I find it useful to think of one's poems, after the primary draft, in terms
of 'canvas'. As if they were as physically present yet other as a painting.
In revision I look for 'texture', how to deepen a hint or tint here, how to
sharpen a light there. I find it useful too as a method of disassociating
the 'poem' from 'me', as it were, so that it is away from the fragilities
and uncertainties of my ego, my me-in-the-worldness, and now 'out there'.
To be worked on. To be tinkered with. To be sniffed round the edges.
Best
dave
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