Samuel Taylor Coleridge “marries” or in a sense “reconciles” apparently contrary images in “Kubla Khan” by way of the latter’s poetic vision of a dome and a bursting fountain. So sayeth the literary critic Harold Bloom. In Bloom’s “anxiety of influence” school of interpretation, poets relate Oedipally to their precursors, each poem thus a demonstration of superiority — a flexing of imaginative muscle, an elaborate brag. Compared to Kublai Khan’s palace, the poet’s is, as enactment into global consciousness, the “finer dome,” the “more abiding paradise” (Bloom, The Visionary Company, p. 219). Bloom reads “Kubla Khan,” in other words, as a poem about poetry’s power. Through use of language, the imagination ruptures the given, allows back the forbidden, the excluded: the knowledge of Paradise. We are that unified, eternal Being — the one that reconciles contraries. Thou are that. Matter languaged. The oboe made articulate. (I classify the above as “notes toward a theory of fantasy.” In the same file I might add topics of conversation from my recent dinner with fantasist extraordinaire John Crowley. Change the stars, and one changes the world. As Above, So Below.)
Like a squirrel pausing on a high branch to admire a nut retrieved from below, I return home from office hours savoring a day well-spent in joyful, growth-oriented dialogue with students. Work in such moments seems capable of being harmonized with utopianism and individual and collective jubilation. My approach to reality coincides with my approach to students: infinite wonder, infinite passion, infinite forgiveness, infinite care. I can do this. I can bring spirited delight to conversations about consciousness, history, reality, and being, and still have time afterwards to recline and reflect. Students and I through study seed each other’s minds with new language sequences, new hopes, new possibilities. “What about plants?” a student and I wonder. Do they, too, possess consciousness? How do I eat with minimal undue suffering, minimal deconstruction of the order of the Oikos? A version of me tells another version of me across a distance of years to compare the “sacred river” referenced in Samuel Taylor Coleridge’s opium-induced poem “Kubla Khan” with the “stream” metaphor employed in the poem’s preface. Consciousness appears in the work as both non-reflecting pool and mirror. Or more precisely, as Coleridge writes, “The pool becomes a mirror” (emphasis mine). But which the surface, which the depth? I grow frightened of the implications. Suddenly I worry that the poem carries within it a warning about drug use as a sinful act of hubris, God’s creation (the mind, the soul, consciousness) purposed, put to use, instrumentalized, enslaved, the eternal Adam damning himself out of Eden by trying to “finish for himself what had been originally, as it were, given to him” — living for an augmentation, a “more,” a heavenly end of time that is always and forever “yet to come.” The infinite deferment or postponement appears mysterious in its implications in the final lines of the poem’s preface — made all the more complicated by annotations about modifications of the text made by Coleridge at different stages in his career — and thus different stages in the evolution of the author’s political sympathies and related worldview. The poem, wistful and tragic in its unreconstitutable, permanently fragmentary form, gestures toward its parent texts, Paradise Lost and the Book of Genesis. I hope students write papers comparing garden imagery in “Kubla Khan” and Pearl. “Kubla Khan” appears equally in this light as ultimate psychedelic metatext and prophetic anamnesis of the destiny of humankind. Gardens and enclosures, experience-bounding laws and hedonistic transgression. Plenty and the desire for more. Drug use is disruption of the stream of consciousness, the sacred river Alph — language, alphabetic reality. The Symbolic. Coleridge likens the altered state of consciousness to “images on the surface of a stream into which a stone has been cast,” whereas in Pearl, the dreaming narrator imagines himself as the cast stone, trying to cross the uncrossable stream dividing Earth from Heaven, only to find himself awakened from his dream and returned to the site of his misfortune.
Authority? Do you mean the pinnacle of order, as in “the market”? Or do you mean “realms within”? Lunch yesterday at a fast-food chain placed me in proximity to cops and military personnel. I imagine this as the universe’s way of suggesting that I go vegan. It also recommends, through the intermediary of a friend, that I read Charles Lamb’s Essays of Elia — whilst listening to Swedish progg group Träd, Gräs & Stenar.