Objectivist Poetics is a mode of poetry construction and composition that is often associated with objectivism, though there is a difference from Objectivist Poetics. Objectivist Poetics favors metonomy over metaphor, as metaphor, they believed, puts false association between the object and the other compared thing, ultimately doing injustice to the objects being compared when metonomy could have been to explain the objects just as they are. Poets associated with this movement are Robert Creeley, William Carlos Williams, Denise Levertov, and the larger pool of objectivist poets.
Objectivist Poetics
Objectivism as a poetic technique focuses on the poetic structure that can be perceived as a whole including the aspects of how the poem was constructed, and instead of focusing on an object in the poem, the poem itself is the object. The poem is not a symbol of nature, but a part of it in its physical presence as ink and paper and idea[1] . It is a form of writing that has to do more with the composition of the work than with interpretation of the work. Louis Zukofsky, one of the main objectivist poets in America during the 1930s, said objectification is a way of "[composing] a distinct perceptual field which brings the rays of an object to a focus" (qtd. in Altieri 6), as well, "the apprehension satisfied completely as to the appearance of the art form as an object" (6). It is the middle ground between the perceiver and the perceived, being perception. Objectivism takes from both the perceiver and the perceived to cause an understanding with things as they exist within the composition of the poem. The composition of the poem allows for nothing to be undeclared within the writing; everything exists within the poem, so there is nothing outside of the poem.[2]
Because of the composition of the poem, there is no need for metaphors in objectivist poetics. The way the poem is composed syntactically allows for the melody of the poem to occur. The melody and composition of writing brings the poem to life, taking place across the lines. Therefore, the lines of the poem, not the use of metaphors, create a certain "vehicle of understanding and action," as stated in Charles Altieri's essay, "The Objectivist Tradition". This understanding allows the reader to have an experience with the poem in the exact moment it is taking place. Through interactions between the mind and words that require no abstract meaning beyond what is being said, which is denotative. Denotation is the literal meaning of words, there is no outside meaning or suggestion.
Objectivist poets write with the tenants of objectivism in mind. Though the eye may experience the objects the poet in turn writes about, the author is only able to exist as a perceiver because of the objects themselves, in other words I'm "made of what I see." A poem in this sense is a reflection within a world that is wholly cluttered with objects of varying value, and we cannot exist without our materials around us. In the words of George Oppen, "we awaken at once to objects and ourselves." Objectivst poetics refrains from metaphor which only wrenches objects out of their context and instead employs metonymy. Metonymy is considered a more lateral comparison, mirroring the way the world is built in the poetry which attempts to capture our existence. [3] In contrast in terms of perspective, symbolist poetics tries to see beyond the poem and words by allowing for meditation and reflection outside the poem, like a "mirage of seeing". Yet, objectivist poetics seeks to use something concrete by relating what is seen or felt in the poem and by using great detail to do so.[4]
Examples of Objectivist Poetry
For You by Robert Creeley Like watching rings extend in water this time of life.
-Relation to Objectivism Poetics: In For You Creeley works within the "objectivist mode". The rings extending within the water vividly portray the timeline of life and its liquid, ever-changing and moving consistency. Additionally called to mind is the ring which develops in a tree's trunk for each year of life, which plays further into the image and feeling of time progression physically embodied in nature. He does not say this, he shows it in writing objects in the moment, as they are, in all their essence. The poem creates a sustained moment in time, as, according to the ideas of Objectivist Poetics, objects are shown how they are and play into a real and physical moment, which exists in the imagined plane of the poem as well as here on Earth on ink and paper.
Gemini(excerpt) by Robert Creeley Two eyes, two hands-- in one two are given.
The words are messages
from another, not understood but given. . Neither one, nor the other, nor of a brother--but in the one, two, restless, confined to a place of ruled
by a moon, and another one with messages, rather, sequences
of words that are not to be understood but somehow given to a world.
