Discovery The British poet Nigel Ford observes, "The
propagandists aim is to win the argument. The poets aim, and the
Christians aim, is to tell the truth and indeed, to shame the devil" (124). In
Fords vision, telling the truth poetically is a fully-orbed wisdom. There is no need
to reiterate here what was covered under "Distinctions" above, but along with
that sense of writing contextually, dramatically, and complexly, we need to explore where
that truth resides and how it is discovered.
Cairns suggests that a poet writes to discover not simply to teach: "[S]he must
realize that she makes art in order to find out what she doesnt know[. . .I]t
is a calling to a lifetime of toil, and its purpose is, primarily, to make the artist a
better person" ("Its Not Just You"). Rod Jellema passionately
concurs:
You have to know right away that poetry is not eloquence or decoration or a nice way of
saying things. It is a way of seeing, a way of discovering perceptions, moments of
awareness that were not there before. The poem is the body of a different kind of
"knowing," a kind of awareness that the conscious intellect by itself cannot get
to. But the poem is also the process of its own little discovery; it leaves its
footprints; the reader can follow the creative process step by step, feeling the swerves
and leaps and undertones and soundings and strange connections in the language that got
the poets imagination into that unified awareness, that little incarnation, that
poem. [. . .] The poem is a thousand times closer to the concerto or the painting than it
is to the sermon, speech, article, editorial, or discussion. (330)
The finished product of poetry has its own process embedded in its words. For example,
consider Denise Levertovs poem " Flickering Mind":
Lord, not you,
it is I who am absent.
At first
belief was a joy I kept in secret,
stealing alone
into sacred places:
a quick glance, and awayand back,
circling.
[. . . .]
I stop
to think about you, and my mind
at once
like a minnow darts away
[. . . .]
Not you,
It is I am absent. (1-8, 12-15, 23-24)
The shape of Levertovs poem flickers in much the way that her mind does. The
lines are both present and absent in the way her own consciousness of God twitters in and
out of focus. The poems structure and movement reveal what Levertov has come to
understand about her own spirituality. She speaks simultaneously of the truth about
herself that she has discovered and the conditions that make discovery so hard.
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