Personal Mythology of Organic Poetry Workshop,
Saturday, October 23,
2010 (The Writer’s Workshoppe, Port
In 1912, in the introduction to the 4th edition of his book Symbols of Transformation, Carl Jung asked: What is the myth you are living? Personal Mythology is the name of that myth and you have one, whether you are conscious of it, or not. I can’t tell you what it is, but you can discover your own and, if you don’t like it, you can change it. What is the theme of your life? What patterns inform your activities? This course will help you discover a process of getting deeper into your own consciousness, perhaps to the level of personal myth.
(In my essay What is Consciousness, you can see where I put this in a model of how consciousness manifests. OrganicPoetry.org)
Questions to ponder: What writing project do people associate with you? Is there a subject on which you’d seek to do a saturation job? Do you carry a small notebook in which you can jot down short poems or notes for poems?
A use of speech at its least careless and least logical (Charles Olson.) If you have not read Projective Verse, I can send you a link.
1. Untitled (Matthew Shepard)
2. On Proprioception
3. On Working Class Speech
5. On Milk
I do not compose poetry to show you what I have seen, but rather because I have seen…this poet’s job is not to tell you what it is like, but to make a poem…Not trying to use your poems to prove a point, or address an argument. Not to try to control what they’re (the poems) are doing…but rather to be a kind of audience listening to where the poem is going to go…the practice of outside…Try to forget your own voice…and listen hard for what the language is saying… you yourself are the audience, hearing a voice you’ve trained your ear to receive (emphasis added)… (Bowering 6)
§ Exercise: How I Got Here.
Jack Spicer's poetics.
…Muses do exist, but now I know that they are not afraid to dirty their hands with explication – that they are patient with truth and commentary as long as it doesn’t get into the poem…
…The trick naturally is what Duncan learned years ago and tried to teach us – not to search for the perfect poem but to let your way of writing of the moment go along its own paths, explore and retreat but never be fully realized (confined) within the boundaries of one poem. This is where we were wrong and he was right, but he complicated things for us by saying that there is no such thing as good or bad poetry. There is – but not in relation to the single poem. There is really no single poem…
…Poems should echo and reecho against each other. They should create resonances. They cannot live alone any more than we can…
 In “A Bibliography on
14 years”—the amount of time between the beginning of his Melville studies and his completion of
Call Me Ishmael (Olson 307). Susan Howe worked at least ten years on her book My Emily Dickinson.