-Relation to Objectivist Poetics: My Life by Water does not use metaphor to conjure images in the reader's mind, but metonymy. In the lines "Hear/spring's/first frog", images are conjured that relate to the coming or beginning of Spring, for example freshness and the anticipation of renewal and rebirth that the season brings. She writes "first frog" instead of what would make more sense to most readers, "first fog", which calls two things to mind-- first of course frogs leaping about a flourishing pond and tadpoles--and a fog, which calls to mind the fog that settles over ponds and also relates to the cool freshness of water that this poem exudes. An emphasis is placed on the objects in the poem, and those objects add to the overall feelings and images of the poem as opposed to relying on unrelated images and comparisons (metaphors) to get the desired effect. Niedecker keeps the reader in the moment of the poem through the experience of each object, each an experience in itself as itself. In the words of Charles Altieri, "To do so articulates a field where one can think with things as they exist" [5]
Images are used in accordance with fair use practices.If you hold copyright to an image, and do not agree that its use accords with fair use practices,please contact the wiki's creator and organizer. peaceandwarpoetics – a checklist Drafting (Phase I)XLocate relevant written sources (online and/or print) (keep track of source info)XLocate relevant images, videos, audio files (keep track of source info)XDevelop your own discussion of the topic, using source materials to get started (use a mixture of paraphrase and quotation—avoid over-long quotations)XStructure page: (1) opening summary, (2) factual material, (3) interpretive material, (4) other items of interest, (5) external resources, (6) references (nos. 2-4 may vary depending on material)XPosition images and videos around where they should goXCreate internal links (no new window) to other pages on wiki, external links (new window) to relevant web materialsXInsert and format references (paraphrases and quotations should be cited—in reference, name of page or site is hyperlinked—don’t simply append web address at end of, or instead of, reference)
Revising (Phase II)XCheck credibility of sources and external links (avoid Wikipedia and sources that look biased or amateur)XAssess your global structure (is this the best order for your materials?) and revise accordinglyAssess the structure of each section (paragraph development? order of paragraphs?) and revise accordinglyLook for material that isn’t relevant to the topic and cut itLook for sections that go long and explore whether you should (a) trim them down, and/or (b) break them into paragraphs and/or subsectionsLook for sections that are short and explore whether you should flesh them out (remember that anything from class discussion, journal writing, essay work, and mini-lectures—no need to cite me—can be used as raw material)XMake sure your discussion is in a consistent and objective toneXLook for redundancies with other pages (connect with that workgroup and decide how to resolve)
Editing (Phase III)Edit all prose for clarity, concision, and correctnessMake sure transitions within sections are smooth (anywhere you’ve added, cut, or moved material may need a new transition)XDecide where to put visual and audio materials and whether/how to wrap text around them (try to make the page pleasant to look at)XMake sure image and audio files are internal (have been uploaded to the wiki)XMake sure section headings are clear, concise, and accurate (all pages should have, as their last two sections, “External Resources” and “References”—the opening summary has no heading)XLook for missed opportunities to link to wiki pages and external resources (make the link)XMake sure links to external pages open in a new windowXMake sure images have appropriate captions (photographs—name of person, place, or thing; artworks—title of work and (in parentheses) date completed)XMake sure summary is brief but substantive (capture the two or three most important points)XMake sure links in External Resources section are accurate, brief, and descriptiveXMake sure References section begins with “fair use” disclaimerXMake sure references are in correct format
Formatting and Polishing (Phase III)Proofread for correctness, clarity, and concision (everyone in group should proofread the page)XBegin Summary with name of person, movement, concept, or condition, in boldfaceXStandardize heading format (main headings: Heading 1 and a horizontal rule; then Heading 2, Heading 3, and so on)XStandardize fonts (Arial at 100% text size)XStandardize “fair use” disclaimer (same format as used on “Cubism” page)Look for spots where wikispace glitches have caused format problems (see “Guy at Front of Room” for instructions on how to resolve glitches)
Objectivist Poetics
Objectivism as a poetic technique focuses on the poetic structure that can be perceived as a whole including the aspects of how the poem was constructed, and instead of focusing on an object in the poem, the poem itself is the object. The poem is not a symbol of nature, but a part of it in its physical presence as ink and paper and idea[1] . It is a form of writing that has to do more with the composition of the work than with interpretation of the work. Louis Zukofsky, one of the main objectivist poets in America during the 1930s, said objectification is a way of "[composing] a distinct perceptual field which brings the rays of an object to a focus" (qtd. in Altieri 6), as well, "the apprehension satisfied completely as to the appearance of the art form as an object" (6). It is the middle ground between the perceiver and the perceived, being perception. Objectivism takes from both the perceiver and the perceived to cause an understanding with things as they exist within the composition of the poem. The composition of the poem allows for nothing to be undeclared within the writing; everything exists within the poem, so there is nothing outside of the poem.[2]
Because of the composition of the poem, there is no need for metaphors in objectivist poetics. The way the poem is composed syntactically allows for the melody of the poem to occur. The melody and composition of writing brings the poem to life, taking place across the lines. Therefore, the lines of the poem, not the use of metaphors, create a certain "vehicle of understanding and action," as stated in Charles Altieri's essay, "The Objectivist Tradition". This understanding allows the reader to have an experience with the poem in the exact moment it is taking place. Through interactions between the mind and words that require no abstract meaning beyond what is being said, which is denotative. Denotation is the literal meaning of words, there is no outside meaning or suggestion.
