SCOTT WORTH, POET

THE POET SCOTT WORTH (I)

The poet Scott Worth is owes the reader Scott Worth. He long since the first time he did loves to read Scott Worth in his reading mix of the output of iconic poets, novelists, historians, philosophers, and others. To be a long-time reader causes him to continue mindful of the nature of reading, how it functions in the world, how he himself uses it, how other people use it, but most important to him during the time he wrote his poems how he might divert its stream to cause writing to let reading ensue on new-put invention to owe pursuit of the poet’s vocation. His first use to himself of stumbling in a series of pits left him to recover his senses but then to need the self to chart his unique life in relation to that. He turned to men for models he could use for his internship each of them to see were historic while the results of them in their different lives of toil were cultural. His one hope was to offer to explain himself though he sensed in so doing he would explain no few other people. On he tried not failing to read until he was the instrument of writing itself, the writing reading was to define since it let him tell that he loved the swift, brief, line-contained idioms of literature–fable or epigram or short poem–in particular when in form-content dovetails could be read for icons. His own to be so required use of reset to round the fact he was to view in retrospect that output to be iconic in a world of like billions is a life challenge but one Scott Worth took up for his test, encouragement found in prior-lived units of the self who could impress on his mind the original turn of thought. A danger in the present world is the increasing social effort to control how people think, something social connection drives on or speeds up using number to define correctness with no tolerance for deviation. To consider the reasons of Scott Worth to do the reading he did, the first was to find himself in someone’s mind that was not his though was possible to know in its real truth thanks to the expressive power of the particular self. In the poems of Scott Worth the particular self stands, not caring to fret too much over who in terms of correctness feels up to the point must find fault, use censorship, or even denounce for deviation. Still to his own thinking, his poems exist for concrete proofs of how he went to weigh personal expression in terms of the possible support it could offer readers of different inner shading. Support is even the desired end for the poems Scott Worth has produced.

THE POEM AS A SUPPORT OBJECT

To remember his mind’s experience in the time of forming his particular self, Scott Worth sees how important the reading he did in letting him enter other minds. To read was to find the power to test the feeling in a number of other lives, so in terms of bio to mean that if this did not help to keep Scott Worth from stumbling it owed the fact of his time limit or the fact of his life’s posing still different conditions than he found in his reading of else. On evidence it must be true that to read helped him if for no other reason than he lived to write, though what is more lived to write in the zone existing for original creation. In the like of how he himself drew support from the reading he did, Scott Worth envisioned the poem in form of icon to offer support to the reader’s own inner life, poem on poem like paintings of a certain size each possible to interchange though these to contain different supports to the reader’s conscious resolve to be. It would seem evident that no individual poet could support the entire set of readers, that not Scott Worth could support some readers of the world, though if he wrote to support the reader he was so in effect to be the mentor he once wished to find then the likelihood existed that he could support others besides himself. In support of them, Scott Worth supports self-likes who might care to see in poems the unsaid said, who might care to be sometimes freer or sometimes better-contained, who might care to end animal suffering, who might care to question the dominant social, who might care to embrace elements of the deep past, who might care to be deeper-thinking than politics supposes its pool. The support is to find here in poems not each of them in promise to be life-changing but to stand for itself in a procession that perhaps raises hope. The reader of Scott Worth’s poems can find support for who is or sometimes feels to be the wretch, the misfit, the outsider, the oppression-bearing, though the reader to embrace the expression based on them can find further support for the defier, the rebel, the champion, the freedom-involver. Here in his poems is support for the campaigner for animal rights or for the campaigner for human-faced rights, for the autistic person or for the close ones empathizing with him, for those whose inspiration is interior or for those whose inspiration outlies the common. How enumerate the possible support?

WELCOME TO THE END OF USING ANIMALS

True the end is still so distant that it causes one sensitive sorrow but one must imagine the start of the end. Even now in the world that surrounds us the first-running cracks show up in the long-established but source-unenlightened customs of animal rearing and animal slaughter. To give a bit greater impetus to the spread of these hope-evident cracks in the old order, Scott Worth’s poems in particular his Abolitionist Poet/Law of Want series and his Domestic Animals series show dedicated to verbalizing the vision of the conscience-desired end of it.

USE OF POEMS TO END USE OF ANIMALS

The virtue of the poet who can indwell in else of life, that is sense the inner feelings of the other species, is that he can invite the world to do so in his poems. In a world that suffers, Scott Worth holds to be the ideal trait even the ideal virtue in the individual the boundless spirit of consciousness-inclusion that exists to want the best for each thing of cause in itself. Did this virtue exist in most, this spirit outrun on else of life to be soul-insorbed up to expansion of world-in embodier for rights of each thing in itself exist in most, animal rearing and animal slaughter could not . . . It is the just trait of the boundless spirit to want the best for things of cause in themselves not for telos of our strict order’s use to units of self-likes held to bring it if expand on excuse to exploit else for stuffs to reach us in excess. The poems Scott Worth causes to stand hold help to the identifier-empathizer, easing mind to feel them to be in the world mirroring the stance.

HOW TO ENJOY A DEVASTATING PESSIMISM OF STATEMENT AS A FORM OF EXHILARATING HUMOR IN THE WORLD OF NOW

The revolution in tool use has brought the entire population the tools of immortal being or the right to persist in visual culture and talking culture, though for like billions this entails the failing of distinction that voids the immortal prospect. The situation is the same with people in contest from basic survival to immortal life, if the tool use in potential of that finds them reverting to the most primitive forms for stoking popular esteem, chief of these means the use of smiling, the service to dominant opinion, but most pervasive the miming of sales-like optimism to set the tone of the social while cause people to seem cheer-chirping idiots. Sound too pessimistic? O no it is nothing! You should read Scott Worth’s bio-sequences On the Life enough to kill off the dosed on optimism. Hi Voltaire!

THE POET SCOTT WORTH (II)

Scott Worth is a great poet with a versatile vision, unrecognized because he is the shiest of persons isolated in the obscurest of conditions, someone without social instincts or practical skill sets. His poetry is original though seems on its meeting traditional; its traditional look or structure is deceptive for it is the vehicle of current intents or reasons in feel iconoclastic; filled with subtle sounds, built with intricate textures, resonating in verbal-visual invention, it is veiled in fascinating formal power. Imbued with Buddhism, Eastern in its interest in the enmisted infinite if Western in its obsession with detail, wise in its Western biomic enlightenment if Eastern in its insistence on the exotic strange, it reaches well past the Western tradition of poetry it embraces. Scott Worth creates a sight-world, sound-world, sense-world that seems to transform the expressive range of the form he uses, inviting the reader’s imagination to travel in depth.

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