thing that inflects so many of Stevens’s poems, including “The Idea of Order at Key West” when its speaker recognizes of the woman singing “that there never was a world for her / Except the one she sang and, singing, made” (CPP 106): he both hears that world and stands outside it. And it is still there in the equivocation at the end of “Not Ideas About the Thing but the Thing Itself”— “It was like / A new knowledge of reality” (CPP 452)—where the very gesture by which Stevens would claim this knowledge undermines that claim: what is “like” knowledge is not knowledge, but to recognize this is to know something after all. But most of all, Meares reminds us of the complexity surrounding the question of poetic voice, something that is not merely a resource for poets, a medium for poetry, but an element that never loses its mythic quality. This is no doubt the source of its abiding fascination—not just for poets and literary critics, but for those, like Meares, whose work is concerned with the evolution of the human mind, both across the course of one life, and over the history of humankind.

中文翻译：

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一年关于史蒂文斯的随笔调查回顾：“遥远的想法”

影响了史蒂文斯的许多诗歌的东西，包括“基韦斯特的秩序理念”，当它的演讲者认识到女人唱歌“从来没有一个世界适合她/除了她唱歌和唱歌创造的世界”（CPP 106）：他既听到那个世界又站在它外面。它仍然存在于“不是关于事物的想法，而是事物本身”的结尾处——“它就像/一种新的现实知识”（CPP 452）——史蒂文斯声称这一点的姿态知识破坏了这种说法：“像”知识不是知识，但认识到这一点毕竟是了解某些东西。但最重要的是，米尔斯提醒我们围绕诗意声音问题的复杂性，它不仅是诗人的资源、诗歌的媒介，而且是一种永远不会失去神话品质的元素。