Review in the Montreal Review of Books

Ken Norris sent me this link, a review of our three new Ekstasis Editions books in the Montreal Review of Books. Great to see the review and many thanks to Robyn Fadden who wrote the review.

Here is the link, https://mtlreviewofbooks.ca/reviews/vehicule-poets-farkas-morrissey-norris/?fbclid=IwAR31auEvflf89eeI_V6jJeOffNzzhBzDGRB9HzTfJ_bKen1ErOiWSAl_dGs

Review of The Green Archetypal Field of Poetry

Here is a link to Cynthia Coristine's review of my new book, The Green Archetypal Field of Poetry; what a terrific review for which I am very grateful!

The review can be found here, or copy and paste the following: https://poets.ca/review-the-green-archetypal-field-of-poetry-stephen-morrissey/

The Green Archetypal Field of Poetry

Here is the front and back cover of my new book, The Green Archetypal Field of Poetry, on poetry, poets, and psyche, published by Ekstasis Editions a few months ago. The book was published at the same time as Ekstasis Editions published books by Ken Norris and Endre Farkas, both of whom I've known since the mid-1970s. I thought I had reached the end of writing, now it seems I have a few more years left in me. 

Books can be ordered from Ekstasis Editions.

The Green Archetypal Field of Poetry: on poetry, poets, and psyche gathers a selection of essays and short statements on poetry by Stephen Morrissey. While best known as a poet, Morrissey’s critical writing is an important part of his literary work. In this book he writes on the legacy of Canadian poets who helped bring modernism to Canadian poetry. Morrissey’s approach to poetics reminds us of the enduring importance of Beat, Romantic, and shamanic poetics. Morrissey suggests that poems originate in what he calls the green archetypal field of poetry. This is Stephen Morrissey’s second volume on poetry and poetics, after The Poet’s Journey: on poetry and what it means to be a poet (2019).

 

Zoom book launch for Ekstasis Editions books

Here is the text I read at the Zoom online book launch for several of this years new Ekstasis Editions books, including my own The Green Archetypal Field of Poetry, on poetry, poets, and psyche. This event was online on Sunday, 15 May 2022 at 2 p.m.

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Book Launch, Zoom, 15 May 2022, 2 p.m.

Place in Poetry

Thank you to Richard Olafson for publishing these books that are being launched today, and thank you to Endre Farkas and Carolyn-Marie Souaid for organizing this book launch.

This book, The Green Archetypal Fields of Poetry, on poetry, poets, and psyche isn't poetry so maybe I should just say a few words to introduce the book.

This is my second book with Ekstasis Editions on poetics and memoir, on becoming a poet. The first book was  A Poet's Journey: On Poetry and what it Means to be a Poet. Thank you Richard, I really appreciate your work for poetry.

The background to the book, what created it, its reason for having been written, is that we live in a place, a city or a community, and this is a commitment to a specific geographical location, it is also a spiritual location. For me, this location, this place, is Montreal. In fact, the whole book refers to Montreal. Montreal is my psychic centre.

But think of place in the work of Charles Olson, it's Gloucester; or William Carlos Williams, it's Paterson; or Raymond Souster, it's Toronto; and for Louis Dudek and John Glassco, it's Montreal.

Montreal is where modern English Canadian poetry was born. If you were a poet in Canada you wanted to live, even for a short time, in Montreal. PK Page, Phyllis Webb, and many others lived here for a while, and this is the birth place in the 1920s of the Montreal Group of Poets at McGill University; they included FR Scott, AJM Smith, and John Glassco; also in Montreal were others, Louis Dudek, Irving Layton, and AM Klein.

This is where we came from and we haven't left.

I also wrote about the Vehicule Poets, "Starting Out from Vehicule Art Gallery", a history of our early days as poets, the Sunday afternoon readings, and that essay is in the book. Of course, the Vehicule Poets are in the line, the lineage, of the Montreal Group and other groups of poets that started here. That is our canonical lineage because all poetry is a part of a canon and a lineage of poets and poetry, however poetry changes it is always in the context of a lineage.

There is also our ancestral heritage in Montreal. For me, personally, my family have lived and worked here since 1840; not as long as my Quebecois and Quebecoise friends, and certainly not as long as the Indigenous people, but still a long time, and I have written about this as well, for instance the Morrissey Family History website.

Poets aren't nomads and we're not from nowhere. We're from a specific place, but this specificity of place is being lost in the economic and political globalism of the world, in every city you visit the condos are all the same, the stores and music we hear is the same, the politics is divided, and what is specific and local is being lost.

More specifically, my psychic centre, what made me the person I am today, is my family history but this is located and symbolized in my grandmother`s home on Girouard Avenue in Montreal`s West End. No one had money but family kept us together.

So place works on a number of different levels, it works as a geographical place, but it's also an ancestral and spiritual place, it's what formed us as people, it's the the birth of psyche.

That's how I became a poet, it began here in the City of Montreal.

Montreal is our home as poets, it's our centre as poets. 

