I am halfway through my second week at Lenoir-Rhyne University, whose mascot is the Bears. Our poetry workshop kicked off with looking at some of my favorite contemporary poems, such as Meg Kearney's "Creed" (anaphora and other rhetorical ordering principles) and Natasha Trethewey's "Mississippi" (explaining the ghazal form). We looked at Henry Taylor's "Artichoke":
ARTICHOKE
"If poetry did not exist, would you
have had the wit to invent it?"
-Howard Nemerov
He had studied in private years ago
the way to eat these things, and was prepared
when she set the clipped green globe before him.
He only wondered (as he always did
when he plucked from the base the first thick leaf,
dipped it into the sauce and caught her eye
as he deftly set the velvet curve against
the inside edges of his lower teeth
and drew the tender pulp towards his tongue
while she made some predictable remark
about the sensuality of this act
then sheared away the spines and ate the heart)
what mind, what hunger, first saw this as food.
-H.T. (from
The Flying Change)
...They immediately fixated on that parenthetical phrase, of course, and the way it changes the tone of the scene. I asked if they'd ever seen a similar move in a poem. Then I showed them how it echoes something John Keats did two hundred years earlier:
This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou would wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calm’d–see here it is–
I hold it towards you.
-J.K. (1795-1821)
That's what I love about teaching, those little a-ha moments.
This week I came on strong with the craft vocabulary. I admit, John Hollander isn't the friendliest voice for beginning students. (He's like Waldorf and Statler combined, if Waldorf and Statler insisted on bickering in iambic pentameter.) But I'm a big believer that workshoppers are always talking about things in loosey-goosey terms when there are wonderful words--caesura, assonance, spondee, stichic, chiasmus--designed to articulate our aesthetic impressions. If I can inspire even one student out of fourteen to adopt the vocabulary of form in talking about free verse, to understand that the two modes exist on a continuum, I'll be thrilled.
I was met with glassy stares by the time we got to ottava rima. They're antsy to turn to their own poems. "I gotta give you vegetables first," I said, "before the cotton candy and funnel cake." At one point, I chanted the "Pat-a-cake" nursery rhyme (to demonstrate accentual meter), and I seriously considered tap-dancing in anapestic tetrameter. In for a penny, in for a pound.
Hickory has its charms. My welcoming party included some fun, quirky conversations; never again, when buying chairs, will I settle for less eight-way hand-tied upholstery. (The things you learn in a furniture town.) I am exploring a spectrum of North Carolina beers. UMI, the Japanese restaurant, continues to amaze me--my new favorite dish is the vegetable nimono, which includes thick slices of gobo (mountain carrot) and lotus root simmered in a dashi broth.
The roads are bizarrely tricky. In addition to quadrants (NE, NW, etc) there are numbered streets, numbered avenues, and numbered "Avenue Place"-s, often all three intersecting within feet of each other. There is Lenoir-Rhyne Boulevard, which seems like a convenient main road--up until the intersection where Lenoir-Rhyne's campus is within sight-line, at which point it refuses to let you enter and veers off to the right instead. Bears must have excellent senses of direction but I, mere poet, get lost and turn around and get lost again. Luckily I'm used to it. I am, after all, also a DC girl.
My heart is full.
I don't mean my heart is a playpen of puppies. My heart is full like a saturated cloud chamber in which the slightest particle shift causes precipitation. So much good and bad has been happening that I don't know how to hold it all. If you've noticed my online quiet--and it extends another week or so--you know the cause.
I was in Mississippi when I learned about the passing of Jake Adam York. 36 hours earlier I had been having a spirited conversation about local real estate in the Faulkner/Falkner House kitchen with Jake's brother Joe, and Joe's beautiful & pregnant wife Kathryn (now a proud mama of a gorgeous little girl). I spent the night in between sleeping on the floor of a borrowed living room in Water Valley, rain falling in torrential sheets over the tin roof. The man I love had put a ring on my finger and I said Yes, all over again. Then I said This house is not our house, is it?
It wasn't, much as we'd wanted it to be. So we went out and found the finest crab legs and corn you can get cooked in a gas station. We hunkered down and made best of it. The diamonds got juicy with king crab juice and spice boil. A storm came and went. And the next night, when we went out for the fancy dinner befitting an engagement, I was selfish enough to check Facebook on my phone, and there was news of Jake.
A moment of grace for a barbecue poet.
