Note: This article first appeared in the print edition of the Press-Enterprise on February 1, 2015, in the Inlandia Institute‘s weekly column.
If you spend enough time around poets, you’re bound to hear grandiose claims about self-discovery and poetic epiphany. And it’s true, our favorite poems tend to be surprising, even to ourselves. There are prosaic explanations for this: The best poems give voice to the unvoiced; they provide words for thoughts and feelings that we hadn’t before been able to describe. Saul Bellow famously said, when asked how it felt winning the Nobel Prize, “I don’t know. I haven’t written about it yet.” There is certainly a way in which words build a framework for understanding.
The movie What the Bleep Do We Know? relates an anecdote that, when Columbus first came to America, the natives literally couldn’t see his ships, because they had no mental concept of a ship that large. As sure as I am that the story is apocryphal, the poet in me wants to believe it—I’ve felt it myself: Every poem I’ve written that feels successful has taught me something about the world that I didn’t quite grasp when I started writing it. What if there were some truth to this notion of poetic epiphany?
Everyone is familiar with Edgar Allan Poe. But what you might not know Poe’s last work—which he considered to be his greatest—Eureka: A Prose Poem, not only presaged the Big Bang Theory by 80 years, but also provided the first recorded solution to Olbers’ Paradox.
Also called the Dark Sky Night Paradox, Heinrich Olbers described the problem of the relatively low brightness of the night sky in 1823. If the universe were infinite and eternal, as was commonly held at the time, then any line of sight would eventually hit the surface of a star—in other words, there would be so many stars in the sky that every point in the sky would be bright. In Eureka (1849), Poe explains it like this:
Were the succession of stars endless, then the background of the sky would present us a uniform luminosity, like that displayed by the Galaxy—since there could be absolutely no point, in all that background, at which would not exist a star. The only mode, therefore, in which, under such a state of affairs, we could comprehend the voids which our telescopes find in innumerable directions, would be by supposing the distance of the invisible background so immense that no ray from it has yet been able to reach us at all.
Poe is describing the concept of a bounded observable universe—light has a finite speed, and perhaps the universe just isn’t old enough for all of it to have reached us yet. He goes on to explain how the universe sprung from a “primordial particle”:
… one particle—a particle of one kind—of one character—of one nature—of one size—of one form—a particle, therefore, “without form and void”—a particle positively a particle at all points—a particle absolutely unique, individual, undivided …
The particle then expands outward by “divine volition,” a repulsive force that’s opposed to gravity. Once matter is expelled outward it begins to clump together due to gravity, forming the stars and galaxies we see today. Eventually, gravity draws all matter together to once again reform the primordial particle, resulting in an infinite series of big bangs, and a continuously expanding and collapsing universe. He even acknowledges our impossibly small place within it: “Our Galaxy is but one, and perhaps one of the most inconsiderable, of the clusters which go to the constitution of this ultimate …”
Keep in mind that Poe died 60 years before Edwin Hubble discovered that there were other galaxies beyond the Milky Way. Poe didn’t know about Einstein’s cosmological constant, or dark energy, or cosmic microwave background radiation; there was no WMAP of galactic clusters. But he was able to intuit one of the most fascinating theories of the century to follow him, using only a term he himself coined: “ratiocination.”
For Poe, ratiocination—an idea introduced in his detective stories—was a kind of imaginative reasoning, the ability of intuition to make sweeping connections between seemingly small and disparate details, a leap from all the might-have-beens to what probably is. It’s a counterfactual logic that’s able to reveal deeper truth.
For those bounded by logic, ratiocination is only accessible in dreams: the sewing machine, the structure of Benzene, DNA’s double helix were all discoveries said to have first appeared in sleep. But poets practice ratiocination every time we sit down in front of a blank page, often with only the faintest glimmerings of what we actually want to write about. Imaginative intuition is a daily practice.
So next time a poet tells you about some grand epiphany, consider (maybe) listening.