Poem According To World

I’ve been asked what each poem and world are made of and might start here

and might end they are made of the same thing which is text

Poetry should avoid using that should avoid accusation as a poem is the guiltiest thing there is. Poems are cannibals, but they’re sorry.

You might be worried I think poems aren’t made of language.

No worries. Poems are made of language.

Do you think you’d know a cranberry seeing it for the first time without language? I’d say no. Then I’d gather all the red things and crush them into paint to show you and feel sorry. Because the cranberry would be gone.

At least you’d recognize the color. Do you think a cranberry intends to be a cranberry?

Let’s say Mother made the cranberry. Now what? Let’s say I’m writing this.

If we assume everything is simultaneously mother and mothered, how might a poem made of language indicate that without upsetting its conscience? How might a woman

You might be worried I think women are poems.

While women were once made of poems, most have realized poems are cannibals and are asking for their parts back.

But like I said, poems have consciences now.

A poem with a conscience realizes it shares material with the world and does not take without giving back. A poem with a conscience acknowledges the mother while rearranging the mothered’s skins on its back. A poem might spare the heart, a lymph node for instance.

I, Jade Hudson, have been labeled Daedalus

I don't know why, but yeah...

The previous post is mine.

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 it's patterns yearn for destruction of patterns, where it's oblivious self-destruction signifies its yearning for order. Where its call to order is its own, where its disobedience is its purpose.

Must 2, contemplate the following:

If I am the poet, I am being the poem I write,
in that
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

-OR-

reject what the writer is to the poem
and care not.

Must, 3, view himself/herself/itself as a creator incapable of designating interpretation; A beginning of a process, a participant in eventual reapplication of the process, but not the process itself. The provider, a one provided for, but never the providence. To construct art "to be for the sake of institution" is no more creating "institution" than simply creating being. To create art with a function is to remove from the art the function of art.

While art can serve a function, its function neither exhibits the purified intention of the creator or the intention of the perceiver. 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.

Must 4. See poetry as an opportunity in which the material intended (in relation to material understood) predestines the creation of counter ground. No matter what a poet seeks to employ in his/her poetry, success or failure (as it is wrongfully sought out) can only be witnessed from a moment separate than both creation and re-perception. The poem, when existent on the page, has become a separated clone of the writer's intention (an Out-of-World) (a construct of both its replicated half and a new half gained though its separate existence).

Must 5, realize the relationship of what was internal and what has become the externalization of what was internal, as neither the pure externalization of the internal or an externalization, but also an alternate "internal" based upon its exhibitionist quality. What is accomplished on a stage is not merely what was intended for the stage or the arena (the stage) where what was intended happened. Instead, a poem has the capability of being a third area (one which is created through the unavailability of a solid transfer). The concept of "the poem" becomes more or less, less in the more, more in the less, more in the more, or less in the less "the poem" when it becomes "the poem." The conscious materialization of poetry is not materialization of poetry, but the synthesis of material that materializes itself.

Thus, the Out of World poet, who seeks to better understand the inner world of poetry as an outsider, must 4, allow the poem to materialize itself. How the poem materializes itself in the minds of multiple others (though direct relation or through relationship) must be upheld as the creation of a successful, organic, self-sustaining creation. An act as simple as denying the poet's self is not the correct course of action, as this negates the poem's ability to relate to its creator.

Yet, understanding the poem as a mere relationship between artistic consciousness and page is restrictive to the unique relationship the poem comes to obtain through being perceived. The Out of World poet should not merely produce to understand self, as the poem is an opportunity to create an alternate self much more easily understood, and thus, of much more consequence.

Poems in Pockets: Poem Among World

1. The world is personal. It is composed of the environment that immediately surrounds us. The Poet may pretend that the world as a whole concerns her, but any and everything that amuses or inspires the Poet can be traced back to the spaces she has temporarily inhabited or continues to inhabit. This is not to say necessarily that the Poet is self-obsessed, only that she writes his spaces most comfortably and accurately. The Poet’s World is not interchangeable with her experiences. All experiences take place in some sort of space, whether that space is physical, metaphorical or figurative, and a Poet’s space is thus her World.

2. A Poet who aspires to be “worldly” (that is, one who consistently chases a profound idea in her own work or who expects to discover infinite horizons in every poem she encounters) is a shallow Poet. By always defaulting to the universal ideal, this sort of Poet doesn’t even manage to scratch the surface; the extent of her poetic aspirations is simply too broad. The successful Poet does not resist her inclination to write about her spaces and thus, she write more genuinely.

