for FRANZ WRIGHT: “dark, then bright, so bright”

An antique Relic found amongst the Ruins,
thought to be Samson’s.

What Genius Means Border………………….[Click twice on the old script to read it more easily.]

A further antique Relic thought to be Samson’s:
illuminations on Jūlija’s desk under the volcano on Bali.

God burns

…………….God Burns 4 …………..[Click twice on both to see better, & read carefully for clues to decipher the text.]

Dear Jūlija,……………………………………………………….December 9th, 2017
I love what you say in your last paragraph about the “message of the relics” — it’s very exciting how we’re finding our way there together, and I’m tremendously grateful to you for the help.

In answer to your question about Franz Wright, he was a unique, and uniquely great, American poet who also had a uniquely troubled life. He died just two and a half years ago after a long struggle with lung cancer, having essentially smoked himself to death. He had been abusing drugs and alcohol and everything else for 40 years, was in and out of mental hospitals, and was famous for being extremely angry and aggressive in public and especially  on-line. For examples of the latter you can go to For Franz Wright (2010) cited in my previous post. In particular you can read his Comment 34 followed by his Comments 38 & 39, and finally his very moving last Comment 41.  (For convenience sake I have highlighted all Franz Wright’s Comments in Green.) And you can also read a short reply of my own to him in Comment 40, which will give you an idea of how I dealt with all this at the time.

Insufficiently, needless to say, and why I have felt compelled to revisit the original thread 7 years later, and of course why I am dedicating “He Reflects on What his Genius Means” to Franz Wright along with your beautiful illuminations.

Also why I have high-lighted in blue the discussion with my co-editor at the time, the anti-modernist critic, Tom Brady, who mocked Franz Wright ferociously both as a poet and as a person throughout. My feeling is that readers will be interested not only in Tom Brady’s ‘Old- (as opposed to ‘New-) Critical’ views but also in the way my own understanding of both ‘the poet’ and ‘poetry’ in general developed during the discussion. Because I was caught between a rock and a very hard place, pushing against two uncompromising Savanarolas, Tom Brady on the own hand and Franz Wright on the other, the former dismissing my poem, “Leonardo Amongst Women,” as “didactic” and the latter as “perfectly awful.”

Which was a lot to deal with then, and still is.

[Cont. in the Comments.]

WHY IT IS MORE IMPORTANT FOR A WRITER TO SLEEP WELL THAN BE READ, OR ALMOST

Dod Proctor, %22Morning,%22 (1927)…………………………..“Morning” by Dod Procter (1926).

………………………………………………………………………… December 2nd, 2017
My writing is for me like a journal that sleeps in in the morning…

that wakes itself up every day from scratch…

that is always the same yet always completely different…

that like time itself starts over again every time it’s aware of the time…

that like time is aware of itself only in a present that has neither a past nor a future or anything in common with anything defined, labelled, catalogued or published…

that is always there in my present because it has never had to become like another person’s book on my shelf…

that is never finished because it has no other reader to fix it like a butterfly on a pin, a print in the darkroom, or a boat with a chart and a hand-bearing compass somewhere out there on the ocean…

that is never opened because it’s a book that has never been cut even after it has been selected, edited, printed, purchased and held in a hand or a wrapper or warmed in a pocket or by the pillow in somebody’s bed…

that is susceptible to revision but not editing, i.e. susceptible to being re-seen but not re-said because it might sound better any old way…
………………

[cont.] ……………………………………………………………… December 3rd, 2017


…..

…………………………...‘LIBERATION’  (vendredi, 19  janvier 1990)

[cont.] ……………………………………………………………… December 4th, 2017
I lay in for a long time yesterday morning, figuratively speaking, and my sense of it is that that was good. It meant I didn’t have to explain anything to you about what I was doing and, low and behold, that worked out brilliantly. Because it was obvious — you just clicked on the clipping to get in and even if you didn’t speak a word of French the drapes showed you everything. And of course Cristina Szemere then set that up beautifully in her elegant précis: “persistent absence…awareness because there is no revelation, no un-dressing.”

Oh my!

And then on top of all that there were you visitors from France, Spain, Angola, India and Thailand along with the anglophones from the U.K. and America, all clicking on ‘Liberation’ to get a life in the next:  FOR FRANZ WRIGHT – January 21, 2010.

What I’ve done today is highlight the relevant passages in blue so that if you’re ready you can breeze through it all quite easily and I can continue to lie in.

Oh yes, and the keywords, of course: Didactic, Perfectly and Awful.

[cont. in the Comments.]…………………………………………. December 6th, 2017