Open Collections

Touches : poems

University of British Columbia

The poems in this collection divide themselves into three sections. Each section is a unit of its own, and the poems structure themselves within the context of their section. What applies, however, to each section in the introductions below, applies to every poem. For each, emerging from a portal of the mind, touches, and is a message from that which is happening there. From the glints of the commonplace spring the epiphanies of another world of shapes and beings. This metamorphosis of the familiar is the process of the imagination in these poems. Mood and tone are the prevailing focus of the technique. The mood is the embodiment of meaning. Thus the poems define themselves as touches, or as language motions reaching out, relating to objects. Also, as is central to the progression of this collection, the touches of the self relate to the other self; and the touches relate to the objects, surrounding the self, which become presences in their own metamorphic manner: From the Portals of Mouseholes or the diminutive perception framed into a larger context. These poems were composed within the perspective of an opening vision, the optical illusion of art: man and the world, whether of the collective 'other' or the continuum of space and objects: the little and the big: the insignificant and the significant: the magic of this relativity. Touches electrify the self into the recognition and power of another self. Two selves are two touches, the gesture and the action is the relationship. Messages, the poet dictates to others. Yet there are other, more radical messages: the dictation to the poet by a voice within or without which pressures him to speak or to burst beyond containment. The touch is the extension; touches create the pattern. Touches--the gestures of the third persons singular; touches--who?he? she? One?--the noun becomes verb, verb becomes noun.

Text

2011-08-31

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http://hdl.handle.net/2429/37035

English

University of British Columbia

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