If the labours of men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the poet will sleep then no more than at present, but he will be ready to follow the steps of the man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of science itself.
♦ William Wordsworth, “Preface to Lyrical Ballads“
There must be a sense of play for poetry to work. There must be room amongst the litter of factive objects to dart; to squirm; to roll. After all, the empirical world was pulling at a similar cord to that of literary creativity in Wordsworth’s day. The science of oxygen and revolution were eerily contemporaneous: both materialized out of the same age of investigation and irrepressibility. A similar boldness as that which enabled Lavoisier to isolate molecules of air also led to the regime that would eventually sever his innovative head. The poets and the scientists were both treading uncertain ground, and asking daring questions, about what made the world the way it appeared, what moved and drove it in diurnal course. How exciting that we live now, when both still work towards that end, but we simply know more; and how disquieting to know that what we know, now, privileges us to much the same sum total of practical insight, as then.
How we imagine is the key. Poets sleep in the spaces between galaxies now; between an electron and a nucleus; climbing the ladder of DNA between proteins. The implications of vision are conjoined with physical enterprise in a way that inspires both the writer and the lab technician. There is poetry in everything, just as science can be brought to bear on every iota of phenomena. Where do we come from? This question signatures every project of inquiry. Let’s all play.