Commons (New California Poetry, Volume 5) by Myung Mi Kim
By Myung Mi Kim
Myung Mi Kim's Commons weighs at the such a lot delicate of scales the minute grains of way of life in either peace and struggle, registering as only a few works of literature have performed our universal burden of being topic to historical past. Abstracting colonization, battle, immigration, illness, and first-language loss until eventually in basic terms sparse words stay, Kim takes at the discomfort and displacement of these whose lives are embedded in history.
Kim's clean areas are loaded silences: openings wherein readers input the textual content and locate their means. those silences demonstrate gaps in reminiscence and articulate reports that may not translate into language in any respect. Her phrases retrieve the earlier in a lot an identical manner the human brain does: a picture sparks one other snapshot, a odor, the sound of bombs, or dialog. those silences and pauses provide the poems their structure.
Commons's fragmented lyric pushes the reader to query the development of the poem. id surfaces, sinks again, then rises back. in this transferring flooring, Kim creates that means via juxtaposed fragments. Her verse, with its stops and begins, its austere but wealthy photographs, deals splinters of testimony and objection. It negotiates a continually altering global, scavenging via scraps of expertise, areas round phrases, and remnants of emotion for a language that enfolds the enormity of what we won't show.
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Additional resources for Commons (New California Poetry, Volume 5)
As he gave out his text, his voice ‘rose like a steam of rich distilled perfumes,’ and when he came to the two last words, which he pronounced loud, deep, and distinct, it seemed to me, who was then young, as if the sounds had echoed from the bottom of the human heart, and as if that prayer might have floated in solemn silence through the universe. ’ ... I could not have been more delighted if I had heard the music of the spheres. Poetry and Philosophy had met together. 8 That ringing affirmation of solitude and isolation is strikingly consonant with how Coleridge saw himself.
There is mystery here, as much as relief. In the Preface Wordsworth talks of the role of repetition in poetry, and its function in recreating the repetition of experience: so here, the very repetition of ‘again’ draws attention to itself, and in doing so reminds us that repetition involves change. Just as ‘these orchard-tufts . . lose themselves / Among the woods and copses’, so the poet loses and finds and then loses himself again as the poem unfolds. Wordsworth wants to affirm that for all the loss of the past, of his youthful self, his ‘aching joys’ and ‘dizzy raptures’, he has, in fact, Abundant recompense.
I could not have been more delighted if I had heard the music of the spheres. Poetry and Philosophy had met together. 8 That ringing affirmation of solitude and isolation is strikingly consonant with how Coleridge saw himself. In describing his retreat to Somerset, Coleridge is honest enough: 36 The Problem of Poetry in the Romantic Period Here I found myself all afloat. ’ The fontal truths of natural religion and the books of Revelation alike contributed to the flood; and it was long ere my ark touched on an Ararat, and rested.