With a changing key, you unlock the house where the snow of what’s silenced drifts. Just like the blood that bursts from Your eye or mouth or ear, so your key changes. Changing your key changes the word That may drift with flakes. Just like the wind that rebuffs you, Clenched round your word is the snow.
Poetry is perhaps this: an Atemwende, a turning of our breath. Who knows, perhaps poetry goes its way—the way of art—for the sake of just such a turn? And since the strange, the abyss and Medusa’s head, the abyss and the automaton, all seem to lie in the same direction—is it perhaps this turn, this Atemwende, which can sort out the strange from the strange? It is perhaps here, in this one brief moment, that Medusa’s head shrivels and the automaton runs down? Perhaps, along with the I, estranged and freed here, in this manner, some other thing is also set free?
Reachable, near and not lost, there remained in the midst of the losses this one thing: language. It, the language, remained, not lost, yes, in spite of everything. But it had to pass through its own answerlessness, pass through frightful muting, pass through the thousand darknesses of deathbringing speech. It passed through and gave back no words for that which happened; yet it passed through this happening. Passed through and could come to light again, “enriched” by all this.
A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the –not always greatly hopeful-belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense too are under way: they are making toward something. Toward what? Toward something standing open, occupiable, perhaps toward an addressable Thou, toward an addressable reality.
Count up the almonds, Count what was bitter and kept you waking, Count me in too: I sought your eye when you glanced up and no one would see you, I spun that secret thread Where the dew you mused on Slid down to pitchers Tended by a word that reached no one’s heart. There you first fully entered the name that is yours, you stepped to yourself on steady feet, the hammers swung free in the belfry of your silence, things overheard thrust through to you, what’s dead put it’s arm around you too, and the three of you walked through the evening. Render me bitter. Number me among the almonds
With wine and being lost, with less and less of both: I rode through the snow, do you read me I rode God far--I rode God near, he sang, it was our last ride over the hurdled humans. They cowered when they heard us overhead, they wrote, they lied our neighing into one of their image-ridden languages.
A poem, being an instance of language, hence essentially dialogue, may be a letter in a bottle thrown out to the sea with the-surely not always strong-hope that it may somehow wash up somewhere, perhaps on the shoreline of the heart. In this way, too, poems are en route: they are headed towards. Toward what? Toward something open, inhabitable, an approachable you, perhaps, an approachable reality. Such realities are, I think, at stake in a poem.
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