Category: Knowing & unknowing

Some thoughts on Merlinda Bobis’ process

Hello poets and readers,

In our recent podcast with poet Merlinda Bobis, she notes that consciousness of process comes about after the fact. While writing, she is too busy leaping from one thought to another to allow for this kind of reflection. Something captures her and makes a poem possible. She describes the initial impetus as an accident –her book title Accidents of Composition reflects this – the poem has to retain an element of surprise. The poem leads her, and further accidents happen as she writes, through associations; the poems seem to compose themselves. Analysing her own text, she remembers what gave rise to it, an act of contextualising how the work happened, and of looking at it as a reader. Even her return to poetry from the novel was accidental. Her writing often begins with strong images; sometimes she takes photos to use as prompts – the sense of ‘something else’ that is in the image becomes the poem.

Some thoughts on Christian Bök’s process

Hello poets and readers,

In our recent podcast with experimental poet Christian Bök, I spoke with a poet who has a truly scientific approach to poetry, who ‘conducts experiments through language.’ He accepts that some experiments won’t work, but is committed to seeing them through, even if they represent decades of work through complex processes. His poetry can be termed ‘process poetry’: work where the act of creating becomes part of the content.

Podcast: Christian Bök’s process

I conduct experiments through language.

Christian Bök

Poetry in Process podcast, July 2019

Hello poets and readers,

We’re delighted to be able to bring you our second podcast, with experimental poet Christian Bök. Christian’s approach to poetry is scientific. He uses experiments in poetry to test ideas and capacities, unsure of outcomes. He has dedicated himself to ‘formalistic innovations’ and ‘exploratory procedures,’ which means that his work is intimately bound up with process.

Process and knowing

Hello poets and readers,

Poets need to be able to inhabit the place of unknowing, in order to bring new realisations, techniques, forms and processes into the known world. In an article recently published in TEXT, ‘A New Suite: The Process of Knowing through Poetry’, I highlight the fact that the noun ‘knowledge’ is unnecessarily privileged in western writing, compared with the verb ‘knowing’, and emphasise that knowing how to do something is the most important aspect of knowledge. That knowing how to do something is what matters most is an idea found in various forms in writers as diverse as Aristotle (the knowledge of how to make things); William Carlos Williams (knowledge as ‘a living current’); Mark Johnson (knowing as a process of inquiry); and Jen Webb (poets offering ‘new ways of knowing and doing’). These are all descriptions of active states characterised by the verb ‘to know’. But we don’t always know how to do something until we’re doing it and working it out in process.

Philip Gross and collaboration

Hello poets and readers,

I recently revisited the text of UK poet Philip Gross’ keynote speech ‘Together in the Space Between: Collaboration as a Window on Creative Process’ given at the Poetry on the Move festival in 2015 and later published in Axon. Gross has had the advantage of a number of productive creative collaborations, both with artists from other media and, less commonly, with a fellow writer. Early in his career, he worked in a mixed group of painters and musicians from several traditions gathered around John Eaves’ huge charcoal drawings of Stonehenge, a collaboration which was extended to include the artist FJ Kennedy. The topic of Stonehenge is one shrouded in unknowing, which was deemed inviting to creative adventure, to leaving behind preconceived notions and to improvising.

Amy Lowell and the subconscious

Hello poets and readers,

One of the first pieces of writing I remember reading about process is Amy Lowell’s essay ‘The Process of Making Poetry’ (from a book originally published in 1930). Lowell was an early shaker in the Imagist movement, and experimented with lineation and what we now call prose poetry. She also wrote haiku and is anthologised in the recent Haiku in English: The First Hundred Years.

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