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• W1520638178 abstract "Jed Rasula: How much need is there in poetry, and in your poetry in particular, for an archetypal sensibility--an ability to make generalizations about experience? Well, there are many answers. One is that a generalization in a poem is not just an assertion of something, but a dramatic presence as well. Consequently, it is a piece of poetry by its dramatization, not by what it says or announces. The central problem in poetry is that between unity and diversity, that between one and many. You can come in at any level you want to, or any level you're habituated to; namely, you can register diversity of impressions and sensations and images and so on that you encounter in life without trying in any way, or in as little way as possible, to control them. You just register them. There they are. Or, you can try to step up from that to certain controlling symbols that represent all that variety you may have pre-established in another poem. You may have convinced reader that you are in touch with that, although you may not try to prove it to him in every single poem. What I do, especially in my very first poems--and I didn't know I was doing it at time--is tell a little story. And, story is a mythic structure at a very high level on this scale--I don't mean high in sense of quality, but very high on level of assimilation. Much has been assimilated into this little story. And then, what I try to do in those early poems, is to be casual, and journalistic-sounding, as a newspaper would be. You know, the wind said, or the mountain said--well, of course winds and mountains don't talk. But if you could sort of cast that highly archetypal, or mythic, structure into a common, everyday stance, I thought it sounded better. I liked it better that way. So, other aspect of this is one that's well known, that unit can represent universal. You can say you don't have to do anything to this massive registration of facts, except register it, because each individual fact, in its own way--that unit, in other words--stands for universal. So you can be totally casual about it, or you can make your own assimilations. I tend to want to do both. To get in as much registration of fact as I can, and to give it some kind of curvature, shape. I like to do both. I try to. JR: Do you have a personal reluctance to employ myth now in your later poetry? It's been very hard for me to get down to average business of a day, in my poetry. You know what I mean: sometimes your experience is so hot that you can deal with it only from a height, by separating yourself from it a little bit. I think development in my poetry has been to be able to come closer and closer to registering fact as it is. And that has been, in effect, taking on more diversity than I could control from sense of unity. While before, I emphasized unity and tried to suppress diversity. I think motion has been in my poetry to try to come closer and closer to multiplicity of things as they are; and that has meant surrendering certain controlling myths, narrations, or whatever. Mike Erwin: How much do you feel a poem is bound to a particular place or time? Are best poems both referential in their own time and transcendental in time? I think it could be either. And one we would value as years go by is one that does both. Although there would certainly be historical interest in one that just registers time and place. But somehow or other poem has to generalize beyond itself, don't you think? I mean, already for all we appreciated concern represented by antiwar poems, we have this sinking feeling in bottom of our stomachs that some of that has become dead suddenly, what was so alive then. And that's very scary. One of central problems, I think, in poetry. How to manage this day-to-day, strong concern about something into our art, as an art. And there must be some way to do it. …" @default.
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• W1520638178 date "2012-06-22" @default.
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• W1520638178 title "Interview with A. R. Ammons" @default.
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