I read this work of prose, by Charles Bernstein, a while ago. Clearly, the title (referring to the rarity of perfect pitch – which Bernstein places at the 0.1%) is meant to divide the poetry community – he mentions Reznikoff, Hannah Weiner I think) he also seeks to unify under ‘language’, as well as punning on his sales technique and ‘baseball’. I was collaborating again with the “habitual” surrealist Tim Allen:
Context remains miles away. Every mile sinks into a smile or convexes into the honey skies.
You can see here that Tim Allen maintain control of the “line”, the energy of his phrasing, its sounds, despite working in the surrealist mode (which I’m pretty confident is the case, because of my difficulty framing the figure – let alone make sense of what is being said). The former is relatively easy, but the latter condition seems beyond me.
I would argue that is what ‘perfect pitch’ can amount to: a form of extreme creativity that you might gloss as “originality”. I cannot do it surreal, and I doubt that I can learn (Niedecker “cleaned toilets for a living”).
So I keep working to tighten my habits…