So much that is vicious, as writing, is omitted from all of them, and of these there are probably no more than can be counted on the fingers of both hands in a generation. Poetic sincerity differs with poets’ abilities to realize (as well as to objectify) the real and the uncounterfeitable.
The unreal and the counterfeitable, the “vicious,” must be omitted.
They would be wrongly identifying with dishonest and untrustworthy characteristics, rather than qualities of uprightness and honesty – qualities that form the basis of happy, responsible, and productive lives.
For instance, if I asked them to be more patient with each other while playing, I also made sure I was expressing that same patience with everyone in my life as well.
As Zukofsky said, one lives in the world with things as they are no matter what one thinks about them, and the poem enters this world as one’s sensations and thoughts enter it.
Either the details of the real are in the writing or they are not.In the fall of 1920, Zukofsky shortened it in manuscript from 27 to 15 pages (and made a few minor changes according to Pound’s suggestions) so that it could fit into the crowded “Objectivists” issue of version contains about half as many examples from Reznikoff’s work as the original and omits sections of the original which deal with Reznikoff’s neglect, which define more fully the term “sincerity,” and which discuss his Under two pages, it renders Zukofsky’s definitions entirely abstracted from poetic practice by omitting all examples of and references to the work of Reznikoff and others.These omissions have helped divorce “Objectivism” from the “Objectivists” and have left Zukofsky’s concepts underdetermined and therefore too easily misunderstood.The second, which is a major concern in Zukofsky’s essay, is both a chief criterion separating “Objectivist” work from the general and popular practices in verse at that time and delineating the conditions of words which satisfy that criterion: poetic sincerity presents with clarity or exactitude the details of a real experience in words which are a consequence of the integrity of existence.Although both Pound and Zukofsky claimed that personal sincerity is unnecessary so long as the poet achieves poetic sincerity, the rarity of the latter suggests that it is at least helpful if the poet’s personal sincerity be invested in achieving poetic sincerity, if, that is, the poet’s personal integrity is involved in and committed to the integrity of the experience he presents in his work.The old adage, “do as I say, not as I do,” would never help in nurturing and strengthening their God-given love for good.In fact, any parental example of hypocrisy would erode the very foundation of children’s budding understanding of their true nature, which expresses God.This constant valuing of sincerity, I am convinced, enabled our children to develop into responsible and honest adults. But this wasn’t of my personal making; it was the divine power within them bringing out their sincere, childlike purity of thought.God’s love working within each of us causes us to be like our Father in heaven, to express sincerity, goodness, and honesty every moment and in all our relationships.His personal sincerity required him to project—no matter what publisher or public valued—the honest impression, the perception rooted in evidence of his senses.Zukofsky wrote: Sincerity among authors differs with the range of their sensations and apperceptions, but what is negative to sincerity remains negative to all who are sincere.