While traveling, I finished Octavio Paz’s The Bow and the Lyre and also Dave Hickey’s The Invisible Dragon, two very different books that I’m still churning around in my mind as they intersect on the subject of beauty in the arts.
Hickey’s work has been much more controversial than has Paz’s; but then, he addresses a completely different audience in his book (most specifically art world critics, a contentious bunch to begin with). Both writers spend some time on the idea of rebellion in art, and there’s much to consider on just that topic alone. But I feel as though I need to re-read both books and jot down my thinking because–well, they cover so much that relates to my interests. I cannot keep all of this information, and all of these concepts and revelations, in my mind at once.
My brain’s spinning.
Which is a good thing. To spin is to draw and twist into a thread, to gyrate, whirl, “to evolve, express, or fabricate by processes of mind or imagination” [Merriam-Webster], to twirl, roll and yaw, speed along, etc. When the brain does these things, neurons are firing happily. The brain also needs meditative rest, true, but the whirling of intriguing thoughts is a better activity than the grating stir of anxieties or the dull repetition of too-familiar routines.
About Paz. All of the essays in The Bow and the Lyre are good, but some are better than others–and some just appeal to my interests more than others. The glib aphorisms I complained of earlier turn out to be forerunners of quite thorough explorations into the “what” of poetry and of being. I came away amazed at the breadth of the author’s knowledge, the depth of his close reading, his philosophical forays and his artistic analysis and his creative intuition. We should be glad our Nobel laureates are of this caliber.
Furthermore, coincidentally of course, Paz (writing in the late 1950s and early 1960s) cites Heidegger, who was alive at the time; proto-phenomenologist Husserl; and Deleuze–a philosopher who’s on my to-read list. Also many others, some of whom are Mexican or Spanish poets or dramatists with whom I have little or just passing familiarity, and most of whom are poets and philosophers I’ve read (whew, so I didn’t get too lost in his examples).
My favorite chapter is the one on Image in the poem, but I admire his thinking in so many of these essays. Paz discusses the much-acknowledged need for tension in the poem, a topic I thought I’d already read enough about, but his approach strikes me as particularly clear and apt. Robert Bly has written about the “leap” in a poem (see his small gem Leaping Poetry) and the suggestion of the twist or surprise in a poem is not new. Paz considers the poem as a kind of rebellion because the poem is always outside of the expected cultural norm, because the poem is slippery and cannot easily be pinned down–else it fails. There is also a startling-ness to the good poem–his translator employs the word “fulgurant,” an obscure but specific word meaning amazing in an impressive way–suggestive of a flash of lightning.
The tension need not be so flashy. It can be subtle, but the poem has to have earned its ‘turn.’ How does that happen? Paz says that tension is created in tandem with the reader: the reader is an integral part of the poem. What occurs in the poem (in terms of form, imagery, metaphor, meaning, rhythm, wordplay, etc.) will be unexpected even though the reader anticipates it. In fact, the reader desires the surprise, wants the unpredictable, and the poem will be weaker for the lack of it. It’s like watching a fireworks display. You anticipate the noise, “chrysanthemums” and “fountains,” but you’re never quite sure when exactly the rocket will spew forth its light or what form the explosion will take.
The reader expects change and transformation from the poem, expects puns, twists, leaps, juxtapositions, and all the rest. The reader feels that thrill from a poem when the expectation is justified but the delivery of the surprise nevertheless startles. Paz would say that is a revelation.
And this is only one tiny aspect of this deep and intriguing book. No wonder my head spins, and I feel transformed!