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Musical Colors & Images In Sounds
by David Sparenberg
2018-06-02 06:56:47
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Musical Colors & Images In Sounds
Some Thoughts on Making a Poem

If a poem is approached as a living organism, these would be its vital needs:

Being seen and being heard are at the core of recognition.  Both are sense impressions.

Whatever has life longs to be recognized.  This longing is unique to each, and yet the same for you and me, for beavers and orcas, for bears, butterflies, parents, teachers, and bumblebees.

sounds001_400Being recognized involves trust, feeling safe to be sensed, to be seen and heard.  Recognition takes place out in the open.

Whatever is visible is visible as an act.  Presence is an act.  Everything that has presence presents itself with a language.  The language of a wind swayed tree is not your language; the language of a cascading stream is not mine.  Yet each can be comprehended as felt-communication through observation and quiet listening.

The poet’s work is to shape the languages of life’s presence into experience through the languages of human response.

A poem is not a newspaper column.  A poem is not a statistical chart or a “facts only” report.  A poem is never without feeling, whether the feeling is as loud as whirlwind or as soft and quiet as a mother’s whisper.

A poem is a way of expression that wants to be remembered.  Being discovered in the world as memorable is as vital to a poem as being seen and being heard.

The attention point of a poem is the power of its recurrence.  It lives through being returned to and is alive in its literary identity by exercises of deep contemplation.  But a poem is most truly alive when being spoken.

When you make a poem, make it for the senses—give you poem shape and texture, give your poem colors, give it a voice and make it stand out as a quest or a question seeking attention.  This is the same as with a sunflower or thunderstorm, a hummingbird or bowhead whale, a cactus in a desert or a forest powered by the interplay of sun and rain.  Following this way, by nature, your poem naturally sings the world.

A poet’s responsibility is to sing the world.

What does this mean, “to sing the world”?  That is a question a poet lives in.  And every poem that is complete is part of an answer.  As a ripple or as a wave, as a tempest or a breeze, a poem goes out to the world and something, somewhere, for someone, changes.  Every poem that is made travels inward too and the poet, the poem-maker, has changed something inside of who she or he is.  That is poetic magic. That is poetry’s power.

Being recognized and being remembered are beginning and end of a circle.  A circle is a figure of which you cannot say where it begins or ends, and that has to do with the mystery of the circle and the mystery of poetry.  A circle is a presence, a power, an act both in time and timelessness.  It goes around and around and around.

A poem too is a circle.  A poem too is in time and timeless.  It abides on the written page and can always leap into life, like a fire of warning or a fire of warmth and comfort, on the breath of inspiration, for the culture of generations.  Whether that culture is as specific as a private island, as wide as a populated continent, or as intimate as a family circle.


Check David Sparenberg's NEW BOOK
THE GREEN TROUBADOUR A Source Book of Performance Ecosophy
is online now and you can download for FREE HERE!



David Sparenberg has also 2 more Books in the Ovi Bookshelves,
"Life in the Age of Extinctions volume 2 – Threshold"
Download for FREE HERE!



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