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Blogging through Allen Grossman, Part 1: The Role of Poetry
Posted By Micah Towery On February 9, 2010 @ 5:07 am In The Other | 9 Comments
First, I want to say it is an honor to be blogging with so many great minds and poets. Some of you I’ve met in person, and many of you I haven’t. I hope to get to know all of you, at least virtually. It will be fun to see where blog goes. Now, onto my first post!
I’ve been reading through Allen Grossman’s The Sighted Singer in the last few weeks. The book is actually a combination of two works: a series of conversations Grossman had with Mark Halliday and Grossman’s own summa (literally) on poetry. Much like the Angelic Doctor himself, Grossman provides many interesting terms, definitions, and distinctions that are worth pursuing. Even better, Grossman and Halliday often disagree, and this back-and-forth opens the terms up even more. Forgive me as I muddle through these ideas myself.
So….where to start?
I think I’ll begin with what immediately appeals to me about Grossman. Grossman is interested in the idea of “persons.” Recently, I began to encounter the philosophical concept of “person” through the work of Erazim Kohak, whose book The Embers and the Stars closes with the importance of the person. The person, I guess, could be seen as a basic unit of value. Animals have personality (cue the Pulp Fiction scene), and folks like Peter Singer consider animals to be persons, but let’s not go there (at least not yet!).
Grossman, too, sees persons as “value-bearing,” and he differentiates persons from “selves” along this line of value. The self is something that can be discovered or found. The self is what Freud parsed: a hurricane of secret desires, phobias, and complexes. Persons, however, are what poets write about; they are “artifacts.” Now, to say it is a construction of sorts, does not mean it has no “presence.” I don’t think of this construction as a mask, a falseness, something that obscures, but rather the actuality of what we perceive when we encounter other selves. In other words, I experience “Micah Towery” as a self—myself. You, however, encounter me as an object (in the Thomistic sense), but more: a person. You encounter my presence through my writing.
How does this connect with poetry? Grossman says that the role of poetry is the preservation of the images of persons. But it is more than just a way of remembering a person, who they were, their achievements. The poet is more than just a historian:
Horace’s assertion that the heroes before Homer were inlacrimabiles, incapable of being wept for, does carry with it an implication different from the mere suggestion that Homer was the principle of the transmission of a message [the recovery of the image]. It suggests that there’s something fuller, and more consistent with the whole nature of the person as precious, about the holding-in-mind by the poem of the picture of the person.
Some people often speak about poetry being purposeless; “art for art’s sake” it is said. I think this is usually a protective stance against reducing art to pure utilitarianism. It is still striking, though, that Grossman has no problem ascribing certain tasks to poetry: the preservation of images, and making those images present.
This brings me to another aspect of Grossman that appeals to me: his discussion of images. I use the word “image” in a more theological sense, as I am speaking from the Christian tradition. Theologically, the image is more than simply a picture. Humans are made in the image of God (who, incidentally, is a person—three actually). Eastern Orthodox Christians have long spoken of icons as a “window to the divine.” Even Christ was called an eikon (image) of the invisible God by St. Paul. (I would be very interested in hearing from other religious—or non-religious—traditions and seeing how other streams of thought think about the idea of the eikon/image.)
So, in my understanding, Grossman is advocating the poetry as an art against “forgetting.” The comparisons between Grossman’s concept and Forché seems inevitable. Forché’s poetry is a poetry of “witness.” Is this a purely historical witness? Or is it about the preservation of persons as Grossman states it? This is a question for those of you who know Forché better than I do.
That’s all I have for my first post here. Feel free to debate, tweak, or denounce in the comment section below. There are just so many things to discuss in Grossman that I suspect this “blogging through” will take quite a long time…I look forward to a lively discussion.
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