Articles

Matching Różewicz

In one of his famous poems Tadeusz Różewicz writes about his “homework” — it is the “creation of poetry after Auschwitz.” The poem dates from the 1970s and it is deeply ironic, very much like most of Różewicz’s greatest poems. And just like many other of his monumental statements, the “creation of poetry after Auschwitz” keeps coming up in simpleminded interpretations as a handy emblem of all of Rożewicz’s oeuvre. Apparently, that’s the way it’s going to be. But Różewicz’s true greatness is far from handy — it is ambiguous, aporetic, full of doubt, even doubtful.

Różewicz and purity

Tadeusz Różewicz is the master of purifying poetry. When I read him, I wonder, why is it I like all this filth that sticks to me. Purity, though it seems simpler, in fact incapacitates; it’s hard to shape something with it. Różewicz shapes his sculptures with filth, then washes and smoothens until they look cast in bronze. Conversely Miłosz turns every purity into the purest shit. Must you always combine Miłosz with Różewicz? Yes.

Tadeusz Różewicz is the master. I read, I wonder, it sticks. Always? 

Różewicz is. I read for filth.

Grzegorz Wróblewski and Różewicz

In the interview published last year in this magazine, Polish poet, writer, and dramatist Grzegorz Wróblewski refers to Różewicz as a “great poet” and “genuine innovator.” It would be accurate to say that much of his own poetry, which he has been writing since the early 1980s, builds on Różewicz’s example. In many of his poems Wróblewski adopts an austere and straightforward style.

Clark Coolidge's cave art

Clark Coolidge, “Knox Cave: Sketch-Map By Clark Coolidge (NSS 1294)” [click for larger image], June 1956. Image courtesy of Clark Coolidge and 'The Northeastern Caver.'

Face an inch from the earth, fingers
ground down clenched into it.
Crawling, try to push the
earth off me so I can stand
away from it.
— Clark Coolidge and Philip Guston, Baffling Means

On embedded poetry

Stephen Collis speaking to the media outside the BC Supreme Court.

I. Poetry and the mess

The notion that poetry has nothing to do with the “real world” of history and politics is a notion mostly held by a) some poets, and b) some people otherwise invested in poetry (critics/professors). The idea doesn’t come from the “real world” (however that might be artificially constructed), where I have never myself witnessed poetry being dismissed out of hand as an unwanted or alien intrusion.