PASSING, FINALE; POETRY,

INTRODUCTION
November 24
 This constant movement, indecision,
uncertainty, volatility, call it what you will
could applied to many other situations
affecting Brian, Clare, and Irene.
He was 1. S/he was…, s/he was…
restless, he 2. S/he was…, s/he was…
3. S/he was…, s/he was…
was not 4. S/he was…, s/he was…
restless (86) 5. S/he was…, s/he was…
One term we could apply to these situations is
…
 For example, p. 91

Why do you There were the familiar little tinkling sounds of

spoons striking against frail cups, the soft running

think tea- sounds of inconsequential talk, punctuated now

and then with laughter. In irregular small groups,
disintegrating, coalescing, striking just the right
drinking is so note of disharmony, disorder in the big room,
which Irene had furnished with a sparingness that
common in was almost chaste, moved the guests with that
slight familiarity that makes a party a success. On
Passing? the floor and the walls the sinking sun threw long,
fantastic shadows. So like many other tea-parties
she had had. So unlike any of those others.
 Drearily she rose from her chair and went upstairs to set
about the business of dressing to go out when she would
What are far rather have remained at home. During the process she
wondered, for the hundredth time, why she hadn't told
Clare and Brian about herself and Felise running into Bellew the day
Irene’s before, and for the hundredth time she turned away from
acknowledging to herself the real reason for keeping back
feelings for the information.
When Clare arrived, radiant in a shining red gown,
each other Irene had not finished dressing. But her smile scarcely
hesitated as she greeted her, saying: ''I always seem to
(pp.104-5? keep C. P. time, don't I? We hardly expected you to be able
to come. Felise will be pleased. How nice you look.’’
(C.P. time) –– Clare kissed a bare shoulder, seeming not to notice a
slight shrinking.
 For she would not go to Brazil. She
belonged In this land of rising
Belonging, towers. She was an American. She
grew from this soil, and she would
communities, not be uprooted. Not even because
identities, (p. of Clare Kendry, or a hundred Clare
Kendrys.
107)
 It was that smile that maddened Irene. She ran across the
room, her terror tinged with ferocity, and laid a hand on
Clare's bare arm. One thought possessed her. She couldn't
have Clare Kendry cast aside by Bellew. She couldn't have
Did she jump? her free.
Before them stood John Bellew, speech- less now in his
Was she hurt and anger. Beyond them the little huddle of other
pushed?(p.111) people, and Brian stepping out from among them.
What happened next, Irene Redfield never afterwards
allowed herself to remember. Never clearly.
One moment Clare had been there, a vital glowing
thing, like a flame of red and gold. The next she was gone.
There was a gasp of horror, and above it a sound not
quite human, like a beast In agony. "Nig! My God! Nig!"
Poetry: new strategy: intensive rather than extensive reading
A poem may be worked over once it is in
being, but may not be worried into being.
Its most precious quality will remain its
having run itself and carried away the
poet with it. Read it a hundred times: it
will forever keep its freshness as a petal
keeps its fragrance. It can never lose its
sense of a meaning that once unfolded by
surprise as it went.

“The figure a poem makes”, Robert Frost.

Ezra Pound (1885-1972)
In the spring or early summer of 1912, 'H.D.', Richard Aldington and
myself decided that we were agreed upon the three principles
following:
1. Direct treatment of the 'thing' whether subjective or objective.
2. To use absolutely no word that does not contribute to the
presentation.
3. As regarding rhythm: to compose in the sequence of the musical
phrase, not in sequence of a metronome.
Classical Ballet –
Ivan Fasiliev
A musical
“Make it new”
Igor Stravinksy,
The Rite of Spri
ng 2013
.