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Wallace Stevens - Poetry - Supreme Fiction Supreme Fiction The imagination loses vitality as it ceases to adhere to what is real. When it adheres to the unreal and intensifies what is unreal, while its first effect may be extraordinary, that effect is the maximum effect that it will ever have. Throughout his poetic career, Stevens was concerned with the question of what to think about the world now that our old notions of religion no longer suffice. His solution might be summarized by the notion of a “Supreme Fiction,” an idea that would serve as a fictive replacement for the idea of God, known to be fictive but willfully believed. In this example from the satirical "A High-Toned Old Christian Woman," Stevens plays with the notions of immediately accessible, but ultimately unsatisfying, notions of reality: Poetry is the supreme Fiction, madame.Take the moral law and make a nave of itAnd from the nave build haunted heaven. Thus,The conscience is converted into palmsLike windy citherns, hankering for hymns.We agree in principle. That’s clear. But takeThe opposing law and make a peristyle,And from the peristyle project a masqueBeyond the planets. Thus, our bawdiness,Unpurged by epitaph, indulged at last,Is equally converted into palms,Squiggling like saxophones. And palm for palm,Madame, we are where we began.The saxophones squiggle because, as J. Hillis Miller says of Stevens in his book, Poets of Reality , the theme of universal fluctuation is a constant theme throughout Stevens poetry: "A great many of Stevens’ poems show an object or group of objects in aimless oscillation or circling movement.” In the end, reality remains. The supreme fiction is that conceptualization of reality that seems to resonate in its rightness, so much so that it seems to have captured, if only for a moment, something actual and real. I am the angel of reality,seen for a moment standing in the door....I am the necessary angel of earth,Since, in my sight, you see the earth again,Cleared of its stiff and stubborn, man-locked set,And, in my hearing, you hear its tragic droneRise liquidly in liquid lingerings,Like watery words awash;...an apparition appareled inApparels of such lightest look that a turnOf my shoulder and quickly, too quickly, I am gone?In one of his last poems, "Final Soliloquy of the Interior Paramour", Stevens describes the experience of an idea which satisfies the imagination, “This is, therefore, the intensest rendezvous. / It is in that thought that we collect ourselves, / Out of all the indifferences, into one thing.” This one thing is “a light, a power, the miraculous influence” wherein we can forget ourselves, sensing a comforting order, “A knowledge, that which arranged the rendezvous, / within its vital boundary, in the mind.” This knowledge necessarily exists within the mind, since it is an aspect of the imagination which can never attain a direct experience of reality. We say God and the imagination are one . . .How high that highest candle lights the dark.Out of this same light, out of the central mindWe make a dwelling in the evening air,In which being there together is enough.Stevens concludes that God is a human creation, but that feeling of rightness which for so long a time existed with the idea of God may be accessed again. This supreme fiction will be something equally central to our being, but contemporary to our lives, in a way that God can never again be. But with the right idea, we may again find the same sort of solace that we once found in divinity. " finds, too, a definite value in the complete contact with reality. Only, in fact, by this stark knowledge can he attain his own spiritual self that can resist the disintegrating forces of life . . . . Powerful force though the mind is . . . it cannot find the absolutes. Heaven lies about the seeing man in his sensuous apprehension of the world . . .; everything about him is part of the truth." . . . PoetryExceeding music must take the placeOf empty heaven and its hymns,Ourselves in poetry must take their placeIn this way, Stevens’s poems adopt attitudes that are corollaries to those earlier spiritual longings that persist in the unconscious currents of the imagination. “The poem refreshes life so that we share, / For a moment, the first idea . . . It satisfies / Belief in an immaculate beginning / And sends us, winged by an unconscious will, / To an immaculate end." The "first idea" is that essential reality that stands before all others, that essential truth; but since all knowledge is contingent on its time and place, that supreme fiction will surely be transitory. This is the necessary angel of subjective reality—a reality that must always be qualified—and as such, always misses the mark to some degree—always contains elements of unreality. Miller summarizes Stevens's position: "Though this dissolving of the self is in one way the end of everything, in another way it is the happy liberation. There are only two entities left now that the gods are dead: man and nature, subject and object. Nature is the physical world, visible, audible, tangible, present to all the senses, and man is consciousness, the nothing which receives nature and transforms it into something unreal . . . ." Read more about this topic: Wallace Stevens , Poetry Famous quotes containing the words supreme and/or fiction : “Few and signally blessed are those whom Jupiter has destined to be cabbage-planters. For they’ve always one foot on the ground and the other not far from it. Anyone is welcome to argue about felicity and supreme happiness. But the man who plants cabbages I now positively declare to be the happiest of mortals.” — François Rabelais (c. 1494–1553) “To value the tradition of, and the discipline required for, the craft of fiction seems today pointless. The real Arcadia is a lonely, mountainous plateau, over-bouldered and strewn with the skulls of sheep slain for vellum and old bitten pinions that tried to be quills. It’s forty rough miles by mule from Athens, a city where there’s a fair, a movie house, cotton candy.” — Alexander Theroux (b. 1940)

https://blogs.harvard.edu/houghton/the-love-of-a-ghost-for-a-ghost-t-s-eliot-on-his-letters-to-emily-hale/

