Poetic Manifesto Draft 2
The Out of World Poet:
Must, 1, be willing to embrace the poem as both dissonant truth and beautiful lie-- the truth/lie being the poem's leniencies outside of its design, where its patterns yearn for destruction of patterns, where its self-destruction signifies its yearning for order, where its call to order is its own and its disobedience is its purpose.
Must 2, contemplate the following:
If I am the poet, I am the poem I write,
my maker earnestly made me not as I can make myself
and I desire to make myself, in the absence
of how I am designed to be, truly
what I am meant to
Must, 3, view himself/herself as a creator incapable of designating poetic function; one can initiate the process, participate in eventual reapplication of the initiation (imitating the previous method of initiation), but cannot possess the process (manifested poem) itself.
In accordance with its nature, a poem cannot be controlled. This is because the poem must leave the realm of the artist's control to be considered written. A poem is recognized as a written (or at least executed) form. Therefore, one should not attempt to merely make poetry serve a personal objective, as poetry will belong to itself in its being executed.
Also, to impose a purpose onto poetry, after it has become such, robs it of its unique authority. The act is much like giving someone freedom, while enforcing quite contradictory sets of authoritative parameters. If it's controlled, it is not a poem (at least not yet), as "a poem" mandates a loss of control.
To create a poem with a function is to remove from the poem the function of the poem.
Must 4, realize that the poem exists as an alternate space, neither comprised (completely) of its initiation or its reception. It is capable of delivering initiated inclinations, but delivers them in accordance to its unique extension off of or upon its initiated path.
While a crate of unavoidably damageable goods can be carried from one continent to another, it is neither purely the packager of the goods nor the receiver of the goods that contributes to the shape of the goods. The vehicle in which the goods traveled from one destination to another is not merely a distance, but something of material. If the poem is an object handed from creator to reader, there is a moment where the poem is completely its own. When in transit, it belongs to neither hand. It is at this moment where it is under its own control (its design somewhat determines how its transfer is accomplished).
Poetry undeniably reflects a great amount of poet's inclination while, at the same time, reflecting attributes completely individual. These individual attributes are encapsulated in the extending half of the poetic form: which results from the poem's separation/ completion. Once a poem is beyond control, it gains an authority in its being a completion. This is much like a clone of a person. At the moment of separation, the clone is no longer a one, but a second, capable of being seen as a sum of attributes (both containing and) beyond those housed in the original.
We can call this poem an "Out-of-Poem" versus a "From-Poem," as the poem is not a product, but a whole new being.
Must 6, realize the poetic entity as neither the pure externalization of the internal or an externalization, but a construct of both (while neither completely). To say that a poem could exist without a poet would be ludicrous. Yet, to say that a poem could be received in strict adherence to the poet's wishes would be equally as inane.
A poem must remain ambiguous enough to call upon certain intended interpretations. A poem without ambiguity, at least in the poet's motive, suggests a comprehensiveness contrary to a poem. As readers of poems, we search for meaning. Though, more, we search for hidden meaning. When a poem is intended to mean nothing, we make nothing mean what we need it to (the poem loses all authority). When it means too much upfront, we don't see it as a poem (thus, it cannot function as such).
What is accomplished on the poetic stage is not merely what was intended for the stage or the acting out of what was intended. Instead, because of a poems ambiguity (a result of its essential purpose) a third area is created (the meaning of the show is not in its script and not in its being acted, but in the viewing of both simultaneously [still, neither in entirety]). The poem changes in relation to how it was let go, like how a bowling ball follows the curve of a hand when thrown down a hill. However, the bowling ball's reactions with rocks, further down the hill, have only a bit to do with the hand and a bit to do with the rocks. The shape of the ball as well as thrower and obstacles are what designate the course of the ball.
The conscious materialization of poetry is not materialization of poetry, but the synthesis of material that materializes itself.