This work's twenty-sixth section compares the imagination to a "giant that fought / against the murderous alphabet." Its thirtieth describes the "banal suburb" of Oxidia, while in another its speaker notes "These degustations in the vaults oppose the past and the festival" after reading a lean review in a cathedral. It states that "the thinking of art seems final when the thinking of god is smoky dew," and ends by describing "The moments when we choose to play" and "the imagined pine, the imagined jay." The title figure claims that "Poetry exceeding music must take the place of empty heaven an
This work's twenty-sixth section compares the imagination to a "giant that fought / against the murderous alphabet." Its thirtieth describes the "banal suburb" of Oxidia, while in another its speaker notes "These degustations in the vaults oppose the past and the festival" after reading a lean review in a cathedral. It states that "the thinking of art seems final when the thinking of god is smoky dew," and ends by describing "The moments when we choose to play" and "the imagined pine, the imagined jay." The title figure claims that "Poetry exceeding music must take the place of empty heaven and its hymns" and asks "Is this picture of Picasso's, this 'hoard of destructions,' a picture of ourselves?" For 10 points, name this thirty-three section poem about "a shearsman of sorts" asked to play a tune of "things exactly as they are," upon the title instrument, written by Wallace Stevens.
This work's twenty-sixth section compares the imagination to a "giant that fought / against the murderous alphabet.
“The {Man} with the {Blue Guitar}”