3. Poems are eventually suspended among the Poet’s World in pockets. These pockets are invisible and are akin to an isolation of sorts, (an incident, perhaps, but not consistently). Pockets are found everywhere among the Poet’s World, but the Poet’s entire World is not a pocket in and of itself. Pockets are comparable to vacuums, but instead of holding Nothingness, they accommodate a Something. These Somethings can be objects, people, concepts, and events, but they are ultimately limitless. Pockets and the Somethings inside them are always informed by the Poet’s World or atmosphere. Two Poets may inhabit a similar World but the ways in which they navigate and interpret it will always vary.

4. A pocket with a gripping (to the Poet) Something inside is fodder for a Poem. This phenomenon should not be confused with inspiration in the traditional sense of the word. Inspiration is too often associated with the romantic, the positive, the uplifting. The inspiration that is derived from the Something is comparable to a stimulus of some kind. This stimulus is always able to be traced back to the Poet’s World. It is up to the Poet to take the Something and shape it into a Poem in whatever way she sees fit. In this way, the Poet acts as negotiator of the Something. The Poet places her aesthetic upon the Something and readies it for turning back out into her World as a Poem. A Poem is a Something that is manifest, but not fundamentally blatant. A Poem is not always “wordable.” Because Somethings are limitless, it can be assumed that a Poem is not always a word.


5. There is no such thing as a small Poem or a small-minded Poem. No Poet or person otherwise is equipped to judge a Poem as such because they do not have the same knowledge of the author-Poet’s space. Criticism is encouraged when it comes to Poetry, but only if it is acknowledged as basically arbitrary. There is no such thing as a Master Poet in the sense that a Master Poet supposedly masters the entire spectrum of past, present, and future Poetry. A Poet can only master his own Poems and these Poems are forever changing. A Poet’s World is always evolving and not always by the choice of the Poet, particularly when it comes to the mind space. The Poet is hardly in control of the majority of these changes, therefore any Poet’s attempt to guide or influence another Poet’s work will ultimately fall flat or derail the Poet’s work from its natural course. Poetry-writing can be learned, but it is also a natural inclination and a natural process

Beyond a Poetic Manifesto

To determine what defines one’s poetry is not a simple process. Creating a series of guidelines in which to write is a difficult endeavor. In order to create said set of manifesto ideas it is necessary to question what is important in one’s poetry and from this importance define clear characteristics that are applicable to one’s method of creating poems. As a poet you must go beyond the simple ways in which humanity lives and search for meaning through different mediums and in the world beyond the actual.

My Poetic Manifesto

Appreciate all forms of artistic expression and actively engage yourself in experiencing these forms. Attend plays, view art, listen to music, go to museums, read books and in the end synthesize these experiences and let them affect your life and your poetry.
In all forms of poetry we must push our limits and live artistically to our fullest capability, exploring and realizing every element that we encounter and making use of its’ utility.
All failure in poetry is subjective. Even when one feels that failure is unavoidable, one may have just succeeded at creating something greater than one could have ever have imagined.
Respect all the poets and poetic movements that have come before you, regardless if one feels that the poetry does not warrant high esteem. Learn from previous works; learn from other poets’ mistakes.
Do not be afraid to take risks and chances in your poetry. Write poetry that you don’t know if it will work out in the end. Make mistakes, appreciate the mistakes and then learn from your mistakes.
Everyday try an experiment or attempt to discover something new. Do something you have never done before and let your work reflect the element of discovery.
Question the choices that you make and try to understand why these choices will eventually have a specific impact upon you and your poetry when all is said and done.
View life and your surroundings as if today is your last living day. Breathe your last breath into your poems. Let this outlook consume you and your poetry in a positive manner. Shine your own light into everything that you do.


-Ellison Hitt

The Poem Between World Manifesto!

The Poem Between World Manifesto is a call for poems that revels in their Betweeness! As the World moves ever closer (because time as humans know it is linear) to oblivion, everything in it has been defined to radical poles. Every object and thought has received a name, a place, a symbol, an ideology. The new radical is the space in middle that is at neither end of a pole, but where the poles mingle among each other and are muddled. This is not to say that between poems do not take stances; they do! They take stances that recognize themselves as transitory and without absolutes, except in the fleeting moment. Because as we (the human race) move forward in technology and thinking we somehow only move towards chaos and destruction. The only poetry that makes sense than is the one that captures and exposes this entropic state’s energy.

