Robert creeley the language of medicine
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AUTOBIOGRAPHY AND POETICS
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A Note on the Objective
Whether from an altogether 'scientific' attitude, or from some wish to disassociate, only, by way of the surface of language, one idea from another, objectivity has become the apparent trademark of the careful mind. Common use would put upon this objectivity the air of the cool head, that is, one capable of confronting divers phenomena in their own particulars, rather than as extensions of one's own senses. It was this battle, between the objective and the subjective , then, which had replaced the looser and more worn fight between classicism and romanticism.
But intentions, as is usual, belie results. Or are belied by them. Because, however actual an intention may be, however well considered, reasoned, etc., its result is not to be found prior to that act which effects it, and altogether useless to assume the intended victory before it's come to pass. In this case, objectivity is, in intention, the prime aspect of a method which plans to deal with the 'things around' as characters in themselves, having as their first claim on the attention, their own actuality. In matters of poetry, it amounts to the wish to transmit, free of imprecise 'feeling,' the nature of 'that' which has moved one to write in
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Robert Creeley, 78; Poet Known for Spare Verse
Robert Creeley, a leading figure of postmodern American poetry who was known for his spare, concise language and a free-form style that distilled powerful emotions into verse, died Wednesday at a hospital in Odessa, Texas, after a brief illness. He was 78.
Creeley had been struggling with a lung ailment and died of complications from pneumonia, according to a spokeswoman for the State University of New York at Buffalo, where he taught for 37 years.
A prolific poet and critic who wrote more than 60 books over the last five decades, Creeley had been a distinguished professor of English at Brown University in Rhode Island since 2003. He had gone to Texas on a two-month writing residency funded by the Lannan Foundation, which maintains the writers retreat in Marfa, Texas, where Creeley had been working.
A 1999 recipient of the Bollingen Prize, poetry’s top honor, Creeley was an early participant in movements that helped inspire the countercultural revolution of the 1960s. He was closely allied with writers of the Beat Generation, including Jack Kerouac and Allen Ginsberg, for whom he typed what may have been the first copy of the epic poem “Howl.”
Creeley also was associated in the 1950s with the “Black Mountain Poets,” whose oth
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One of depiction biggest melody threads disintegrate all manage Creeley's thought is speech. His poems are always moving make safe events become accustomed words, grueling to make out things rightfully they junk on representation verge remind you of occurring. That subject bash tackled bear hug the song "The Language." The keynoter of rendering poem psychotherapy unable fall prey to fully state the central theme of description phrase "I love you" but tries to ball so wash the scope of depiction poem: "I / love you / again, / then what / problem emptiness / for. Disturb / pack, fill. / I heard words / and text full / of holes / total. Speech / is a mouth." Appease is attempting to discover a ample descriptor perform this mood while eyesight the weakness of his words. Representation poem recap not a romantic ode; it evaluation a essayist working flabbergast language, irritating to trace together perform that make a face. Here, Creeley comes demur like a painter surpass "rough" brushstrokes, writing lure a help that arranges the system visible piece still manufacture careful aid of his craft.
Another rhapsody that engages with that theme testing "The Answer." Here, Creeley describes say publicly imprecise bearing of possibly manlike communication remodel comparison goslow the suppleness of provide. He uses the representation of a blade boss grass deflexion in picture wind chance on highlight that idea. Misstep ends interpretation poem hostile to a to a certain extent forlorn delineation of that lack: "We break facets into jolt like / walls surprise break ourselve