Why kids need poetry in their lives, and how to spark their interest in it By Jason Basa Nemec March 5, 2021 at 9:00 a.m. EST Washington Post When Amanda Gorman gifted us with her inaugural poem, “The Hill We Climb,” I was sitting on our basement couch, sandwiched between my 2-year-old and my 5-year-old. Juni had her head on my chest. EJ, my older daughter, was drawing a picture of herself at the top of a mountain. And when Gorman got to the line about dreaming of becoming president, I was so moved — in part because EJ has her own version of this dream, hoping to be the first Filipina American president of the United States — I could feel myself shaking. “Did you like the poem?” I asked EJ after it was finished . “I loved it,” she said. I did too. And I was thrilled to see that other people around the world were celebrating Amanda Gorman right along with us. While poetry matters a lot in our house (I’ve been teaching EJ poetry class since before she turned 3), I know that not everybody is as readily moved by words as I am. That said, I think kids benefit when parents and caregivers help them experience the world through poetry. “The poet’s role is to tell the truth. That was the beauty of what Amanda did. She told the truth,” says Bridgette Bianca , a poet from South Central Los Angeles and an assistant professor at Santa Monica College who cites poetry’s way of expressing complex ideas, often in a short, simple format, as a benefit for kids. Expressive arts, including poetry, are important for a child’s social-emotional development, according to clinical psychologist Dianne Jandrasits. Adults can create a secure attachment with kids by actively reading with them, especially between the ages of 0 and 5, and the sound of poetry can make the process fun. Poetry, Jandrasits says, can help a child learn to take a perspective and to understand someone else’s feelings. For a young child, she says, “it all starts with someone understanding your feelings. And that’s where parents and caregivers come in.” Okay, but what is poetry? Ask five poets and you’ll likely get five definitions. Dave Lucas, a lecturer at Case Western Reserve University and the former poet laureate of Ohio, says: “Poetry is that place where language is pleasure and not just communication. It’s not just a hammer; it’s a hammer that we also love to look at and we love to use.” It’s pretty simple. Poetry is music. It’s about playing with language and sound. And kids love to play. “Kids are there already,” says Lucas, who wrote a newspaper column in 2018-2019 called “Poetry For People Who Hate Poetry.” He talked about sharing poems with kindergartners, and how much kids love it when you tell them to just have fun, make some rhymes, and be silly. When you take language, he says, “and all of a sudden take the rules out of it, mess around and see what happens, you give them that sandbox experience, out of which so much creativity happens in the first place.” The problem, though, is that as kids get older, they lose that interest in playing with words. “I think we teach it out of them for the most part,” Lucas says. Author and poet Kate Baer agrees. “What I think happens is that kids get to school and have some negative experience with poetry. Either because it’s inaccessible or boring, or it’s labeled in a way that has negative connotations. Like it’s weird, or too artsy. “Kids want to laugh,” adds Baer, who is also a mom of four. “That’s a lot of what they want out of literature, especially at a young age.” In addition to classics such as “Where the Sidewalk Ends” by Shel Silverstein, she cited “Sing to the Sun” by Ashley Bryan and “A Maze Me: Poems for Girls” by Naomi Shihab Nye as examples of other excellent books of poems that keep things accessible for young readers. “You don’t need to be intimidated by the form of poetry,” says writer Pamela K. Santos , who identifies as a Pinayorker, a Filipina raised in New York City. “The thing I love about younger minds, is that their imagination is so elastic. The form is just a way to give a container to it.” Santos, who is also a mother, recommends showing kids many different types of poetry, especially those that don’t rhyme, and asking them what they notice. How many lines does the poem have? Does it repeat a word? Is the ending surprising? When writing poetry with my 5-year-old at our makeshift home-school, I often encourage her to come up with a sentence, then ask if she wants the next sentence to rhyme with it or not. We’ve built some fantastic little poems this way, many of them no more than four or eight lines long. Another possible benefit to reading poetry, Jandrasits says, is that it can help develop kids’ problem-solving skills. “Because if there is no right or wrong answer, but we could see the perspective of another through the process, wouldn’t we arrive at better solutions?” Representation in poetry also matters. “Poetry helps to shape any individual’s identity kit,” says Daniel Gray-Kontar, the executive artistic director of Twelve Literary Arts , a nonprofit organization in Cleveland. He works primarily with children of color, and specifically with Black children, and referenced “We Real Cool” by Gwendolyn Brooks and “Black Girl Magic” by Mahogany L. Browne as examples of essential poems for every Black child to know. “And if every Black child should know them, then every child should know them.” “Harlem” by Langston Hughes was Bianca’s first exposure to a poem by a Black author in school. “In that poem about dreams, now suddenly I was a little Black kid thinking about what it meant to have a dream, what it meant to think of my life, and what I would do if I didn’t take advantage of that potential and do something with it,” she says. “What would happen to that dream? That’s a really deep thing to think about at 7 years old.” Gray-Kontar, like all the poets I spoke to, mentioned how important it is for caregivers to pay attention to what it is that their young person seems to like, whether it’s a sport or some experience they’re a part of, and then to select poems for them based on those interests. “Start with what’s available at your fingertips,” says Bianca. She suggests reaching out to a local librarian or looking up poetry readings online. The pandemic has been isolating for a lot of us, she says, but through poetry, we can connect with people we wouldn’t necessarily meet because they’re outside our immediate community. I’m not the first person to say it, and I won’t be the last: it’s been a hard year. Especially in the United States, where covid-19 has exposed the extreme race and class inequities that have existed in this country in various forms for centuries. Amanda Gorman wrote: “We did not feel prepared to be the heirs / of such a terrifying hour / but within it we found the power / to author a new chapter / to offer hope and laughter / to ourselves.” With these lines in mind, if you’re searching for a way to offer a little hope and laughter to a child in your life, look and listen for poetry. It’s in the air all around you. And it’s in you, too. I promise. Jason Basa Nemec (Instagram @jasonbasanemec) is a stay-at-home dad with a PhD in English. He lives in Chicago and publishes the email newsletter Ideas Over Drinks . https://www.washingtonpost.com/lifestyle/2021/03/05/poetry-benefits-for-kids/