THE POETIC HOUR

Genesis

NO EARTHLY LIGHT
      “The gifted expression is touched by a fiat lux.”               
               –stephanie pope, From The Unhappy Hero, Part 7

Our magical, (h)our’s 

a manner of making

like a moon reflecting

no earthly light

yet something earthy
in it

poetic things require
a space of their own

Derrida says
I say

calling his temporized zone
the h-space―Ric calls it

one
zero

which he says is like no
standing on om

making from nothing
something

what Ric says
I say


is like the light of the one mind
shaping shades out of

the darkness of the one

zero

and so why something
and not nothing

that
question

gives birth to philosophy
gives the socratic awareness, too

two to we, wee who knowingly
know they don’t―whee!

Something that is, is

without having ever been

“thing”
before

before things
techno h-places things

somewhere elsewhere nowhere else
“h’ere” in a distance collapsing

lenses of perception cleansing
in a temporized zone for making

nowhere in you, a paradise
no place nor thing

zippo
nada

what is
isn’t

one
zero


but a third not given
and this newness is “youness”

knowing and not knowing ie.
“twoness”

poetic space, image

double doubling

on
& on

the world, as it is
infinite, always (k)new

poetic things
minding their own

©2016 Yes! It’s A Kind Of Magic! stephanie pope mythopoetry.com


notes

THAT TWIN THING : Beautiful Appearances In The World Of Dreams

THE MASTERSINGER SINGS ESTATIC SUNSHINE

All poetic art and poeticizing is nothing but interpreting true dreams.
                                   ~Hans Sachs, Die Meistersinger

Lasciate ogni speranza, voi ch'entrate/abandon all hope, you who enter here
                                   ~Dante, Canto III, line 9

A certain sadness, sunshine
whose aesthetic world intoxicated, dreams
night language sunshine shed.

Intoxication thus benighted
ecstatic is the head
struck by Apollon.

©2014 Delighted Anatomy stephanie pope mythopoetry.com
#ohjDailyWords #ohj #mythopoetic estatic, sunshine

notes

The beautiful appearance of the world of dreams, in whose creation each man is a complete artist, is the condition of all plastic art, indeed, as we shall see, an important half of poetry. We enjoy the form with an immediate understanding, all shapes speak to us, nothing is indifferent and unnecessary.

For all the very intense life of these dream realities, we nevertheless have the thoroughly disagreeable sense of their illusory quality. At least that is my experience. For their frequency, even normality, I can point to many witnesses and the utterances of poets. Even the philosophical man has the presentiment that this reality in which we live and have our being is an illusion, that under it lies hidden a second quite different reality. And Schopenhauer specifically designates as the trademark of philosophical talent the ability to recognize at certain times that human beings and all things are mere phantoms or dream pictures.

Now, just as the philosopher behaves in relation to the reality of existence, so the artistically excitable man behaves in relation to the reality of dreams. He looks at them precisely and with pleasure, for from these pictures he fashions his interpretation of life; from these events he rehearses his life. This is not merely a case of agreeable and friendly images which he experiences with a complete understanding. They also include what is serious, cloudy, sad, dark, sudden scruples, teasing accidents, nervous expectations, in short, the entire “divine comedy” of life, including the Inferno — all this moves past him, not just like a shadow play, for he lives and suffers in the midst of these scenes, yet not without that fleeting sensation of illusion. And perhaps several people remember, like me, amid the dangers and terrors of a dream, successfully cheering themselves up by shouting: “It is a dream! I want to dream it some more!” I have also heard accounts of some people who had the ability to set out the causal connection of one and the same dream over three or more consecutive nights. These facts are clear evidence showing that our innermost beings, the secret underground in all of us, experiences its dreams with deep enjoyment, as a delightful necessity.

~ Frederick Nietzsche, The Birth Of Tragedy (1871), Ian Johnston translator
excerpt taken from section 1-14
see http://denisdutton.com/nietzsche.htm

SOLDIER AS POET

photo credit: Natanis Davidsen For permission to use
photo freely see http://www.creationswap.com/media/5995 

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&notif_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

SATURDAY POETRY: Enjambed Body



"End of the Trail"  20th C American Sculpture artist, James Earle Fraser with his 1894 plaster sculpture / "In 1894, when James Earle Fraser completed his model of The End of the Trail, American civilization stretched from shore to shore. Most Euramericans believed the frontier period was over and that such progress was inevitable. Many viewed Native Americans as part of the past, a vanishing race with no place in twentieth century. Popular literature portrayed Indian people as "savages," noble or otherwise. Fraser's The End of the Trail reflects this legacy: a nineteenth century Indian warrior defeated and bound for oblivion -- frozen in time." -R. David Edmunds, Ph.D.

in that word
under lasting light
in that way

he said "mould"
but i heard "mold" and
instantly "decay"

and instantly the shadow
moved as instantly away



©2013 In Conspectu Mortis Enjambed, stephanie pope mythopoetry.com matter and beauty poetry series

 

_________________notes

CG Jung and "in conspectu mortis"  [quote] The vision of the world in conspectu mortis is in truth a curious experience: the sense of the present stretches out beyond today, looking back into centuries gone by, and forward into futures yet unborn. [unquote]  see CG Jung: Letters. Volume 2: 1951-1961 Selected and edited by Gerhard Adler in collaboration with Aniela Jaffé.  Translated from the German by RFC Hull. Princeton: Princeton University Press, 1975 p.10, Letter 21, Mar. 1951.

CG Jung calls this a way of seeing the world. "One must look to the past so that life is not frozen in the past."  -stephanie pope, "The Individuation Process".

in conspectu mortis see also stephanie pope "When Truth Is A Dark Light Walking The Land"

R. David Edmunds, Ph.D., Cherokee,The End Of The Trail: A Native American View

RITING MYTH, MYTHIC WRITING

Every couple years I go after a writer's workshop or gathering around explorations into poetics, depth perspectives or something related to my discipline as a cultural mythologer. This year's event brings together my interest in all three. This year's event is a writing retreat with Professor (and poet) Dennis Slattery held this August in Santa Barbara and sponsored by PacificA Graduate Institute. There are two sessions in August. I'm attending the second session held August 19-22, 2010.

There are a number of blogs on line you can access to read more about this year's retreat for poetic kinds at heart. Here are a couple and the link to the PGI website.


If you are up for some writing (not to mention riting!) this August, JOIN ME!

Cultural Mythology: American Notions of Self & Country

Greening Predicates

Pacifica Graduate Institute Public Programs