Tuesday, April 29, 2014

Monday, April 28, 2014

Dark Imagining: The Ecstatic Poetry of Georg Trakl


What's a soul to do when confronted with poems that defy normality, that take you on excursions toward slant time and altered being? I suppose one option is to just be quiet, be content in those moments of aesthetic stupefaction. Or one can refuse silence, do what I'm doing now – try to say something about what's not really sayable.

I'll start by looking at a photo of the poet, as if some clue to the hidden spirits of language might be registered there.


1887 - 1914


It's probably wayward for me to say it, but I will anyway: the face of Georg Trakl is mad with hidden spirits of language. If I were told this picture had been taken inside a locked asylum for expressively coiled savants, I wouldn't be surprised. There's nothing of the poseur in his face. He looks genuinely odd, like the second cousin of some ancient Chaldean wheat god.

The finest poetry, apparently, has something to do with sort of looking, sort of being crazy. After seeing this photo of Trakl, I'm not sure I should expect much from poems not written by (or at least in the spirit of) old dead eccentrics.

Those old dead poets don't appear in their poems as regular-world subjects; rather, they are implicit shapes of wonder, vagabonds of heightened consciousness, doppelgänger mediums through and around which the ectoplasm of deep words comes to presence. Their images and metaphors are unavailable to regular-world poets. Things that are otherwise impossible happen in their poems.


In Hellbrun

Once more following the blue grief of the evening
Down the hill, to the springtime fishpond—
As if the shadows of those dead for a long time were
      hovering above,
The shadows of church dignitaries, of noble ladies—
Their flowers bloom so soon, the earnest violets
In the earth at evening, and the clear water washes
From the blue spring. The oaks turn green
In such a ghostly way over the forgotten footsteps
      of the dead
The golden clouds over the fishpond.



Most poems written today are lifeless things. How strange that certain poems by old dead poets are still so “ambulatory.” But maybe it's not so peculiar after all – those poems remain vivified owing to their dark spirit of creation, to their sense of world as mysterium, to their harrowing of vision into beauty. I think Georg Trakl and Novalis have something in common. Both considered reality large enough to contain itself and more than itself – the mythic, deathly sublime. 


Descent and Defeat
To Karl Borromaus Heinrich

Over the white fishpond
The wild birds have blown away.
An icy wind drifts from our stars at evening.

Over our graves
The broken forehead of the night is bending.
Under the oaks we veer in a silver skiff.

The white walls of the city are always giving off
           sound.
Under arching thorns
O my brother blind minute-hands we are climbing
           toward midnight.



I suspect that poetic art happens when experience is transformed by imagination, is saturated with ambivalence. Ecstatic melancholy is the distinctive aura of a true and lasting poem. Such poems are treasures that language bequeaths to itself from out of its own eerie matrix.


My Heart at Evening

Toward evening you hear the cry of the bats.
Two black horses bound in the pasture,
The red maple rustles,
The walker along the road sees ahead the small tavern.
Nuts and young wine taste delicious,
Delicious to stagger drunk into the darkening woods.
Village bells, painful to hear, echo through the black fir branches,
Dew forms on the face.



Experience for this poet in this poem is a composite texture or scheme of time. The perception of given phenomena has, through the dark prism of ecstatic emotion and morbid imagination, been refracted into a spectrum of hallucinatory images. In the throes of poetic trance, a paradox of profane spirit and sacred duration is somehow reconciled.

Beethoven's music happened in that un-repeatable moment when German Classicism and German Romanticism were sewn together in a unique fabric. The Apollonian and the Dionysian – reason and instinct – touched in the mind of Beethoven, and music reached its greatest happening. I have a strong hunch that something deep about consciousness as such and time as such occurs in Beethoven's profound spiritual music. In such fractal moments when sensibility is transformed by paradox and complexity, art realizes a rare potential.

Trakl's poetry happened in that un-repeatable moment when German Romanticism and German Expressionism came together in a tension of visionary forces. Other dynamics were afoot: Trakl's poems also lived in the fold of Symbolism and Surrealism. His consciousness inhabited an eccentric version of time, and written event took on a quality of ecstatic-pessimistic dream. Art realized another, different layer of mystical texture.

