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In my view, books should be brought to the doorstep like electricity, or like milk in England: they should be consid­ered utilities, and their cost should be appropriately mini­mal. Barring that, poetry could be sold in drugstores (not least because it might reduce the bill from your shrink). At the very least, an anthology of American poetry should be found in the drawer in every room in every motel in the land, next to the Bible, which will surely not object to this proximity, since it does not object to the proximity of the phone book.

All this is doable, in this country especially. For apart from anything else, American poetry is this country's greatest pat­rimony. It takes a stranger to see some things clearly. This is one of them, and I am that stranger. The quantity of verse that has been penned on these shores in the last century and a half dwarfs the similar enterprise of any literature and, for that matter, both ourjazz and our cinema, rightly adored throughout the world. The same goes, I daresay, for its qual­ity, for this is a poetry informed by the spirit of personal responsibility. There is nothing more alien to American po­etry than those great Continental specialties: the sensibility of the victim with its wildly oscillating, blame-thirsty finger; the incoherence of elevation; the Promethean affectations and special pleading. To be sure, American verse has its vices—too many a parochial visionary, a verbose neurotic. But it is extremely tempering stuff, and sticking with the 1 percent distribution method robs this nation of a natural resource of endurance, not to mention a source of pride.

Poetry, by definition, is a highly individualistic art; in a sense, this country is its logical abode. At any rate, it is only logical that in this country this individualistic tendency has gone to its idiosyncratic extreme, in modernists and tra­ditionalists alike. (In fact, this is what gave birth to modern­ists.) To my eye as well as my ear, American poetry is a relentless nonstop sermon on human autonomy; the song of the atom, if you will, defying the chain reaction. Its general tone is that of resilience and fortitude, of exacting the full look at the worst and not blinking. It certainly keeps its eyes wide open, not so much in wonderment, or poised for a revelation, as on the lookout for danger. It is short on con­solation (the diversion of so much European poetry, espe­cially Russian); rich and extremely lucid in detail; free of nostalgia for some Golden Age; big on hardihood and escape. If one looked for its motto, I would suggest Frost's line from "A Servant to Servants": "The best way out is always through."

If I permit myself to speak about American poetry in such a wholesale manner, it is not because of its body's strength and vastness but because my subject is the public's access to it. In this context it must be pointed out that the old adage about a poet's role in, or his duty to, his society puts the entire issue upside down. If one can speak of the social function of somebody who is essentially self-employed, then the social function of a poet is writing, which he does not by society's appointment but by his own volition. His only duty is to his language, that is, to write well. By writing, especially by writing well, in the language of his society, a poet takes a large step toward it. It is society's job to meet him halfway, that is, to open his book and to read it.

If one can speak of any dereliction of duty here, it's not on the part of the poet, for he keeps writing. Now, poetry is the supreme form of human locution in any culture. By failing to read or listen to poets, a society dooms itself to inferior moSes of articulation—of the politician, or the sales­man, or the charlatan—in short, to its own. It forfeits, in other words, its own evolutionary potential, for what distin­guishes us from the rest of the animal kingdom is precisely the gift of speech. The charge frequently leveled against poetry—that it is difficult, obscure, hermetic, and whatnot —indicates not the state of poetry but, frankly, the rung of the evolutionary ladder on which society is stuck.

For poetic discourse is continuous; it also avoids cliche and repetition. The absence of those things is what speeds up and distinguishes art from life, whose chief stylistic device, if one may say so, is precisely cliche and repetition, since it always starts from scratch. It is no wonder that society today, chancing on this continuing poetic discourse, finds itself at a loss, as if boarding a runaway train. I have remarked else­where that poetry is not a form of entertainment, and in a certain sense not even a form of art, but our anthropological, genetic goal, our linguistic, evolutionary beacon. We seem to sense this as children, when we absorb and remember verses in order to master language. As adults, however, we abandon this pursuit, convinced that we have mastered it. Yet what we've mastered is but an idiom, good enough per­haps to outfox an enemy, to sell a product, to get laid, to earn a promotion, but certainly not good enough to cure anguish or cause joy. Until one learns to pack one's sentences with meanings like a van or to discern and love in the be­loved's features a "pilgrim soul"; until one becomes aware that "No memory of having starred I Atones for later dis­regard, I Or keeps the end from being hard"—until things like that are in one's bloodstream, one still belongs among the sublinguals. Who are the majority, if that's a comfort.

If nothing else, reading poetry is a process of terrific linguistic osmosis. It is also a highly economical form of mental acceleration. Within a very short space a good poem covers enormous mental ground, and often, toward its finale, provides one with an epiphany or a revelation. That happens because in the process of composition a poet employs—by and large unwittingly—the two main modes of cognition available to our species: Occidental and Oriental. (Of course both modes are available whenever you find frontal lobes, but different traditions have employed them with different degrees of prejudice.) The first puts a high premium on the rational, on analysis. In social terms, it is accompanied by man's self-assertion and generally is exemplified by Des- cartes's "Cogito ergo sum." The second relies mainly on intu­itive synthesis, calls for self-negation, and is best represented by the Buddha. In other words, a poem offers you a sample of complete, not slanted, human intelligence at work. This is what constitutes the chief appeal of poetry, quite apart from its exploiting rhythmic and euphonic properties of the language which are in themselves quite revelatory. A poem, as it were, tells its reader, "Be like me. " And at the moment of reading you become what you read, you become the state of the language which is a poem, and its epiphany or its revelation is yours. They are still yours once you shut the book, since you can't revert to not having had them. That's what evolution is all about.

Now, the purpose of evolution is the survival neither of the fittest nor of the defeatist. Were it the former, we would have to settle for Arnold Schwarzenegger; were it the latter, which ethically is a more sound proposition, we'd have to make do with Woody Allen. The purpose of evolution, believe it or not, is beauty, which survives it all and generates truth simply by being a fusion of the mental and the sensual. As it is always in the eye of the beholder, it can't be wholly embodied save in words: that's what ushers in a poem, which is as incurably semantic as it is incurably euphonic.

No other language accumulates so much of this as does En­glish. To be born into it or to arrive in it is the best boon that can befall a man. To prevent its keepers from full access to it is an anthropological crime, and that's what the present system of the distribution of poetry boils down to. I don't rightly know what's worse, burning books or not reading them; I think, though, that token publishing falls somewhere in between. I am sorry to put this so drastically, but when I think of the great works by the poets of this language bulldozed into neglect, on the one hand, and then consider the mind-boggling demographic vista, on the other, I feel that we are on the verge of a tremendous cultural backslide. And it is not the culture I am worried about, or the fate of the great or not-so-great poets' works. What concerns me is that man, unable to articulate, to express himselfadequately, reverts to action. Since the vocabulary of action is limited, as it were, to his body, he is hound to act violently, extending his vocabulary with a weapon where there should have been an adjective.