Hyacinths & biscuits redux

hyacinth burpeeI wrote about synthesis in this post of 2017 while reading a series of complex books. Now I am thinking of how poems involve synthesis. Today’s rather quirky draft seems to have emerged from life experiences. Academics–you know who you are–will understand the irony. I’ll leave it at that.

~

This is the 29th day of my composing a poem a day for National Poetry Month! Tomorrow–perhaps a recap of the experience. Or maybe just a long exhalation.

~
Peer Review

In The Journal of Complete Sentences,
there are, as per Table 1.
And under review, a wide range of
studies that. Research may show,
for example. Admittedly,
gaps. Or the tapering off.
Speaking apparatus offers one method
demonstrating correlation of,
and relationship with.
These abstract concepts in no way
refute previous empirical
results that strongly imply.
Indeed, studies employing fMRI
techniques to track neurotransmissions
offer qualitative.
The many degrees of distance.
Past case studies. Analysis.
As Appendix D suggests.
No closer to an understanding.

~

 

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Normal

I was speaking with a friend about this poem over coffee this morning. I drafted it at 7 am, alone on my porch, under a cloudless sky but with a chilly wind blowing. This friend’s a person who happens to be all too well aware that the expectations instilled in us (by parents? by society? by the media? who can say?) concerning what a normal life entails are…let us say, less than accurate–and possibly harmfully untrue.

Also? She endures. We endure.
~

Argument against Living a Normal Life

First, we don’t know what it means, or if we do,
the meaning’s subjective; whereas the phrase implies
an average or agreed-upon measure beside which
every other life is measured–and second, each of us
comes up short by those standards, so it’s statistically
impossible to determine a mean. Then there remains
the case that this ideal is no ideal, as every life
contains elements of grief and injury. So how to average
out whose portions are the greater and whose the lesser,
since pain cannot be measured except through comparison
with previous subjective experiences and the spectrum
from 1 to 10 or happy face to weepy face varies from
person to person? That is not a rhetorical question,
my friend. Do the research, read about the Buddha, ask
a thousand doctors. Normal life: it’s one of those tricks
we play on ourselves. Take the adjective away and live
what you have in this particular moment. Work your way
into your suffering and your anger because they are
unavoidable. Walk your dog. Take up oil painting. Travel
to France. Watch a flock of starlings cluster and abate
over the Cimetière de Verdun in autumn. What ever were
you thinking when you said you wanted only to live
a normal life?
~

images

Cimetière de Verdun. No starlings.

~

index

wongbaker.org

The woodpeckers

More of April itself appears in today’s National Poetry Month poem-a-day challenge, which I suppose is apropos.

I’m now aware that Lesley Wheeler has also been challenging herself to compose a poem a day this month, per this post on her blog. Quite a few poets have committed one way or another to adding poetry to the world each April! Those of us with full-time careers often need some kind of nudge to remind ourselves to take time to do what we love.

And those of us employed in academia are currently facing end-of-Spring-term grading, upcoming commencement ceremonies, graduation and award banquets, and other time-consuming responsibilities as the academic year draws to a close. So: keep writing, Self!

~

All the Little Aches

The small woodpecker’s repetitious tock tock tock
against an old mulberry tree, at dawn,
unlocks the little aches and bids them go
into the wakened body. If only, after sleep,

like the old mulberry tree at dawn,
the body would awaken into frantic buds
and not a weakened body only sleep
half-heals until it settles, somewhat twisted,

like a bough. Awake, the frantic buds
of April burst, unfurl. Tick of the bedside clock
as woodpecker’s repetitions–tock tock tock–
unlock the little aches and let them go.

~

IMG_0960

bird in hand

How-to

What prompts a poem, really? Probably differs from writer to writer to such a degree that discussing inspiration can be an intriguing discourse among fellow poets but not a method to instruct anyone “how to.” A poem, or any work of art, can be interpreted or reconstructed through analysis, but simply following someone else’s instructions is unlikely to lead to meaningful results.

Among my Best Beloveds are a few people who are excellent how-to writers. They can write about how to build a boat, debug a software program, light a face for photographic portraits, construct a Windsor chair, use a beading pattern to make a bracelet. This sort of work is surprisingly challenging to write well–think of how many times you’ve been frustrated by a poorly-written manual for one of your digital or mechanical devices. Good, clear, concise how-to writing requires intelligence, accuracy, awareness of the reader’s skill level, critical analysis, and a clarity of style the unpracticed writer lacks. And by unpracticed writer, I mean most of us!