A proper obituary.
A couple of joyous fools in earnest conversation for Southern Spaces.
His amazing poems.
We'd traded emails not that long ago, on the occasion of his reading in Jackson one night, mine the next--two ships, passing. We promised a drink for next time. There was always such a promise. That man was determined to teach even a diehard scotch lover like myself to enjoy bourbon. We split the difference with rye.
First time we traded missives was spring of 2010, after I'd been asked to follow in his footsteps as Ole Miss Summer Poet in Residence in Oxford, a town and summer than changed my life. Jake warned of bees living in the Grisham House mailbox. He praised Jack Pendarvis. His solemn advice was, "And since I did it last year you have to roast a hog or some other large animal at the conclusion of your residency."
He was writing some of the bravest poems of any of us, poems than confronted and embraced American history in equal measure. If the world were a James Bond villain, its gift would be the cruelty of juxtaposition. There's a newborn who doesn't even know the uncle she's missing.
I woke from a nap on January 1 and thought, 8:09 PM? Too late to call. But I called anyway--to wish the woman who has mentored me, who has done so much to shape the author I am today, a Happy New Year. Only to find out she'd fallen down a flight of concrete stairs the day before. Her husband answered her cell phone. Somehow she was awake, voice odd from the hospital's oxygen, and we spoke. She was determined to offer her house as our wedding palace. She spent all today in surgery.
I am praying. I never pray. I listen over and over to the interview that Maurice Sendak did with NPR shortly before his death. Don't even get me started on "The Lives They Loved," which pulls me down the slope of tears every time I even try to read it. My heart is full. I go over Jason Crane's 2012 round-up (of which I was honored to play a small part) and I love the honesty there. It is the eve of my move down to Hickory, and I am as tense as a bird that hasn't yet figured out it has wings. For all the celebrations going on in my life--and they are many--there is also the the knowledge of loss and change.
So much happens in a year, to break our hearts and mend them, to break them again and make them ever stronger.
In the last couple of weeks, I've been asked to talk a lot about point of view in poems. In workshops I often question whether the poem has enough risk or urgency. There are many ways to heighten tension in a poem. Some are thematic, e.g. alluding to backstory. Some are syntactical, e.g. phrasing a sentence as a question. Some are formal, e.g. breaking lines at a critical junction, or enjambment between stanzas.
But I think point of view is undervalued as a determinant of tension. The POV you choose helps shape the risks your poem can take.
First Person: Here, the central risk is one of discovery. The speaker's understanding of something, or the reader's understanding of the speaker, should change across the course of the poem. That doesn't mean the subject might not also do something. But keep in mind that you've chosen a POV that privileges his or her perception of that act/experience, a version that may or may not be reliable, versus focusing on the act/experience itself.
Second Person: Here, the central risk in one of disclosure between parties. A secret is being revealed or created by those present in the world of the poem. If the "you" is being addressed through a series of imperative commands, then he or she should be asked to do something counterintuitive to what we know of that identity.
There are a ton of Second Person poems being written right now, in part because it is a shortcut to intimacy with the reader. But it's frustratingly static when "I" tells "you" a story, across the course of the poem, that in reality would already be known and complete between the two parties. It's a gimmick, much like when the character in a short story pauses on a doorstep and flashes back to an entire romance right while her finger is pressing the theoretical buzzer.
Third Person: Here, the central risk is dramatic. These are characters, and you control their stage, even if your writing is inspired by contemporary or historic events. A compelling Third Person poem, whether bird's-eye (in which you're battling the drag of expository language) or omniscient (in which you're tackling the beast of authenticity), is an awe-inspiring thing; I wish more people would try their hand at them.
Ask yourself why your draft uses its particular point of view. Try envisioning the same poem in First Person, Second, Third. What does an outside view reveal or emphasize about your "characters" and their dynamics? What secrets would one tell the other? How do you newly sympathize (or not) when an antagonist becomes the speaker?
When the poem finds its destined POV, it will cling to it. Your favorite moments won't work in the other modes. You can try the same thing with verb tense: rotate the poem through past, present, and future. And I always create an intermediate draft in which all line and stanza breaks are erased. I massage the syntax as a prose-paragraph, then I break again. Sometimes this results in the same visual format. Sometimes not.
When the poem starts to fight back, to commit over and over to certain aesthetics, that's when I know I'm on my way. And I'm wrestling with one right now, so wish me luck.
