>> He needs the companionship. He needs someone to be with him.
[inaudible] ... >> He wants to detain you.
I want to detain you, to keep you from going.
It's not that I have something to say, though I do.
It's not that, it's not that I, I, I have, that there's something you should know,
although I think that's true. It's, it's not for those reasons, but just
to keep you here. So, we have [inaudible], which is, empty
out, the urgency of content, completely. What do we have left when we take content
out? >> Somebody could say form, and that's not
quite it. >> Just the feeling.
>> Touching, feeling. >> The feeling of feeling myself here.
>> Feeling? >> I think.
>> Well I think. >> [inaudible].
>> That's the other, that's the other important word, isn't it?
I mean we have it is the first important word, and here is the second.
>> Yes. >> So here I think, could be Dickenson's
this, or Whitman's now. And we talked about this [inaudible].
>> So what does that? >> [inaudible].
>> Have to do? >> This.
>> Okay. You're going along fast, as you usually
do, but what, what? When you get rid of the content.
It's not because I have content, it's not because I have a story to tell you It's
because I have a poem to write You were going too fast to the end.
>> But that's the matter. That's where it is.
>> Yeah. You're absolutely right.
>> [laugh] >> And I don't want to go out when it is here.
>> [laugh] >> So fast. What's left when you get rid of content?
Emily, what's left when you have a story? Your moms have something to tell you.
But it's not. It turns out to be not important.
It's really the weather. And you say, "Mom, why did you make me
come all the way home to talk about the weather?" ...
>> That's not what you have to. No, she says.
I didn't wanna tell you. It's not that I have something to tell
you. It's because I needed you here.
>> Just the, the presence of the listener? >> Presence, presence of what?
In your case, presence of daughter in the example that I made up.
>> The presence of the relationship between me and my mother.
>> Okay, and here? >> And here.
>> What is. >> Poet and reader.
>> Poet and reader. The relationship is poet and reader, so
now Anna, what does here mean? >> Well, when we thought about Dickensen's
for occupation this. >> This would refer to, open-endedly.
>> Open, but the writing of poetry ... >> To the thing we were reading.
>> And dwelling in the house of possibility which is what I think we
decided. >> So [inaudible] possibility is
open-endedness is all kinds of interpretations possible.
And when content is not that important. >> That's what you have, you have a lot of
presence. >> Who cares whether interpretation goes
this way or that way. But what we have is presence.
The presence, not just of the subject speaking, of the subject position of the
eye, of the speaker, of the narrator. But the, the required presence of you, of
one, of us, of readers, here. Okay, so, here, is hard.
It's tricky. >> Who wants to do here.
Really spell it out. Amaris where is here?
Where are we? >> In the space of the poem [inaudible].
>> In the space of the poem. And space is a fancy word that a lot of
fancy poetics people use to refer to the space the poem makes.
What is this space the poem makes? Its presence.
>> Using linguistic imagination or any motive thought of consciousness.
>> All that. >> Whitman's [inaudible] of voice maybe.
>> How about the words on the page right. I mean the, the, the.
Involvement. The presence of you in it.
This is all that Cid wants. It isn't for some, it isn't for, for want
of something to say, something to tell you, something you should know, but to
keep you here. To keep you in the poem.
Unfortunately, the poem's going to end, Cid Corman is going to end, but what will
be left of Cid Corman, he is deceased, what will be left of him is this.
Here. Something you should know, but to detain
you, to keep you from going. Dear Rear, I need you here.
This is why I write so you can be here, feeling my self here.
Oh. >> He says myself.
He doesn't say reader feeling you here. He says feeling myself here.
Have we misread this and misinterpreted it?
Kristen? >> Well, you can kind of take it to be
that the you in this poem is kind of like the you in [inaudible] poem, where it ends
up being actually me. So he might be talking about oneness being
with himself. >> So the, so that our reading,
[inaudible] our interpretation of this as the reader is wrong?