The Saga of Amethyst Poetry / Part Seven: Painting Poetics / 'Writings' as 'Paintings'

  Painting and Writing, link: The Ragged Writings of Everland can be compared with an artist's paintings. Just as the strokes and colours of a particular painting produce a certain emotional effect in us, in its communicating without words, so a piece of writing communicating in seemingly unintelligible words, in words within words, can have a similar pleasurable effect on us, also. Beauty can be as much in the sound of a run of words, as in the sight of a play of colours in an abstract painting. But like everything else which affects our consciousness, we need to learn to become conscious of such a thing, lest it pass us by. 

The Saga of Amethyst Poetry / Part Six: A New Awakening

     In no way aspiring to be instrumental, perhaps it might be true, that without pushing the limits, without crazy-seeming innovation and experiment, people, and literature, and all forms of art would stagnate . . . and without knowing it   . . . because you can’t know something without something to know it by. So maybe we ought not to resent or resist those things which we cannot understand – even though fearing the unknown is a natural human instinct – but rather brave the intangible, plunge into its dark and delight in it; and increase within the wherewithal to know it by. Else, what will we gain from sticking to our own pride’s right to comprehend everything before we approve of it? We will gain only dimming pools of reluctant water, and perpetually paralyze our powers of perception. But anyone who has once learned to surrender their impressions finds a new world forming there, where they let go, and an eager surge of lively water, rising in a new awakening.  

The Saga of Amethyst Poetry / Part Four: A New Art

        If art went abstract, couldn't poetry? If some streams of art turned 'incomprehensible,' but not without a battle for acceptance first, should I wonder at or fear initial rejection? Although these 'poems' are not abstract - for like the inventive artist every line or brush stroke is full of known meaning - I suppose they might appear so, at first glance! But I had experienced that the heart 'rent in twain' could carry the mind's every finding further and deeper, and that it wasn't necessary for the outer parts of it to understand, in order to perceive light via the spirit.

      In joy and wonder I was shown that the primary purpose of these poems, is not that they be literally understood, but that they literally make us littler. For the littler we are the lighter we become; and the lighter we become the happier we are, which isn't by more, but by less.