[...] useful work of placing us specifically, so that the body of the poem can turn its attention to the heart of the matter

(it is surprising how strongly the) naming of particulars ==(bring color into)==> poem's (or text's) perceptual web


distortion's power to suggest but not define linkage
•the use of ‘like’ --> would draw a firm line between the two elements
•not using ‘like’ --> no firm gesture of equivalence ==> we confront a metaphor that is far more alive in its associations, far more ambiguous, and more crucial --> both an evocation of alienation and a recognition of communality --tonally--> composed of *equal portions of sorrow and wonder* --> forcing us *to remain in the position of interpreter* of something that is perpetually open =/= direct statement


Blake (and Attar?) wouldn't be the great poet he is if he could allow his bloom to be entirely symbol
--> a bloom attached to the speaker, a memeber of Lord Death's troops, an assistant to the disruptive powers of the night
=/= transcendence

crucible بوته اهنگرى, this nere-archaic word with its connotations of flame and molten metal, magical heat and transformation


sunflower: the cry of the determined survivor**

(differently depicted) sunflower gain power from resisting the flower's conventional associations

the poetic =/= reinscribing the already known

“it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence.” (George Eliot ☞ Doty) ♥



description = giving us the world + the inner life of the witness

evoking texture of experience --> beauty = accuracy

“whatever ‘what is’ is is what i want.” tosif توصیف
(Galway Kinnel)


“the deeds and sufferings of light.” -Goethe @Foad

into the reader's internal eye

Foad's paintings: ...two textures have now been added to the color, and in “rough” there is even a suggestion of place--it doesn't sound domestic, or urban--and of age


(coming close to an) impossible, longed-for accomplishment


the art of description = *the art of perception* }--> what do you require to say what you see?

to be better at description, we have to work at attentiveness

#training / do contour drawing just with your eyes


your erotic inflects and charges is your way of interacting with the world
...you basically just make love to the whole world
...and all the stories you tell yourself about your encounter with the cake


[*]economy =/= it is too much, excess
no one would want Proust to have less to say
fulsome discourse works only when perception itself is the subject --> Proust's novel is a huge inquiry into the nature of consciousness : a magnificently nuanced evocation of what it is to see and sense --> which is usually *too much*


here is one of those stories everyone swears is true,...


(an appetizer called) “smoked language”

the absolute centrality of figurative speech

(Susan Morrow:) how the scuttle of crab claws on sand influenced the hieroglyph for “writing”

we breathe metaphor, swim in metaphor, traffic in metaphor

(becoming poet = becoming the) handler of the figurative speech : employing language's tendency to connect like and disparate things to the richest possible effects
(in talk:) figurative is at its most sophisticated: condensed, alive with meaning, pointing in multiple directions at once
(Hollywood's ways) to make meaning seem more attractive =/= figurative speech itself means, and *means intensely*

baznegari-e sanaye adabi (بازنگری صنایع ادبی‌):
1. to say *what we see* = to speak figuratively (first project of simile tashbih تشبیه and metaphor esteare استعاره is to describe, to say what something's like ~~?--> measurement, we can't do so without comparison[?])
2. figures work together ==(to form)==> *networks of sense* (enjoying a metaphoric game, modes of appreciation)
3. figuration = a form of *self-portraiture* (intense involvement in rich, descriptive speech ==> perceptual signature : a destillation/condensation of the way one person knows herself/himself in time and in place)
4. metaphor ==introduces==> *tension* and *polarity* to language (figurative ==> enexpected language into text, shifting the elements of vocabulary)
5. metaphor's distancing aspect ==(allows)==> (us) to speak more freely (to explore a heated, charged experience, “I need more veil” ♥, a delight in a thin disuise; the way a good veil works [according to Doty]: you can see the veil itself, if you choose to. but if you want to, or you know how, you can read what lies beneath)
6. ***metaphor = an act of inquiry*** =/= an expression of what we already know (“i can't prove this [...] but i can feel the power of the result.” unmistakable quality of discovery [of metaphoric figures]: the sort of energy generated when an idea [and a concomitant set of emotions] unfolds before the write [<-- Sven is missing this?]. in this way: metaphor = (a kind of) *argument*= a “thinking through” of what is implied, [oh i have made something] complicated = full of feeling and tension, #excess; investigation of erotic energy, thrilling sonic structures you build,,,)


to become a rhetorical reader of our *gesture drawing*
moments of rebelion, when you have just enough of the strictures of the composed still life the teacher had assigned, you whip out...


description is fueled by ***hunger for the world***, the need to taste, to name, to claim what is seen, to bring it --> the resurrection of the world within the perceiver
*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. language is hungry for that, too [...] to eat everything. even the falling and fading world, even misery* (Doty)
-they speak to our hunger for a vocabulary for the whole range of feeling, even the awful parts (--> destruction of speech is dangerous, having no language for what we do good or bad)

desctiption is made both more moving and more exact when it is acknowledged that is is inevitably incomplete


(in the strictest sense) one could say that nothing unintelligible is a meaning =/= *there is always meaning*
-the perception of meaning [such as goose sound] that cannot be translated into any other form of speech --> chasm barzakh between the incomprehensible and the making of meaning --> (how?) to build a construct of language that acknowledges the “meanings” that live outside of words (a ‘description’ that builds an argument about the nature of real) [--> ajayeb's concern; part of a function of the humility of the speaker]
([ajayeb is full of?] similes that produce) juxtaposition of the natural and the artificial, [the vegetal and the made, the tiny and the immense] : (unexpected) collision of elements (in the framing field of thinking) ==means==> to bring energy into language [--> #adjacencies: bringing things, objects, stories, arguments next to each other --> interrupting stories with stories]


ritual of flirtation


sky's deep machinery


“poor girls make themselves fabulous”
“white girl make herself black, at least while she is pretending to be a supreme”


reprofessor

(my work and interest since 2012:) attention and allegiance to a *process of knowing*

(ajayeb.net has interest in reworking the conventions of syntax and of the sentence)
•the experience of ajayeb.net is like watching something leap; scrambled elements, something clicks into place; a stubborn suspension, not quite parsable
•the experience of ajayeb (mode of description) is like *a sudden event happening so quickly we don't have a name for what we see, cannot identify the motion* (==> animals in ajayeb have many legs and arms)--> [*]motion: the patterning life of energy ~~--> world of forms

(Doty ☞ Cummings:) “rearrangingly” + “become" = rea(be)rran(com)gi(e)ngly

ajayeb = "how everything happens” (based on the ebb and flow of percept + episteme)
(an index finger that) points to the world's ways of happening (in energetic and enigmatic waves of world's coming into [& going out of] being)
*ajayeb moves concepts in like of: the world doesn't necessarily want to be ordered into t[...]