I think polarising is great too. It lets you look at one thing before you
look at the other then you can look back at the first thing while thinking of
the other. It is very helpful. I fancy I've slept in Coleridge's house three
or four times but as I'm not sure if it is 'three' or 'four' one of those
fancies may be pure imagination. They blur into one - i.e. they won't let
themselves be polarised. I woke in the middle of the grey night and saw white
beasts eating my black window - not 'my' window, you understand, it belonged
to the National Trust.
All the best
Tim A.
Peter Riley:
>What's wrong with polarising? It's a very useful way of reaching what's
>going on without having to be encumbered by the mitigations of society. I
>precisely (that other time) WASN'T talking about the poetry of JH Prynne
>exactly because I wanted to be free to polarise. There are polar forces,
>attractions and repulsion, going on in the poetry energy fields, which are
>considerably more interesting that how Mrs Gobworthy rates Mr
>Fiddlestick's effusions this week.
>But I didn't polarise the whereabouters, they polarised themselves.
>I recall Coleridge (because I'm going to sleep in his house tomorrow night)
>polarised the creative process into Fancy and Imagination. I often wish we
>could have remembered so.
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