Miten runot syntyvät

Visuaalinen hahmotelma runoksi. »

Miten lie muilla, seuraavassa kuvaus siitä kuinka Ron Silliman kirjoittaa runoa. Muunneltavat muuntaen, siinä voisi olla puhe Poem in Reversestä.

When I’m in the midst of writing the poem, it proceeds in my head in a process that I can only characterize as extremely sensuous – in a work such as Zyxt, I tend to have at any given moment somewhere between 100 to 150 sentences that I’ve “collected,” whether through crafting them on my own, overhearing (including mishearing) others talking, appropriated language from all sorts of sources. I can, in my own head, hear where the poem is going, it’s almost as though I were listening to music. Not in any traditional instrumentation but through the language itself, as sound & as signification. When I come to the point where I’ve last stopped writing I literally look through my current collection of gathered materials to see if something there is what I hear as next. If it is, I insert it. If not, I’m apt to craft a new sentence that fulfills whatever demand I’m hearing. If I have something that is maybe half-right, I’m apt to rewrite it to “fit.” But I don’t think I could ever tell anyone – even myself – what that intuited, ongoing score might be. It’s clearly there in advance of the words, but not necessarily in a fixed form. Rather, I’m very aware that, of my usual batch of 100-plus sentences to chose from, there might be as many as four or five that might somehow fit, represent a possible next moment, although each would instantly transform into a new stroke or beat that would then set up whatever would then come after that. The experience I expect might not be so very different from what some non-writers get out of surfing or snow-boarding, that constant sense of having to shape motion while in motion. »