Synthesis

“The current moment” has a way of inserting itself into poetry I write, not just these past weeks but always. I look at my poems written in the wake of the 9/11/01 attacks and can see reflected in their pacing, tension, or imagery some aspects of the anxiety of those days. Not that I wrote much poetry that employed that current moment as a topic or narrative…just that the numb dread, surprise, and confusion managed to enter in. Poetry can contain and convey those hard-to-describe emotional tensions. Ambiguities. Conflicted feelings. Multitudes.

Poetry, by its nature, requires synthesis. For example, metaphor is one type of synthesis. In Carl Sandburg’s poem “Good Morning America,” he famously says that “Poetry is the achievement of the synthesis of hyacinths and biscuits.” (But then, he also says “Poetry is a pack-sack of invisible keepsakes./ Poetry is a sky dark with a wild-duck migration./ Poetry is the opening and closing of a door,/ leaving those who look through to guess about what is seen/ during a moment.”) Make of it what you will.

A few posts back, I mentioned my dad has been showing up in my poems recently. That’s still occurring. This one doesn’t have a title yet, as I’m still mulling it over and will probably revise the whole poem down the road. The initial impulse for the poem had nothing to do with my father or the war in Europe, and we do not have any daffodils in bloom right now. But there they are.

~

[Verge]

On the road’s verge, geese stand looking unctuous,
	vaguely irritable as I pass them
going 50 on the route I’ve taken for decades
and this time I recall two years back, when my dad
	was failing, how eagerly I sought any sign
of seasonal change—
	early-flowering witch hazel, or crocuses, quince,
swells in daffodils’ green emergence 
while inside myself the slow emergency of his dying
	began to open from probable to imminent.
I drove south idly; through the windshield I 
	looked forward to nothing, as my mother
talked of nothing when he floated in his haze of pain
and Dilaudid while holding one hand over his head
	as though he could, with his fingertips, pull
the ache from his left ear over his head and into the room
	where it might exit.
Now, the exodus occurs elsewhere, in refugee waves
of people whose minds and bodies lug their different pains
	across other kinds of borders.
My father’s experience of earth has ended,
	his baptism complete. His birthday was in April.
	See there, along the roadside? Daffodils.


~~

Bro-ken

In the northwest sky this morning, mackerel-sky and mares’ tail clouds like fins, wispy and broken up against the blue, brought to mind the book I’m reading: Robert Macfarlane’s Landmarks. In this book, essays on place and environment interweave with “word hoards” or mini-dictionaries, a rich lexicon of regional terms that describe specific observations concerning weather, geographical formations, topology, the sea, plants, moorlands, mountains, and mines. He uses the word adit! (See my post here.)

 

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mares’ tail clouds

 

Macfarlane’s word hoard draws mostly from the British Isles, but his essays–in this collection, many are based on books he has loved–assert that naming is noticing, noticing is loving, and loving means preserving or saving. “Language deficit leads to attention deficit,” he says. He’s not incorrect. My own experience concurs; for the past few years, I have had less time and energy to walk my meadow and take the two-mile amble along the back roads of our neighborhood, and as a result, my written expression feels both a bit contracted and less precise. I need to get back to the land.

Meanwhile, more broken things, from which (see this post) we may encounter or derive good words. The most recent break happens to have been the nose of a Best Beloved. I think it is time the broken things spell gave us a break.

In that vein, here’s a 1932 poem by Carl Sandburg, “Broken Sonnet”:

May the weather next week be good to us.
The strong fighting birds, so often ugly,
Jab the songsters and bleed them
And send them away; the wranglers rule,
The fast breeders, the winter sparrows,
The crows.  The weeds, the quack grass,
The tough wire-grass, they have it all
Their way.  May the weather next week
Be good to us.

~

 

Hyacinths & biscuits redux

hyacinth burpeeI wrote about synthesis in this post of 2017 while reading a series of complex books. Now I am thinking of how poems involve synthesis. Today’s rather quirky draft seems to have emerged from life experiences. Academics–you know who you are–will understand the irony. I’ll leave it at that.

