Where does the poem open? It opens where the unknown starts. If I only write about familiar material, I limit myself and present an obstacle to all the things that could be written meanwhile. New perceptions must always be able to come up behind me, impulses that bring me to an unpredictable place.
A poem must close. It has its own end built in to it, but must at the same time point beyond itself. It is only when the definitive move is made that the ending becomes visible. In what the definitive consists cannot be said, as each poem has its own move, which points towards closing.
While it is far from invariably possible to explain what started a poem, the decisive move can as a rule be made clear during or immediately after the work. Later it is probably forgotten, but the fact remains that beginning and the end must be in a supple relation to each other. A poem can be so short that it does not manage to develop, but can on the other hand run the risk of being so long that it loses precision or becomes diffuse.
A poem must stop in a convincing way, so that it can start in the reader.
The title of a poem functions as an orientation point. I don't remember numbers, they don't tell me anything. Number-blind, I stumble about in the dark. But a title is important, because the poem is recalled by it. On the other hand, titles should not signal too much. They should be more in the way of hints than titles which make the poem top-heavy. It’s a relief when a title gives itself, for usually it is the title that causes the greatest difficulties. This is especially true of book titles, which ought to be a miniature of the whole work. The strange thing about book titles is that they converse with one another. The title I gave my first book has had direct consequences for the others. Like names in a group of brothers and sisters.
Visible or invisible poles exist in my poems, but the number three is the magic one. It hides everywhere in their composition, and in the books' inner conversation.
Springtide and White Fever constitute two poles, while Bridge of Seconds became the third quantity, which could not have been devised without the preceding ones. Viewed like this, the three works are related to one another as thesis - antithesis - synthesis. The poem 'Moving sculpture' in Bridge of Seconds is a hidden poetics for the three books mentioned here: King, Queen and dauphin. The dauphin is an unexpected result, which again must mark off a new figure which lies outside the material that is given. A continuous dynamic praxis.
The figure three also plays on another motif. The poems do not merely articulate an I-you relation, a poet-reader relation: a third instance is present between the two.
translated from Danish by David McDuff
Over the Water I Walk-1
Over the Water I Walk-2
Over the Water I Walk-3
Over the Water I Walk-4
Over the Water I Walk-5
Over the Water I Walk-6
Over the Water I Walk-7
Over the Water I Walk-8
Over the Water I Walk-9
Over the Water I Walk-10