Objectivist poets write with the tenants of objectivism in mind. Though the eye may experience the objects the poet in turn writes about, the author is only able to exist as a perceiver because of the objects themselves, in other words I'm "made of what I see." A poem in this sense is a reflection within a world that is wholly cluttered with objects of varying value, and we cannot exist without our materials around us. In the words of George Oppen, "we awaken at once to objects and ourselves." Objectivst poetics refrains from metaphor which only wrenches objects out of their context and instead employs metonymy. Metonymy is considered a more lateral comparison, mirroring the way the world is built in the poetry which attempts to capture our existence. [3]
In contrast in terms of perspective, symbolist poetics tries to see beyond the poem and words by allowing for meditation and reflection outside the poem, like a "mirage of seeing". Yet, objectivist poetics seeks to use something concrete by relating what is seen or felt in the poem and by using great detail to do so.[4]
Examples of Objectivist Poetry
For You
by Robert Creeley
Like watching rings extend in water
this time of life.
-Relation to Objectivism Poetics:
In For You Creeley works within the "objectivist mode". The rings extending within the water vividly portray the timeline of life and its liquid, ever-changing and moving consistency. Additionally called to mind is the ring which develops in a tree's trunk for each year of life, which plays further into the image and feeling of time progression physically embodied in nature. He does not say this, he shows it in writing objects in the moment, as they are, in all their essence. The poem creates a sustained moment in time, as, according to the ideas of Objectivist Poetics, objects are shown how they are and play into a real and physical moment, which exists in the imagined plane of the poem as well as here on Earth on ink and paper.
Gemini (excerpt)
by Robert Creeley
Two eyes, two hands--
in one two are given.
The words
are messages
from another,
not understood but given.
.
Neither one, nor the other, nor of a brother--but in
the one, two, restless,
confined to a place of ruled
by a moon, and another one
with messages, rather, sequences
of words that are not to be understood
but somehow given to a world.
All this dances in a room,
two by two, but alone.
