For me, that tension between poetry, writing, and drawing is utterly captivating. So much so that I have spent the last two years writing poems that enter into conversations with Twombly’s work, a project I have found both humbling and transformative. In fact, the last real public outing I engaged in before the pandemic lockdown was a visit to the Cy Twombly Gallery at the Menil Collection in Houston.
Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. — Susan Sontag, “Against Interpretation”
For Leslie Scalapino, the poem’s an apparatus, no mere mimetic catch to reproduce world(s) as a backdrop for the poem’s disclosures. That it can be used to observe the manifestations and codeterminations of entangling and unfurling world(s) is also mere axiom; more crucially, the poem tears back the veil of the “real” (in this case, where flesh meets florescence: body/world) to point to the rachitic frame-structure bolstering becoming.
in the hug of a wave horizon rolled youngly from nothing. —Susan Howe, “Chanting at the Crystal Sea” 
Why am I drawn to abstraction in images and quite dubious of this gesture in writing, wary of a writer’s intentional subterfuge, and the privilege, perhaps, of a writer who does not need to comment on the world with narrative clarity, with a point, with a discernible stance, evidence, argument? In an attempt to bring this personally persistent mix of desire and wariness into dialogue, I have begun to unpack the word “abstraction,” and though I voluntarily stepped away from a PhD program more than twenty years ago, I am still exploring “argument” and its forms. Researching textiles — in order to teach a course on expository writing through textiles and to imagine a poetry workshop via textiles — the words “geometry” and “pattern” began to take hold, not necessarily eclipsing abstraction, but emerging from a word more various than I thought.