Poetry and Pedagogy - The Challenge of the Contemporary
How much do I want to read more? 6/10
A weird book, about words as an art to express ourselves and stating that the evolution of words are the future, so we better to understand the new poetry now to benefit from it instead of waiting 40 years before the new become standard.
Introduction - Why Teach Contemporary Poetries?
You'll agree that there is more than one kind of poetry in the true sense of the word-that is to say, calling something into existence that was not there before…
-- Diotima in Plato's Symposium
Ewrybody is contemporary with his eriod … and the whole business of writing is the question o f living in that contemporarines. . . The thing that is important is that nobody knows what the contemporariness is. In other words, they don't know where they are going, bttt they are on their way.
-- Gertrude Stein, How Writing is Written
We are not attempting with this book to invent a new pedagogy, but to suggest that education must be in touch with the historical-contemporary intersection that forms the world in which we live.
Every word, every combination ofwords, strikes us like a chord on multiple levels of intellect and emotion. Language is the site of cognitive modeling and intuitively nuanced play.
language as a form of life, language games as the repertory of our human action-a repertory that profits from continual reinvention, and becomes stalled in thoughtless habitual usage.
Winnicott, like Dewey, believes that imaginative engagements with our world are responsible for not only our sense of reality but our zest for life. Winnicott argues that our most important life-affirming active principle is our capacity for that high-stakes engagement with the concrete materials of existence that we call play.
Whether in literature or the sciences, it is the playful mind that experiments and discovers.
As Picasso and Stein said variously and often, the new is unrecognizable; the new is experienced initially as ugly or invisible.
The most vital and intelligent contemporary poetries should not wait for decades to enter the consciousness of literature students. If, as we have claimed, poetry is the linguistic laboratory of the times in which one lives; if it is the live culture of our language practices as they are being pressured to acknowledge and articulate the constandy shifting residue of ongoing history; if to experience the poetries of one's times is to experience language on the edge of new reckonings-then students should have access to this work now.
I - WHAT'S THE USE OF CONTEMPORARY POETRY?
To explore and celebrate the languages and voices %ne's times.