Last day of my poetry workshop today. We ended on a sweet sad silly happy blue note, or several of them, everyone is feeling lots, and it’s all good. Delicate uncertain care. I’m honoured to be in the presence of so much true feeling. The texture of such a moment can’t always be got across – though, poets, we try – in words. Thank goodness there are for these occasions unwords!
Strained transition but man I’m blasted. Sometime when it’s over I’ll write why. Right now I want to share a few of their asemic compositions.
The exercise: Compose a page of asemic writing. The post I wrote round it here.
This first one is peacock. And bravery and has such boldness in its made mark. I love it for that and learn from it. Some of its sworls – that big blue swoop with the edge of a robin’s egg, e.g. – are not just proto-charactery but the prelim of true things.
Then there’s that centred square of no-sense going on as if it were all the order in the world – ain’t no thing, just move on. Five by five, or almost, like a Tang dynasty poem. But yet not. This poem is but yet not.
This one to me marks an opening for its author. Every crook and curve is of note, as if it belonged to a musical score. And her work after, it got smaller, sharper, every syllable counted (literally – she grooved to syllabics) and enjambments suddenly heartbreakingly present.
This one touches the spirit of Oulipo, or something ‘Pataphysical, geometry of a universe soon to be invented. And of all the ones that came in, it took the most care with the page as a material object, which like a universe has more than one side, is all turnings.
This one is wholly free in its spirit of gesture and direction. The poet said she didn’t think much of it but what I love is she didn’t think much in it she just did it. Her not-thinking transmits with no loss of energy her embodied gesture to this embodied eye and the mind of it.
Dōgen: “When Yaoshan was sitting, a monk asked him, ‘In steadfast sitting, what do you think?” Yaoshan said, ‘Think not-thinking.’ ‘How do you think not-thinking?’ Yaoshan replied, ‘Non-thinking.'” This is that!
My conversation with the poet of this one went something like
—Why does this work so well??! (me)
—I don’t know! (her)
—I don’t either but it does!
It’s barely more than scriggles. But that it gave me a word, scriggles, totally for free, means lots. It’s second-order creative; it creates creativity; it’s generative. Those earth and vegetal tones are life-in-potential. (Even what colourblind I thinks to be purple, the chlorophyll of the low-light set.) Just as asemic writing itself is meaning-in-potential.
A student in my other class, damn but I love her ambition, and so see myself in it, wants to elicit from Marvell’s “A Dialogue Between the Soul and the Body” the whole mind-body problem, link back to the Buddha on that and connect forward to modern materialist theories positing mind as an emergent property of material systems. Had to say, that’s an MA thesis, not a ten-page critical research paper. But emergence is where it’s at, complexity, new reals irreducible. (Why the eff am I advisor to a journal called Occam’s Razor?) And I trust her to find a scope to make it work. And – point of the digression – emergence is what’s here, too.
I do love this teaching thing. However good I may be at it, it is better to me. I hope the overseers will let me keep doing my work as intuition says to. How do you say, though, to an office oriented to conduct codes, chapters and verses, that I want and try to teach from prajna?