"So I suppose poetry, language, the shaping of it, was and remains for me an effort to make sense out of essentially senseless situations"
About this Quote
Lynch frames poetry less as ornament than as triage: a practiced way of treating reality when reality refuses to cohere. The key move is that double time stamp, "was and remains", which turns a youthful discovery into a lifelong discipline. This isn’t a romantic claim that art redeems everything; it’s a blunt admission that the world often doesn’t add up, and that language is the only tool he trusts to keep from being swallowed by the mismatch.
Calling it "the shaping of it" shifts the emphasis from inspiration to craft, from feelings to form. Shape implies limits, edges, choices about what gets foregrounded and what gets cut. In politics, that’s a loaded verb: leaders constantly shape narratives, not just to persuade, but to stabilize a public that can’t afford to stare too long at chaos. The subtext is that meaning is not found; it’s made, and making it is work. "Essentially senseless situations" reads like a refusal of tidy morality tales. It leaves room for tragedy, bureaucracy, accidental harm, and the kind of civic failure that doesn’t come with a villain you can vote out.
The intent, then, is quietly defensive. Lynch is justifying why a politician would need poetry: not to prettify policy, but to metabolize what governing exposes you to - grief, compromise, unintended consequences - without turning numb or cynical. It’s also a warning about language’s power. If sense is something we impose, whoever controls the shaping controls what counts as sense in the first place.
Calling it "the shaping of it" shifts the emphasis from inspiration to craft, from feelings to form. Shape implies limits, edges, choices about what gets foregrounded and what gets cut. In politics, that’s a loaded verb: leaders constantly shape narratives, not just to persuade, but to stabilize a public that can’t afford to stare too long at chaos. The subtext is that meaning is not found; it’s made, and making it is work. "Essentially senseless situations" reads like a refusal of tidy morality tales. It leaves room for tragedy, bureaucracy, accidental harm, and the kind of civic failure that doesn’t come with a villain you can vote out.
The intent, then, is quietly defensive. Lynch is justifying why a politician would need poetry: not to prettify policy, but to metabolize what governing exposes you to - grief, compromise, unintended consequences - without turning numb or cynical. It’s also a warning about language’s power. If sense is something we impose, whoever controls the shaping controls what counts as sense in the first place.
Quote Details
| Topic | Poetry |
|---|---|
| Source | Help us find the source |
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