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Ronald Keeperman


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I expected to learn more than I already knew about Modern, Post-Modern and Contemporary American Poetry. I knew that that would be easy, because I knew practically nothing about these subjects. I had been an avid student of English Literature for my entire life, especially focused on 18th Century, but also 17th and 19th Century poetry and prose. I was an avid reader of 20th Century American and English prose, but found little that appealed to me in the abstract arts of expression. My feet were pretty much deeply embedded in the concrete one might say, if one were me, what with my concrete imaging mechanisms firmly rooted, because of all those decades of reading/seeing the world as an infinity of possibilities given my free-ranging/reigning imagination, but unready to concede that I could also rely on the alternate realities of others, those with different visions to guide me forward. So what did I learn? I learned that I could rely on these forms of expression to allow me the freedom to decide to wallow in my comfort zone, or put out a toe into the roiling/sizzling/eddying waters of radical expression. With the Filreis option/blessing of just keeping it out there for as little or as long as I could manage the sensation, without being chastised/chastened. How does one improve on this total freedom to explore oneself through others? I cannot answer that question.