I’m reading about hearing loss, and creative use of hearing and listening, in essays in Beauty is a Verb, ed. by Jennifer Bartlett, Sheila Black, and Michael Northen (a must-read book!). Thinking about how all hearing is probably mis-hearing, and all movement from one source to another (poem in head to poem on page, poem from poet to poem in book by publisher, poem read in book to poem in reader's head, poem uttered in reading to poem heard in reading) involves evolution, change. Laurie Clements Lambeth, in her essay “Reshaping the Outline,” in this book, speaks of this with grace and clarity, including the creative potential of such transmission, or, if you like, mistransmission.
I find myself reading Norma Cole's essay in the book, “Why I am Not a Translator II,” and echoing its words as I go, according to thoughts I'm developing about the book's (in a large sense) openness and impermanance, maybe the idea's openness and impermanence. From this point, until and not including the last line, I have taken excerpts from Norma Cole's writing, including that essay, and the following poem, also included in Beauty is a Verb, titled “Speech Production Themes and Variations,” and those excerpts appear first, not in parentheses, with my echoing of them following in parentheses.
Word-seeds. Sphota. ( ideas seeds flax paper book )
one has ideas before one has words to say them. . . . No tabula rasa. ( the book is always pre-content )
Echoes listening hearing
Transmission
I’m reading about hearing loss, and creative use of hearing and listening, in essays in Beauty is a Verb, ed. by Jennifer Bartlett, Sheila Black, and Michael Northen (a must-read book!). Thinking about how all hearing is probably mis-hearing, and all movement from one source to another (poem in head to poem on page, poem from poet to poem in book by publisher, poem read in book to poem in reader's head, poem uttered in reading to poem heard in reading) involves evolution, change. Laurie Clements Lambeth, in her essay “Reshaping the Outline,” in this book, speaks of this with grace and clarity, including the creative potential of such transmission, or, if you like, mistransmission.
I find myself reading Norma Cole's essay in the book, “Why I am Not a Translator II,” and echoing its words as I go, according to thoughts I'm developing about the book's (in a large sense) openness and impermanance, maybe the idea's openness and impermanence. From this point, until and not including the last line, I have taken excerpts from Norma Cole's writing, including that essay, and the following poem, also included in Beauty is a Verb, titled “Speech Production Themes and Variations,” and those excerpts appear first, not in parentheses, with my echoing of them following in parentheses.
Word-seeds. Sphota. ( ideas seeds flax paper book )
one has ideas before one has words to say them. . . . No tabula rasa. ( the book is always pre-content )