“Art is not to throw light but to be light...”
― Kenneth Patchen
So it is the duty of the artist to discourage all traces of shame To extend all boundaries To fog them in right over the plate To kill only what is ridiculous To establish problems To ignore solutions To listen to no one To omit nothing To contradict everything To generate the free brain To bear no cross To take part in no crucifixion To tinkle a warning when mankind strays To explode upon all parties To wound deeper than the soldier To heal this poor obstinate monkey once and for all To verify the irrational To exaggerate all things To inhibit everyone To lubricate each proportion To experience only experience To set a flame in the high air To exclaim at the commonplace alone To cause the unseen eyes to open To admire only the absurd To be concerned with every profession save his own To raise a fortuitous stink on the boulevards of truth and beauty To desire an electrifiable intercourse with a female alligator To lift the flesh above the suffering To forgive the beautiful its disconsolate deceit To flash his vengeful badge at every abyss To HAPPEN It is the artist’s duty to be alive To drag people into glittering occupations To blush perpetually in gaping innocence To drift happily through the ruined race-intelligence To burrow beneath the subconscious To defend the unreal at the cost of his reason To obey each outrageous impulse To commit his company to all enchantments.
Kenneth Patchen (1911-1972) was an American poet and writer known for his innovative and experimental approach to poetry.
Patchen is best known for his unique style of poetry, which blended elements of surrealism, political activism, and jazz. His early poetry was influenced by the Great Depression and the social and political turmoil of the 1930s. He often used collage techniques, visual poetry, and multimedia elements in his work, pushing the boundaries of what poetry could be.
Henry Miller once wrote of Patchen: “THE first thing one would remark on meeting Kenneth Patchen is that he is the living symbol of protest. I remember distinctly my first impression of him when we met in New York: it was that of a powerful, sensitive being who moved on velvet pads. A sort of sincere assassin, I thought to myself, as we shook hands. This impression has never left me.”