waged
wars against the other
Now
They are together
All one blood
One blood
Bound together
By the love
Of our Mother ~James Burden,
untitled
https://www.facebook.com/photo.php?fbid=10152404092265991&set=a.10150098479130991.304278.624555990&type=1&theater¬if_t=like
6. photo
credit: Natanis Davidsen has photographed new life emerging out of burnt, or
scorched earth. Sangria soil sparked
blood and inner light lit up the soldier as poet living underneath my own imagination.
For permission to use photo freely see http://www.creationswap.com/media/5995
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