My Life by Water
by Lorine Niedecker
My life
by water—
Hear
spring's
first frog
or board
out on the cold
ground
giving
Muskrats
gnawing
doors
to wild green
arts and letters
Rabbits
raided
my lettuce
One boat
two—
pointed toward
my shore
thru birdstart
wingdrip
weed-drift
of the soft
and serious—
Water
-Relation to Objectivist Poetics:
My Life by Water does not use metaphor to conjure images in the reader's mind, but metonymy. In the lines "Hear/spring's/first frog", images are conjured that relate to the coming or beginning of Spring, for example freshness and the anticipation of renewal and rebirth that the season brings. She writes "first frog" instead of what would make more sense to most readers, "first fog", which calls two things to mind-- first of course frogs leaping about a flourishing pond and tadpoles--and a fog, which calls to mind the fog that settles over ponds and also relates to the cool freshness of water that this poem exudes. An emphasis is placed on the objects in the poem, and those objects add to the overall feelings and images of the poem as opposed to relying on unrelated images and comparisons (metaphors) to get the desired effect. Niedecker keeps the reader in the moment of the poem through the experience of each object, each an experience in itself as itself. In the words of Charles Altieri, "To do so articulates a field where one can think with things as they exist" [5]
Key Figures
Objectivist poets of noteCharles Reznikoff
George Oppen
Carl Rakosi
Lorine Niedecker
William Carlos Williams
Basil Bunting
Louis Zukofsky
External Links
Sample poemsCharles Reznikoff: "Meditations on the Fall and Winter Holidays"
George Oppen: "If it All Went Up in Smoke"
Carl Rakosi: "Time to Kill"
Lorine Niedecker collected works
William Carlos Williams: "Spring and All (By the road to the contagious hospital)"
Basil Bunting: "Coda"
Louis Zukofsky: "Jaunt"
References
Images are used in accordance with fair use practices.If you hold copyright to an image, and do not agree that its use accords with fair use practices,please contact the wiki's creator and organizer.
peaceandwarpoetics – a checklist
Drafting (Phase I)XLocate relevant written sources (online and/or print) (keep track of source info)XLocate relevant images, videos, audio files (keep track of source info)XDevelop your own discussion of the topic, using source materials to get started (use a mixture of paraphrase and quotation—avoid over-long quotations)XStructure page: (1) opening summary, (2) factual material, (3) interpretive material, (4) other items of interest, (5) external resources, (6) references (nos. 2-4 may vary depending on material)XPosition images and videos around where they should goXCreate internal links (no new window) to other pages on wiki, external links (new window) to relevant web materialsXInsert and format references (paraphrases and quotations should be cited—in reference, name of page or site is hyperlinked—don’t simply append web address at end of, or instead of, reference)
Revising (Phase II)XCheck credibility of sources and external links (avoid Wikipedia and sources that look biased or amateur)XAssess your global structure (is this the best order for your materials?) and revise accordinglyAssess the structure of each section (paragraph development? order of paragraphs?) and revise accordinglyLook for material that isn’t relevant to the topic and cut itLook for sections that go long and explore whether you should (a) trim them down, and/or (b) break them into paragraphs and/or subsectionsLook for sections that are short and explore whether you should flesh them out (remember that anything from class discussion, journal writing, essay work, and mini-lectures—no need to cite me—can be used as raw material)XMake sure your discussion is in a consistent and objective toneXLook for redundancies with other pages (connect with that workgroup and decide how to resolve)
Editing (Phase III)Edit all prose for clarity, concision, and correctnessMake sure transitions within sections are smooth (anywhere you’ve added, cut, or moved material may need a new transition)XDecide where to put visual and audio materials and whether/how to wrap text around them (try to make the page pleasant to look at)XMake sure image and audio files are internal (have been uploaded to the wiki)XMake sure section headings are clear, concise, and accurate (all pages should have, as their last two sections, “External Resources” and “References”—the opening summary has no heading)XLook for missed opportunities to link to wiki pages and external resources (make the link)XMake sure links to external pages open in a new windowXMake sure images have appropriate captions (photographs—name of person, place, or thing; artworks—title of work and (in parentheses) date completed)XMake sure summary is brief but substantive (capture the two or three most important points)XMake sure links in External Resources section are accurate, brief, and descriptiveXMake sure References section begins with “fair use” disclaimerXMake sure references are in correct format
Formatting and Polishing (Phase III)Proofread for correctness, clarity, and concision (everyone in group should proofread the page)XBegin Summary with name of person, movement, concept, or condition, in boldfaceXStandardize heading format (main headings: Heading 1 and a horizontal rule; then Heading 2, Heading 3, and so on)XStandardize fonts (Arial at 100% text size)XStandardize “fair use” disclaimer (same format as used on “Cubism” page)Look for spots where wikispace glitches have caused format problems (see “Guy at Front of Room” for instructions on how to resolve glitches)
Patton, Chris. "Objectivism Lecture." WWU. 16 May 2012. Lecture.
Patton.
Alterieri.
Alterieri.