language as material
I’m only a bit into a wonderful book by Matthew Zapruder called Why Poetry? but it’s already provoked a paradigm shift.
Simply put, the book is a really beautifully written primer on the poetic form and why we read it, what its purpose is and how vital it is as a form of expression. A really remarkable series of signs that the book is meant for me have been the poetry he’s used as examples: “Musée des Beaux Arts” by W.H. Auden, which was one of the first into which I did a deep dive (pun intended, if you know the poem) as a part of my honors English class first semester in college; and John Ashbery’s Self-Portrait in a Convex Mirror, a compilation that really made a strong impression on me when I studied it for my Modern Poetry class later in college. For someone who hasn’t read a whole lot of poetry, the selection of those two in particular is really amazing, and immediately makes me feel invested in the book’s thesis.
The epiphany the book has catalyzed so far has to do with the criticality of how we experience artistic expressions that become meaningful to us. Up until now, in endeavoring to build a connection with acquaintances, I’d simply assumed it was enough to just listen to, or watch, or read things they listed as having been significant, and following on from that, share my impressions. But I’ve come to realize that everyone experiences things in their own way. Put another way, after listening to the song, or watching the film, or reading the poem, I need to ask them “How did you experience that?” or “Where were you when you read that line?” or “What did that scene remind you of?” or “What were you looking at when you heard that refrain for the first time?” or any number of less leading questions. I’ve had those moments in my own life where something absolutely mundane acquires cosmic significance just because of where I was, or what I was thinking of, or what I was feeling at the moment I witnessed it. We can’t engineer those moments—to a degree, but the book is teaching me how poetry leverages the potential of language to usher the reader into the state (emotional/spiritual/physical) with the best possible chance of evoking a transcendent moment. And given how significant and existential those moments are and closely they’re tied to what we’re reading, hearing, or viewing when they occur, trying to learn the context, the specific inflection points for others in the expressions they experience is critically important in understanding what it means to them.

