stealing style

How I wonder. How is it that I have come to be a poet?
Are we born poets? Are we conditioned poets?
What stammers in us not a heart beating but rather 
a po po po poesis. Is it the ground and how we come to 
walk upon it first finding it with our knees?

I should have asked what manner of trade this is, 
not a fair one--that's inevitable.
When reading Umberto Saba and Umberto Ungaretti; 
I am immediately taken aback at the self-identification 
I find between my own work from the English as if it were
directly, somehow emotionally translated; evoked from the 
Italian modernist lyric. I find this stunning as if I'd walked 
out of a three year visit from a village having taken part in a 
laborious intense hermetic and monastic poetry experiment and 
study with either of these poets. Am I just stealing style? 
Innately so.ย  As a replica of a time, place and space or is it 
somehow inherent by way of cultural conditioning?

I'm awestruck to say it must be the latter. How can it not be?
The chords of music, melody, attitude are so similar at times 
that I cannot fathom from where this dialogue intercepted. 
The slow pedantic monochromatic voice of Saba's Poetry and Winter; 
the detached, cool postulation of what Saba encounters in these 
two modern pieces remind me of my descending on The Craft;
a poem which has become a huge influence in my own journey
as a writer speaking/writing of Poesis as or in sentiment 
without sentiment--an irony that is trickster; 
it pretends it exists without.

The Craft

Iโ€™m heading west.
Getting really good at this.

The process, in keeping with its fluidity,
is a monotony more constant than driving straight ahead.

There is always this mild view of a flat prairie horizon,
eternity to the eye.

Until you reach an edge,
Some glorious view.

This poem has been carefully edited by Elana Wolff.
I find that its blatant attempt at linking the banal 
flat of the prairie is something both stating yet
fleeting the obvious yet its also metaphysical; what
is indicated by the imagery of the title in relationship
to the landscape is the gravity that connects my work 
to Saba and his two pieces mentioned above. This came before 
when I posted: how i know you. Yes, this is how I know you. 

We approach subject and matter with similar ironies; 
we have similar pacing offerring a gravitas to what we 
describe that has a consistent lyrical rhythm that beats
and breathes--a similar expression. Though, here I've chosen 
to go with the couplet stanza form, which does give it more
intonation. I cannot deny the connections here between
these two stoic modernist male writers [Saba, Ungaretti] and
myself at times. I believe this desire is come out of some
ability to identify with the 'hermetic'state of poetry; a 
beingness, which binds me to these poets with the processes
explained above. We have little use for leaning into linguistics
or clever remonstrance of language here. So much is extrapolated
and explained in mere simplistic forms and uses of sentence and

Sonia Di Placido, Nov 29, 2011

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