I’ve had cold coffee and hot coffee, good coffee and lousy coffee, but I’ve never had a sad cup of coffee.
the spirit of truth must guide us in some sort, even in our enjoyment of fallacy.
Personification in poetry making is perhaps unavoidable, given the fact that we are human beings and poetry is an entirely human activity. It is tempting to broach the matter in philosophical terms, particularly that of phenomenology, noting its divergence with analytic philosophy. But I am not nearly equipped in necessary degree or kind to discuss it in these terms. Suffice to say I am biased on the phenomenological side of perception and it might be fair to describe Francis Ponge, the writer I look to as a master of the type of poetry I prefer, as a phenomenological poet. Let it stand as a signpost to a direction that one better equipped than myself might profitably go.
I will note in passing or preamble that a cup of coffee is itself an entirely human thing: a particular modification, manipulation or entirely human application of coffee beans. It is often used, in fact—the cup of coffee—in concert with the act of writing in any of its guises. I don’t doubt that it is taken for granted by those for whom it is so ready at hand what an extravagance this beverage is. The beans are harvested, roasted, delivered, packaged and stored and then, upon purchase by the consumer, they are ground and submitted via any number of techniques to nearly boiling water and, finally, often sweetened by any number of sweeteners and embellished with cream, both of which of course involve their own manufacturing and distribution processes. It takes a civilization to have a cup of coffee (and don’t, either, forget the cup, the techniques and tools for heating the water, the environment in which the preparation occurs, etc).
One might say, in a manner of speaking, that only those with access to a cup of coffee are in a position to engage in an act of poetry. If one is lucky, for example, to get a drink of clean water and a crust of bread or a few grains of rice it is hard to imagine poetry entering the list of concerns. Does this mean then that a cup of coffee is always a lucky cup of coffee, a fortunate one or even an extravagant one? Say “yes” and must one also say “yes” to the sad one or any kind at all other than “cold”, “hot”, “good”, “lousy”, etc?
Surely, considering the above, it is a sad state of affairs to sip a cup of coffee while sad. But we need not go so far as to suggest the cup of coffee itself is unfortunate or sad, even if its drinker is. Ruskin says as much.
But considering no cup of coffee exists outside a set of human concerns, it will not be possible to address it as a theme, subject or poetic object without at least implicitly acknowledging humanity. And that sounds kind of dumb, and certainly inadequate. After all, did we not just agree that any act of poetry, being an entirely human act, does not take place outside human concerns? More dumb-sounding statements, and compounded inadequacy. Here my lack of philosophical training shows grievously.
I said that personification in poetry making is perhaps unavoidable…. Let me now throw in a sprinkling of statements and claims (or aims) made by Francis Ponge:
The object is always more important, more interesting, more capable (full of rights): it has no duty whatsoever toward me, it is I who am obliged to it. (Banks of the Loire)
…. man will make marvelous strides if he returns to things…. and applies himself to studying them and expressing them…. in their essence as in their details. But at the same time he must remake them in the logos starting from the materials of the logos, which is to say speech. (Notes for a Bird)
The point is to describe the sky clearly, just as it appeared to me and impressed me so deeply.
From this description, or following from it, will rise in simple terms the explanation of my deep emotion.
If it’s possible to found a science whose matter would be aesthetic impressions, I want to be the man of that science (La Mounine)
La Mounine is the functional opposite of a pathetic fallacy. Rather than reducing a natural phenomenon to the emotion of a poet, Ponge went to the phenomenon first. But of course his writing is full of personification. Poetry is for people, after all. One does not really give a voice to things, and where, I’d like to know, did he claim to do that? His work is about man’s relationship to the world through the medium of language. “I try,” he said in an interview, “in the verbal world to do something which has as much concrete existence as the objects that I describe.” [The Sun Placed in the Abyss, p96] That reminds me of another thing Rauschenberg said: “I don’t want a picture to look like something it isn’t, I want it to look like something it is.” [Off the Wall, p87] But what of that sad cup of coffee that Rauschenberg claimed to encounter in Ginsberg’s Howl? Well, there are catatonic pianos and dreadful typewriters (also holy ones) in there, but I can’t find a sad cup of coffee anywhere.