Like Beethoven's music, Trakl's poetry allows us a rare glimpse at how an artistic form of language seems to speak from its own riddling, occult depths. Experiencing Trakl is an aesthetic delirium of the finest vintage.


In Venice

Silence in the rented room. 
The candlestick flickers with silver light 
Before the singing breath 
Of the lonely man; 
Enchanted rosecloud.

Black swarms of flies 
Darken the stony space,
And the head of the man who has no home 
Is numb from the agony 
Of the golden day.

The motionless sea grows dark. 
Star and black voyages 
Vanished on the canal. 
Child, your sickly smile
Followed me softly in my sleep.


Poem translations by James Wright and Robert Bly



Tuesday, April 8, 2014

Monday, April 7, 2014

Bartók -- Concerto for Orchestra


It occurs to me that I run the risk of being depressed today if I don't listen to this:






Sunday, April 6, 2014

Maudlin or infinite?


Like some paintings and some music, some poems are things of wonder -- dark-dazzling moments of written art. A strange thing can happen to time and space during a poem: regular time gets detoured into sideways dimensions; regular space becomes distended into eccentric volumes of mood that would startle even angels.

Though known for his plays, Tennessee Williams also wrote poems. One of his poems, about his mentally ill sister Rose, can detour and startle a reader of a certain disposition. Other readers will find it hackneyed, clanky, and maudlin. I'll admit that it required a second reading before the scales began to fall away from my eyes and I could see this poem, before I could begin to trace its unusual direction, take the measure of its volume.

The context is crucial. Williams's beloved sister Rose suffered from ever-increasing schizophrenia. Most of her life was spent institutionalized. At one point, she underwent a lobotomy in Knoxville, Tennessee. 


Valediction
She went with morning on her lips
down an inscrutable dark way
and we who witnessed her eclipse
have found no word to say. 

This poem is either maudlin or infinite, depending on how you read it, depending on whether or not you, as reader, are conventional or strange.  Think how the regular world flows, with its norms and pale distractions. Then consider those rare octaves of being that echo from a different, more eccentric key.

The South (Williams's was born in Mississippi) retains an afterglow of the gothic. I will assume that penumbra was more pronounced in the first half of the last century than it is today.  Mental illness back then and there probably resonated with a more spiritual vibration than it would, say, in New York or even St. Louis.  If one wrote such a poem as "Valediction" in the context of New York or even St. Louis, such a poem would be aesthetic blasphemy, an irresponsible indulgent expression. But vibrating as it does with a Southern gothic, something else happens within aesthetic and expressive space -- the infinite stirs.

She went with morning on her lips

Not only with youth's bloom but with an unspoken redolence of quiet magnolias and a silent verse of early sunlight slanting its eternity.


down an inscrutable dark way

The loss of self as poignant as the amnesia of a lasting grave.


and we who witnessed her eclipse

The gothic observer of a spirit's collapse will never henceforth be normal.

have found no word to say

Sheer infinite significance trumps even gods and metaphors.


This little poem by Tennessee Williams opens up a spatial, existential abyss that swallows normality, convention, and our brusque, philistine hours. In their place is the possibility of art as our noblest shiver of wonder.


1911 - 1983


Saturday, April 5, 2014

my boring hypothesis


Before the internet and social networking, there was, in individuals, a concentration, an intensification of consciousness and being. Since the internet and social networking, there has been, in individuals, a dispersal, a dilution of consciousness and being. 

A possible equivocation: my poems and mini-essays -- this very blog, in fact -- would not exist if not for the internet and social networking. If not for the decanting of worlds and souls previously unsuspected into my world and soul. My stuff took on life and being inside this half-ghostly milieu, this floating reservoir of exotic presences. 

I guess what I'm trying to say is that, prior to the internet and social networking, individual consciousness was, perhaps, more of a solid than a liquid or atmospheric substance. 

I suppose I'm having a sort of Walter Benjaminian moment. 


Blue Rigi: Lake of Lucerne
J.M.W. Turner (1842)


Churchill on the First World War:


“No part of the Great War compares in interest with its opening. The measured, silent drawing together of gigantic forces, the uncertainty of their movements and positions, the number of unknown and unknowable facts made the first collision a drama never surpassed.”