These letters are to be as temporary as our poetry is to be permanent. They will establish the bulk, the wastage that my sour-stomached contemporaries demand to help them swallow and digest the pure word. We will use up our rhetoric here so that it will not appear in our poems. Let it be consumed paragraph by paragraph, day by day, until nothing of it is left in our poetry and nothing of our poetry is left in it. It is precisely because these letters are unnecessary that they must be written.
In my last letter I spoke of the tradition. The fools that read these letters will think by this we mean what tradition seems to have meant lately—an historical patchwork (whether made up of Elizabethan quotations, guide books of the poet’s home town, or obscure bits of magic published by Pantheon) which is used to cover up the nakedness of the bare word. Tradition means much more than that. It means generations of different poets in different countries patiently telling the same story, writing the same poem, gaining and losing something with each transformation—but, of course, never really losing anything. This has nothing to do with calmness, classicism, temperament, or anything else. Invention is merely the enemy of poetry.
See how weak prose is. I invent a word like invention. These paragraphs could be translated, transformed by a chain of fifty poets in fifty languages, and they still would be temporary, untrue, unable to yield the substance of a single image. Prose invents—poetry discloses.
A mad man is talking to himself in the room next to mine. He speaks in prose. Presently I shall go to a bar and there one or two poets will speak to me and I to them and we will try to destroy each other or attract each other or even listen to each other and nothing will happen because we will be speaking in prose. I will go home, drunken and dissatisfied, and sleep—and my dreams will be prose. Even the subconscious is not patient enough for poetry.
You are dead and the dead are very patient.
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