Here is a short excerpt from The Green Archetypal Field of Poetry:

We are increasingly living in a deracinated world, in a global community, but a global community is an abstraction, an invention of committees and legislation and driven for profit and by people’s personal ambition; it is an intellectual construct, it is not born organically, a process that may take hundreds of years of human migration, political and military strategies, layers of cultural change, and spiritual vision. There is also a spirit of place; spirit of place manifests in the natural world, but it also includes our ancestral memory and family history and stories. If we are not careful we will soon be living in Huxley's Brave New World or Orwell’s 1984 world of geographical regions and the repression of creative individuality, not places of vibrant specificity that are containers of soul. A geographical place is specific and local, it is not abstract but concrete; globalism is an abstract concept that has little or no connection to community or place. Abstraction denies the specificity of place; place emphasizes the diverse world of things. Poetry requires community; it requires the diversity of a specific place.

Thank you all for being so patient and listening to this.

 

The Archetypal Field of Poetry

Published in 2022

Published in 2022, Ekstasis Edition, Victoria, BC, Canada

C.G. Jung made archetypes one of the central concepts to his approach to psychology, and this has been elaborated upon and expanded on by some of his followers, for instance James Hillman. An archetype is a psychological concept, it is a blue print, a prototype, an image, or a pattern of behavioural experience. It is also a term, used popularly today, suggesting that the experience of mythological characters is a pattern that can be seen in the behaviour of average people (as explored in Jean Shinoda Bolen’s books). Another contemporary Jungian thinker who has been influenced by the concept of archetypes is Michael Conforti, a Jungian analyst and author of Field, Form, and Fate: Patterns in Mind, Nature, and Psyche (Spring Publications, Woodstock, 1999).

In poetry an archetype, as an image, or as a narrative, gives depth and sophistication to a poem letting it work on several levels of meaning simultaneously. Maud Bodkin, in Archetypal Patterns In Poetry, Psychological Studies Of Imagination (Vintage Books, New York, 1958) examines C.G. Jung’s “hypothesis in regard to the psychological significance of poetry.” She writes,

The special emotional significance possessed by certain poems—a significance going beyond any definite meaning conveyed—he attributes to the stirring in the reader’s mind, within or beneath his conscious response, of unconscious forces which he terms “primordial images,” or archetypes. These archetypes he describes as “psychic residua of numberless experiences of the same types,” experiences which have happened not to the individual but to his ancestors, and of which the results are inherited in the structure of the brain, a priori determinants of individual experience.

An archetype can include psychological complexes—it is a way to analyze and find patterns in any behaviour. Conforti extends the concept of archetypes to posit, if I understand him correctly, an external existence to the archetypes independent of the psyche, or of psychology. Archetypes, for Conforti, are not only psychological constructs, they also have an empirical existence, such as the pattern iron filings on a piece of glass will make when a magnet is placed under the glass. The division between the inner, psychological and spiritual domain, and the outer domain of consensual and empirical reality, is blurred, even eliminated. Conforti’s concept of archetypes seems to be both outside of time and space, and also firmly located in their expression inside the temporal and spatial. It is a fascinating and, some might say, a mystical idea, one that will be rejected by some (or many) clinical psychologists.

While hearing Conforti speak, to the C.G. Jung Society of Montreal last fall (2008), I realized that his concept of archetypes is one of the clues I had been looking for regarding how poetry is composed. It occurred to me that there is an archetypal field of poetry, which does not mean that poems have already been written and poets merely record what they “hear,” although this is what some poets describe as their experience when writing or composing poems. I suggest (and it’s just a thought) that there is an archetypal field of poetry, a psychological state accessed by poets when writing poems. Writing poems is a [“kind-of”] shamanic journey or process in which images (which can also be archetypal) are retrieved and expressed in composition. This should not conflict with the popular division of poets into romantic (or spontaneous) and classical (or formal).

It is very difficult for us to conceive such a thing, but the reality—not just the idea—of the static ego, formed and unchanging, might one day be replaced with a different concept: of a perceiving entity in the active present moment, a constellation of selves with an identifiable Persona, moving in and out of time and space, and possibly existing in the “undifferentiated unity of existence” (W.T. Stace, The Teaching Of The Mystics, Selections From The Great Mystics And Mystical Writings Of The World, A Mentor Book, New York, 1960). We may, one day, conceive of a poem as an existing entity that both exists and doesn’t exist before it is written, and that it comes to us uninvited to be transcribed by the poet. Just as J. Krishnamurti described, during his lectures—including lectures that I attended in Saanen, New York City, and Ojai—that an apparently living entity came to him—not as an invention of his psyche—but as, for instance, a living presence that had a quality of goodness or love that exists outside of his individual consciousness, an entity perceivable at times by him, as existing in the world by itself. There is no “how” as in “how does one access this experience?” There is only the work of creating a foundation for the work to come if it does come or if it is to come.

So, if asked where my poems come from, I would answer that they are from the archetypal field of poetry.