Quote:
Originally Posted by Charlotte Innes
Is this poetry? The essayist accepts that it is. Do I? Well, OK. But more a trigger for poetry, a prompt, a match to set the imagination on fire, a flintstone to strike the spark of poetry in others. Not such a bad thing, that.
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I really liked the little piece you excerpted above, Nemo, on Yoko Ono's "conceptual art." I do think she's describing something akin to a "trigger," which I mentioned in my post (#9) and which Amit also alluded to in his post (#12). He added that "Zen koans are like this. So are certain mantras. Or short poems by Paul Celan..."
The fish poem nudges our preconceptions, makes us think, argue, question, pay attention.... And what Yoko Ono apparently has tried to do is to find more attentive ways of looking IN, and ways of looking further OUT than we are accustomed to--ways of paying attention to what's really there, without worldly clutter, also an attempt to shuck off inner clutter.
But isn't this also is the mark of a good poet? Paying attention is the preparation for a poem, isn't it? So, is the
preparation itself a kind of art?
And isn't that kind of attention a matter for the individual? In what way is it accessible to others? Isn't art about sharing with others, or can it be simply in the making, whether it's tangible or not?
How does art include others if it is: "To stand back, to hold back, to keep your mouth shut. To yell with your silence."
Is connecting with others through art always "...the will to power? (See the end of Nemo's excerpt above.)
?????
Charlotte