A Between Poem’s characteristics:

1. It enjoys and plays in liminal spaces. It attempts processes that elicit the liminal and forms that invoke it.
2. A Poem Between World’s medium is language. Language is what resides between the World and the mind. It is one step of removal from the world as object. It is the Meta-World waiting to be heard or read. Because Language is the symbolic system for defining the object-ness of the world it is the perfect medium for Between Art.
3. It exists in middle of the world and attempts to hold the energy of its subject in place with language. The language must demonstrate the energy of the world. The world on the edge of oblivion has a great deal of energy and a long history for the poem to reside in, so it must find a way to jump off the page into an even more Between place.
4. Its favorite subject is anything that may be considered liminal (dream, the apocalypse, dates, time, airports, engagements, pregnancies, walks, conversation, the internet, etcetera).
5. It holds a high regard for conversation. Whether it’s putting several seemingly irrelevant “things” (objects, ideas, subjects, voices, disciplines, or ways of thinking) in conversation with each other, the meeting of voices, or only conversing with itself and its reader—The Between Poem enjoys the exchange of ideas and sentiments. It believes that the exchange and process of the conversation is more important then the results or thought that follow.
6. It is not necessarily polite conversation (Although it does like to talk about the weather). It is preferably anything but polite conversation. It looks to throw completely opposing or unrelated “things” in the ring together to box it out or just stare each other down and surprise the audience.
7. A Between Poem’s purpose is not necessarily a didactic one. The point of the conversation is for it’s own sake. It’s not interested in teaching its reader anything. It’s only interested in the exchange—the moment that the brain begins to process just before it creates reactionary or complacent thought and it’s buzzing with the energy of the poem itself.

PoemUnderWorld: The Death of Poetry and Its ReBirth

The Poem is dead! And so are its Poets. The great historical promenade that has overshadowed to overtake us is no more. Poets turned mythic by time, that great alchemizer, who created once-fresh, once-new works are gone! But still we are haunted by them. We are told to marvel at their works, cadaverous poems propped up in rotting anthologies and musty journals, untouchable & immutable in their agedness to the pedestrian reader—we are told. After a poem is born, if it ages well, it is killed by the Academy of Undertakers, plucked & stuffed, then displayed in the Graveyard of the Canon. They stare at us with glazes from gassy eyes, the life sucked out of them, taken down sometimes to be dusted off then beaten senseless with questions: What did you mean when you said—Who are your accomplices—Explain yourself!
A curious thing, admiration; a curiouser thing, vengeance: for those who can’t do punish those who did. The time has come to off them all. The Poems, the Poems, in musty old tomes, we’ve come to settle the score. No—we’ve come to kill you once more. No! We’ve come to feed on your gore. The Poems are dead, but there’s life in them still—it is our job to give them the proper burial and let their bodies decay into the soil to be sucked up into budding new life that gives birth to new poems. Do we embalm our ancestors and esteem their tombs more highly than our children’s houses? No! We pay tribute to them by living and (pro)creating—therefore we will acknowledge from whence and from whom we came and birth new children that may resemble them (a nose here, the curve of the lip, unfortunate ears) but they will be of our own creation.
But we will not merely wait for the soil to suck nutrients from their decayed corpses to feed the Poetic Rhizome, we will suck the flesh from the fingers themselves. Chop old Poems, stripped of their fat, and bake them into new poem pies, splatter their blood on the walls and eat their hearts and intestines. We must be irreverent! For this is the reverence they demand. Rotting in the realm of High Art is no tribute, and coffins of books are no Afterlife. For life is cyclical, and the death of a poem is not to be mourned but celebrated, for new life will spring from it!
We must remember that a poem is true as a life is true—it is part artifice, part reality, and at its best, true to itself. Perhaps in its later incarnations, a poem will come closer to Truth, though surely the Truth it seeks will be different. The form it takes will be different, as well—it might be found useful to mimic the earlier forms, but newly birthed poetry will not be bound by form or genre. The birthright of this new poetry is all genres, all forms, the past and present, looking to the future—for we will not cannibalize old meat exclusively. The poem will be fed from many sources—namely new sources unavailable to our predecessors; we will mine everything from the quotidian to the most advanced technology, and create life from death before we become shadows ourselves!