Improbable Epiphany: reconfiguring the End in a poem by Charles Wright

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Charles Wright Bye-and-Bye:
Selected Late Poems (2011)

In reading a poem we don a mask that reconfigures one’s sense of reality. We participate in our own forsaking. Which is a tall order. Wright reconfigures our immediate sense of our personal end at first in deeply unsatisfactory ways.

But how otherwise? The poem keeps going along in its maladroit way. The first sentence sort of cruises into a ditch of nonsense. Yet along the way he’s reconfigured this penultimate moment, teetering on embarrassed silence. Well, it’s a difficult topic!

Next he returns to the opening metaphor for another verse (it’s like a country song). This time there’s a kind of epiphany. The sentence limps along, coming to rest in a place full comfort and beauty. We’ve come to see our special moment shorn of sentiment, shorn of ego. The mimesis is perfect for there is no ego at this moment.

Jane Clarke’s Reserve

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From Jane Clarke The River Bloodaxe 2015

Jane Clarke’s reserve is the pit of her power. From the comparison of The Shannon to a draughthorse in harness, the poem quietly, effortlessly, unfolds its mystery. The imagery reaches a climax with ‘drops fall in unison,’ and many a poet would end things there. But the image isn’t everything. And here we are blessed with a kind of revelation of form as disciplined sequence. The poetry of what happens has become a cliche. Here what happens is seen as a process experienced by those willing to follow the ‘master’ or so wonderfully here the heron into the day. We lean into experience, we ‘catch’ as the rhythm takes over, we pull back in yielding to the momentum and glide, we release.
Isn’t that what poets — what poems— do? Isn’t that the ‘inner form’ of the poetry that happens with and for us? Isn’t that fulfillment of the promise of flow in the best sense?
It’s a really good poem that makes new and vital some of mankind’s most intimate intuitions.

Inner Form Simplified

To reach Metaxyturn, where the participating consciousness becomes the site of agapeic otherness, the work of art goes through two stages. 1. Through dialectics reaching the abyss of the self on the edge of abyss/the divine passage (think Beckett). Here asymmetric relativity replaces the relativity of dialectic. Dialogue with otherness interrupts. 2. Witness. The overfullness of presence of the divine other’s passage in the between. Think Bonnefoy’s resolute fidelity beyond nihilism. Presence. Hope.

Language Senses

The roots of poetry are in the language. ‘The language’?
Well, that multidimensional object-medium that allows us a sense of ourselves and our world.
Language can be known in terms of being. William Desmond exhaustively defines four aspects: the univocal (the out there, rationally necessary), the equivocal (sense changing with context), the dialectical (the sense yielded by questions and answers), and the metaxological (the sense, fundamental to poetry, of the special open whole that draws on all the other senses and limits them by its sense of transcendence, of ongoing expanding relevance to what it is to be awake, mindful, in and through language).
Poems are true to ‘the language’ in varying degrees; so are poets; so are readers.