To get down to brass tacks, it’s in the relationships, the poet and the audience, he association and the dis association, the fear is always in loosing the momentum, of having to face the impending poverty
of becoming more and more literate as opposed to figurative, because the former means impoverished, eccentric, archaic, reductive. True poetry in motion
really tanks out at the bottom, in bizarre tactics to literally get to the bottom of things, to de-code the mystery. Take Hart Crane, for instance. He jumped
in betwixt the tropical breezes and the city neon, because there was no compromise as far as
fear was concerned, between the rhyme and reason of such vapid aura, as ditch exist in the soul, the greyness of the wanton sky be blue another day far,
too far,
And the blu Brooklyn harbor of waterfront dives.
There could not be constructed simply, a line so as to
belie, such uncertainty, and lack of resolve,
irrespective those well in- formed,
At at time when,part hidden darkly,
And pitifully , Brooklyn ,
(Hart talked of the Brooklyn Bridge, of poesy)of mist coming over the harbor, but how many poor Italian immigrants building it for petty wages, fell into the dark Hudson below, as did he one day coming over, back , to the city).