Michael Cross

Prolegomena to (Any Future) Process Poetics

Horizon

Pt. 3

Cy Twombly, ‘Treatise on the Veil (First Version),’ 1968.
Cy Twombly, ‘Treatise on the Veil (First Version),’ 1968.

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” [1]  

Worlding

Pt. 2

Michael Heather and Nick Rossiter, “A Schematic World-Universe Relationship”
Michael Heather and Nick Rossiter, “A Schematic World-Universe Relationship.

Givenness is a veil. As proof, the first words of Emmanuel Levinas’s Totality and Infinity chop and screw Rimbaud’s oft-quoted “The true life is elsewhere. We are not in the world.” For Levinas, it’s a crucial corrective: “‘The true life is absent.’ But we are in the world.”[1] Truer words were never slowed and throwed.

Gambit

Pt. 1

Albert Renger-Patzsch, “Mary Wigman’s Dance School,” 1935.
Albert Renger-Patzsch, “Mary Wigman’s Dance School,” 1935.

The poem is broken.

Can’t we admit it out loud, if only to each other? Or else, more accurately, “the poem” (-qua- “revelation”) is broken. We’ve known this, intuitively, at least since developing the good sense to invite our readers to the table. We asked them to build the poem with us, to play Maxwell’s demon at the sliding door, orchestrating the poem’s force in an endlessly productive positive feedback loop (what Zukofsky calls “liveforever”: “Of the artist — failing he must blame himself — He wants impossible lifeforever”[1]). But once they turned to face — said readers — eager to play ek-stasis, entropy be damned, we refused to actually acknowledge them — what they need to know and how they come to know it — listening instead to the wires “dance in the wind of the noise our poems make. The noise without an audience.