Hank Lazer

On line breaks (SOURCE):

Initially, the form of Portions, due to the very short lines, made me think more fully about the multiple possibilities of line breaks – the way the line break offers both a discontinuity and a space through which one reads to connect. In some ways, the condensed form allowed me to try some of the quick compression, turns, and fusion that I found in my readings of Celan. While some of the lyrical pleasures of Days can also be found in Portions, the latter has less of an insistence upon melopoeia or traditional modes of lyricism.

On “Musicality In Poetry“:

My first suggestion is that “meaning” and “musicality” are inseparable, coincidental, and simultaneous. It’s not that a poet “has something in mind” and “tries to express it.” The poem is the thinking, is an embodiment, a highly specific incarnation and manifestation of an interval of consciousness. While I don’t mean to suggest that poems do not have meaning, I do think that viewing a poem as an object to be re-stated in terms of a theme or an underlying idea amounts to a kind of linguistic strip-mining – a process that extracts an element at the expense of the overall verbal terrain.

Poems don’t have to be about something; the poem itself is a primary thing in the world. I think of poems – as in the best of Creeley – as intervals of consciousness. And the musicality of the poem – including shifts in direction, shifts in tempo, playing off of similar sounds – is intrinsic to the embodiment of a particular interval of consciousness.

Peter Nicholls on George Oppen

Here are two points on Oppen’s poetry that have made a significant impact on how I think about my own work.

On the multiplicity of voices that speak in a single poem:

“Quotations are everywhere in Oppen’s poetry, especially in his later work, where he began to distinguish them by using italics rather than quotation marks, thus marking them not as speech but as another layer of text. Increasingly, the incorporation of ‘foreign’ materials does not point outside the poem, but functions rather to disrupt any sense of unified poetic ‘voice’ even though sources are often obscured.”

On poetry as a form.of knowing:

“The poet may recall a past experience, then, but that experience is fundamentally recast, perhaps so as to be almost unrecognisable, when caught up in the force-field of present perception. We are dealing not with a situation in which a given subject appropriates something other as an object of knowledge, but rather one in which (as for Heidegger) thinking and being are somehow elided. In this sense, the poetic imagination intuits rather than knows…”

From “George Oppen and the Poetics of Quotation” by Peter Nicholls