~

This is the 29th day of my composing a poem a day for National Poetry Month! Tomorrow–perhaps a recap of the experience. Or maybe just a long exhalation.

~
Peer Review

In The Journal of Complete Sentences,
there are, as per Table 1.
And under review, a wide range of
studies that. Research may show,
for example. Admittedly,
gaps. Or the tapering off.
Speaking apparatus offers one method
demonstrating correlation of,
and relationship with.
These abstract concepts in no way
refute previous empirical
results that strongly imply.
Indeed, studies employing fMRI
techniques to track neurotransmissions
offer qualitative.
The many degrees of distance.
Past case studies. Analysis.
As Appendix D suggests.
No closer to an understanding.

~

 

Hyacinths & biscuits

Synthesis results in innovation, imagination, surprise.

Carl Sandburg, in Good Morning, America (1928): among 37 other “definitions” of poetry, Sandburg wrote that poetry is “the synthesis of hyacinths and biscuits.”

Well, maybe not. Then again, my recent reading has resulted in synthesis in my own gray matter, and it is not difficult to see where the reflection leads.

Lakoff & Johnson’s Philosophy in the Flesh; Greenblatt’s The Swerve, which describes how 16th-century book hunter Poggio Bracciolini rediscovered Lucretius’ poem On the Nature of Things and what resulted to change Western thought; a re-reading of said poem (available in prose or verse translations); some verses by Li Po; and Mary Oliver’s 2009 collection Evidence.

Add to this thought processing a beautiful spring day spent out of doors, gardening and visiting with friends.

What results? I don’t know, really. But it feels a bit like joy in the moment.

hyacinth burpee

Image thanks to Burpee gardens

Synthesis & coincidence

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Ah, synthesis! The conjoining and combining of objects, ideas, theories, values and systems, arts, media, experiments, research, disciplines, metaphors, symbols, rhythms, patterns, DNA, et (“&”) cetera.

Synthesis can be planned, hypothesized, purposeful–and it can be spontaneous, unexpected, coincidental. There are times when I feel as though the overlapping and intertwining of experiences seems to have been somehow “planned by the cosmos” (or some higher power); but coincidences occur more often than we think, especially when our consciousness is primed to make connections.

I have primed my own brain, recently, to synthesize thinking about aesthetics, neuroscience, the arts, philosophy and consciousness. So it should not surprise me–though it does!–that the books I have recently been reading connect many threads of my thought, including other recent readings. For example, Martha Reineke’s Intimate Domain: Desire, Trauma, and Mimetic Theory is an exploration of family “romance” in psychoanalytic theory that draws on Freud and Girard; but because Reineke uses Girard’s early writings as her basis, she cites Merleau-Ponty and phenomenology quite often. Furthermore, mirror neurons and the place and operations of consciousness appear in her claims and explorations in this (difficult) text. Mirrors and mimesis, minds and spirits…Gabrielle Starr’s Feeling Beauty, which I’ve mentioned in recent posts, examines the art-body-mind connections in neurological domains and mentions, more than in passing, the phenomenological aspects of the experience we term “art.” Arthur Danto’s The Transfiguration of the Commonplace: A Philosophy of Art (1983, though I read it last month) also wove itself into my thinking as I read Starr’s more current book. In addition (oh, there’s always an “in addition” with synthesis), I am re-reading Csikszentmihalyi’s classic, Flow: The Psychology of Optimal Experience. The states humans experience when we work hard at challenges we enjoy, such as art-making, are deeply connected to our brains and also rooted in our bodies.

So there is a coming-together, a process not unlike chemical bonding, that all of these texts and ideas produce in my mind. This post is one outcome, I suppose. But there will be others.

~

From Carl Sandburg’s “Tentative (First Model) Definitions of Poetry” (1928): “Poetry is the achievement of the synthesis of hyacinths and biscuits.”

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