Prosody

The Open Sentence: A Statement Masquerading as a Manifesto

I say this now because as I'm continuing to write my extended, in depth criticism of Atlas Shrugged, there are going to be times when the close reading will require the engagement of aesthetic rather than political or philosophical concerns. As I'm trying to show that it is the worst book ever written, it is necessary to take on not only the bad ideas in the book and the quality of the storytelling, but also the quality of the craftsmanship at the level of the language. In order that people know where I'm coming from, I figured it would be better to lay it all out here in a brief abstract rather than have to constantly re-state things about what I think makes for good and bad writing within each individual piece.

In writing, where the content is not primarily concerned with the communications of facts or criticism of some form whether it be literal or cultural—that is to say, where it is not political/philosophical treatise, some sort of non-fiction, or the interpretation of other work—I take to be primitive several statements by Ludwig Wittgenstein. Among them:

"Philosophy ought to be written only as a form of poetry."

"What we cannot speak about we must pass over in silence."

"What can be shewn cannot be said."

"There are, indeed, things that cannot be put into words. They make themselves manifest. They are what is mystical."

"We have got onto slippery ice where there is no friction and so in a certain sense conditions are ideal, but also, because of that, we are unable to walk. We want to walk, therefore we need friction. Back to the rough ground."

"If a lion could speak, we could not understand him."

"In a large number of cases, though not for all, the meaning of a word is it's use in a language-game."

Im Riddim and the Reading of Poetry Silently

I've never studied verse formally. I've read a few books and a lot of essays, but never in any sort of systematic way. For a long time I've struggled with the various ideas about rhythm in English language poetry as much of what a lot of poets say about rhythm doesn't really make a lot of sense. Ultimately, I've been left with the definite suspicion that much of what poets believe about rhythm is largely unconnected to what they practice when they're writing. Most important, there is a flaw in the concept of poetic rhythm being regular in the same way that music is regular. Existing systems of scansion that attempt to regularize poetry rhythm are therefore flawed at root and make for a dull and difficult tool for the analysis of poetry. Far more systematic and interesting is, I think, the study of prosody from a linguistic point of view and there is a great deal of very good literature available on phonology and phonetics which is illuminating when applied to poetry...