[Writing like this for the censors
but I won’t hide behind words]*
I can’t write a poem to manipulate you; it will not succeed. Perhaps you have read such poems and decided you don’t care for poetry; something turned you away. I can’t write a poem from dishonest motives; it will betray its shoddy provenance, like an ill-made tool, a scissors, a drill, it will not serve its purpose, it will come apart in your hands at the point of stress. I can’t write a poem simply from good intentions, wanting to set things right, make it all better; the energy will leak out of it, it will end by meaning less than it says.
I can’t write a poem that transcends my own limits, though poetry has often pushed me beyond old horizons, and writing a poem has shown me how far out a part of me was walking beyond the rest. I can expect a reader to feel my limits as I cannot, in terms of her or his own landscape, to ask: But what has this to do with me? Do I exist in this poem? And this is not a simple or naive question. We go to poetry because we believe it has something to do with us. We also go to poetry to receive the experience of the not me, enter a field of vision we could not otherwise apprehend.
Someone writing a poem believes in a reader, in readers, of that poem. The “who” of that reader quivers like a jellyfish. Self-reference is always possible: that my “I” is a universal “we,” that the reader is my clone. That sending letters to myself is enough for attention to be paid. That my chip of mirror contains the world.
But most often someone writing a poem believes in, depends on, a delicate, vibrating range of difference, that an “I” can become a “we” without extinguishing others, that a partly common language exists to which strangers can bring their own heartbeat, memories, images. A language that itself has learned from the heartbeat, memories, images of strangers.
*Pictured above: RICH, Telephone Ringing in the Labyrinth p68.