Page 5 - The Irony Board
P. 5

Introduction

        cannot be sustained for long (the shortest work of this type, “Clouds
        break” (presented below), amounts to five words).
          Logic  is  a  recurrent  theme  in  his  epigrams;  it  is  the  means  by
        which  irony  may  be  understood  as  twisted  metaphor:  if  the
        relationship of A to B is a metaphor for that of C to D, then it is
        ironical if in fact A and D or B and C are linked (for instance, we
        expect  the  wealthy  to  be  sunburned  in  winter,  but  in  fact  the
        homeless often are—an irony of poverty).
            In  the  discussion  of  specific  poems,  other  logical  aspects  will
        become evident. As a stylistic element, however, a few more words
        may  be  said  about  logic.  English,  as  a  natural  language,  easily
        generates paradoxes and contradictions involving self-reference and
        impossible entities. Gluckman uses these sorts of “strange loop” to
        create  semantic  tension;  logical  ambiguity  can  be  both  form  and
        content.  The  architectural  element  also  partakes  of  the  logic  of
        symmetry, in the “word shuffle” type of poem; here a set of symbols
        is  rung  through  changes  in  an  orderly  fashion,  or  repeated  in  the
        same phrase with different meanings.
          Finally,  it  may  be  of  interest  to  note  his  principal  sources  of
        imagery.  Idioms,  proverbs,  and  figures  of  speech,  as  pre-defined
        pithy  expressions,  are  frequently  the  take-off  point  for  puns  and
        pastiches.  Animals  and  their  behavior  are  favorite  subjects  and
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        analogues.   Other  inhabitants  of  the  natural  world  (animate  and
        otherwise) find their way into similes and purely imagistic contexts.
        Many of the issues dealt with are academic in origin, reflecting his
        own  grasshopper  education;  the  theorists  and  theories  appear,  of
        course, in versions sanctioned by the amateur’s poetic license.

        How the poems are presented

            Organizing  multi-dimensional  objects  according  to  a  linear
        principle  is  necessarily  a  frustrating  exercise  in  compromise  and
        arbitrariness. Wittgenstein, in whatever form he persists in memory,



        2  See his three volumes of “Fables”, as well as several of the illustrated children’s
        stories for his repeated use of animal characters and characteristics.

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