The Brain That Changes Itself

'The irony of this new discovery is that for hundreds of years educators did seem to sense that children's brains had to be built up through exercises of increasing difficulty that strengthened brain functions. Up through the nineteenth and early twentieth centuries a classical education often included rote memorization of long poems in foreign languages, which strengthened the auditory memory (hence thinking in language) and an almost fanatical attention to handwriting, which probably helped strengthen motor capacities and thus not only helped handwriting but added speed and fluency to reading and speaking. Often a great deal of attention was paid to exact elocution and to perfecting the pronunciation of words. Then  in the 1960s educators dropped such traditional exercises from the curriculum, because they were too rigid, boring, and "not relevant." But the loss of these drills has been costly; they may have been the only opportunity that many students had to systematically exercise the brain function that gives us fluency and grace with symbols. For the rest of us, their disappearance may have contributed to the general decline of eloquence, which requires memory and  a level of auditory brainpower unfamiliar to us now.'
Norman Doidge, 2007, The brain that changes itself, Scribe Publications, Victoria (2008)

T. S. Eliot, 1921, 'The Sacred Wood', Tradition and the Individual Talent

'Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.'

'Scenes from Provincial Life'

'There is another and more brutal way of saying the same thing. In fact there are hundreds of ways: he could spend the rest of his life listing them. But the most brutal way is to say that he is afraid: afraid of writing, afraid of women. He may pull faces at the poems he reads in Ambit and Agenda, but at least they are there, in print, in the world. How is he to know that the men who wrote them did not spend years squirming as fastidiously as he in front of the blank page? They squirmed, but then finally they pulled themselves together and wrote as best they could what had to be written, and mailed it out, and suffered the humiliation of rejection or the equal humiliation of seeing their effusions in cold print, in all their poverty. In the same way these men would have found an excuse, however lame, for speaking to some or other beautiful girl in the Underground, and if she turned her head away or passed a scornful remark in Italian to a friend, well, they would have found a way of suffering the rebuff in silence and the next day would have tried again with another girl. That is how it is done, that is how the world works. And one day they, these men, these poets, these lovers, would be lucky, the girl, no matter how exaltedly beautiful, would speak back, and one thing would lead to another and their lives would be transformed, both their lives, and that would be that. What more is required than a kind of stupid, insensitive doggedness, as lover, as writer, together with a readiness to fail and fail again?'
J. M. Coetzee, 2011, Scenes from Provincial Life, Vintage, Sydney.

Steve Smart, President, Melbourne Poets Union

"Melbourne Poets Union is a representative organisation. We don't fit ourselves into one style or one definition of what poetry is. We're for poets, but what are poets for if we're not for people who aren't poets? I would like to focus on that idea in 2016 and and I would like you to think carefully about it too, as a serious question. Never forget that poetry is a responsibility as well as a joy."
poam, Feb/Mar #353