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• W2022703939 abstract "In Some Notes on Organic Form (PW 7-13) Denise Levertov asserts notion of a discoverable form, not proscribed but available to poet willing to explore. I want to assert not simply that such exploration is necessary and desirable for contemporary poets but that writing lyric poetries that explore what Levertov calls resemblances is crucial to both survival and political viability of lyric poem in contemporary world. In post-nuclear age, when worldwide we are reminded of difference and of inability to communicate beyond general nastiness of self-assertion, drawing connections to a beyond forms through an individually adaptable lyric makes poetry viable in two ways: first by creating a space where a poet can explore all options, on both personal and social levels, in order to provide a means of political safe haven, and second by making connections that may help save us from isolation and separateness that pervade our culture from streets to humanities tower, each department separated floor by floor. Levertov redefines Gerald Manley Hopkins's as the pattern of essential characteristics both in single objects and (what is more interesting) in objects in a state of relation to each other, and of as the experiencing of perception of inscape, appreciation of inscape (PW 7). In Levertov's theory, idea of allows poet to watch herself essential character of environment, an environment often associated with a lack of defining form. But it is this constant flux of contemporary world that a lyric must reveal and address; Levertov calls this pursuit of conscious poetic evaluation a to instress (10). It is interesting that in her description of inscape, Levertov uses a psychological term, apperception, which she defines as recognizing what we perceive (7). Her identification of organic poetry as a method of apperception moves Levertovian idea of organicism beyond notion of a simple form/content synthesis or a discussion of inherent form to an active poetry, one that can both engage and critique postmodern landscape, external and internal. The idea of fidelity to a process that consciously and continuously attempts to write structure of a non-structured world celebrates double bind in which any artist finds herself or himself this late in twentieth century, rather than suffering under it as I would argue any new formalism does. In his recent Postmodernism, or Cultural Logic of Late Capitalism, Fredric Jameson posits a double role for required multi-mindedness of individual in contemporary world: The way in which what I have been calling disjunction or ecriture, when it becomes generalized as a cultural style, ceases to entertain a necessary relationship to morbid content we associate with terms like schizophrenia and becomes available for more intensities, for precisely that euphoria which we saw displacing older affects of anxiety and alienation. (29) This brief passage from a book that effectively shows us how we live and how we respond to living immersed in immediate (400) serves as a definition of a conventional postmodernism as it finds its way into poetry. Jameson is responding to schizophrenic nature of language poetry in this context, more specifically to Bob Perelman's poem China, but I think we can draw an interesting parallel to Levertov's poetic theory here. Language poetry is, in a sense, extreme example of a connection with disturbing multitude of images present in contemporary world; Levertov asserts a poetry that not only can recognize and reproduce that miscellany with a joyous intensity, but can also achieve a safe place from which to critique such a world. Levertov's poetics offer a way not only of playing game but of identifying in its historical sequence. …" @default.
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• W2022703939 date "1992-01-01" @default.
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• W2022703939 title "Openmouthed in the Temple of Life: Denise Levertov and the Postmodern Lyric" @default.
• W2022703939 doi "https://doi.org/10.2307/441526" @default.
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