After 25 days of writing poetry drafts, I cannot suggest to anyone how to write a poem. Perhaps someone with more experience in the process (such as Luisa Igloria) can weigh in on how to write a poem (she teaches creative writing, after all, at Old Dominion). At the end of this month, I will resort back to my usual process of intermittent drafts; though it’s possible that this month of discipline will stick–maybe I will be more productive for awhile. Mostly what I will need to do is to REVISE! Because with 30 drafts to work on, I can stay busy tweaking and reworking (and giving up, occasionally) on poems for months to come.

~
Lilacs

Because I had early morning errands,
because I had to change my route,
because creek’s tributaries are still swollen,
the brief commute
took an ambit unexpected
through small towns, over the rutted bridge,
delayed by schoolbus signal flashers, waiting
for foot-dragging kids.
Pollen drifted on the windshield
because it’s that time of year,
because two days of rain and spells of warmth
have settled here.
Because I decided not to worry,
because no one would mind if I were late,
because I opened the car window, I saw lilacs blooming
beside the cemetery gate.
~

 

lilac

 

Punctuation

Semicolons-and-Colons-2_720x370…or lack thereof!

One thing I notice about my draft poems is that I often ignore punctuation. Sometimes that lack remains in the final draft, if I think that the ambiguously run-on approach works for the poem or that line breaks alone serve the purpose; but more often, punctuation is something I work into the revision process. Billy Collins tells an anecdote attributed to Oscar Wilde about proofreading a poem, and how he spent all morning deciding to remove a comma, and then spent the afternoon deciding to put it back in.

I do not devote quite that much time to commas. I do think that punctuation matters as an aspect of poetic craft and can convey more than we realize. The draft below, if I decide it is salvageable, will probably require some punctuation.

~
Down Will Come Cradle

She rocked you to soothing in her
warm young arms
do not forget how young she was
you so new
to the world you felt safe unquestioning
but look back
from yourself as you are now and
think of her
embracing your small body with her fears
and with love
she barely understood herself saying to you
what she’d heard
from her mother until she could confirm
in herself
secure against her novice worries as she
rocked you both
warm and soft and young in the
darkened room
where you now attend to her no longer
young neither
you nor she young but the mutual
comforting
continues the lifetime of strain and slack
you so new
to the process of soothing her how
easily
you rock beside her holding her hands in
your warm hands

~

Idea or memory

Revising a draft, for me, means returning to the poem from several perspectives. I might change the speaker from first person to second or third person, or change the poem so that there is not a clear speaker at all–no longer “lyric.” I may alter specifics, such as place names or seasonal references. Or fictionalize with invented crises, persons, time periods, or events. Take on a persona, for example. Add or delete dialogue. These are interpretive and point-of-view considerations: How can I broaden the poem’s reach?

I might then revise for stanza patterns. Or find a vague meter going on in the piece which I will decide is worth pursuing, if it will enhance the poem; sometimes it does not work that way.  If an image intrigues me, or puzzles or frustrates me, I’ll devote some revision effort to that. Play with alliteration or assonance, rhyme or off-rhyme, line lengths. Those are craft considerations, mostly.

When I work on a draft, my approach is that craft should hone perspective, and should be a silent partner in the poem. Early drafts, if promising, possess something inherently interesting. Otherwise, there’s nothing to work on or work with–the poem never really happens. Maybe all it manages to be is an idea, or a memory.

~

Sarasota

During the recession
laid off and without
even an old car
I lived in Sarasota
red tide gulf waters
slew of small fishes
dead on the beaches
where I went shell
hunting for lack of
other purpose.

Lizards on my walls
everything that mattered
blotted in moist air
novels and notebooks
drew mildew my hair
haywire the boy I loved
brown eyes & panic
sea at sunset gulls
and palmettos.

Once weekly I’d bike
to Unemployment
and wait in line to prove
I couldn’t get a job
but that I’d tried
& after my humbling
before government
agencies I’d stop at a
coffee shop on Fruitville
Road and order two
eggs over easy home fries
brown toast coffee &
blueberry pie.

There was something
so filling about that
meal I still think of it
silky blueberries in my
mouth the tip I left
the blond waitress who
kept my coffee cup full
and always called me
Darlin’.

~

blueberry-pie-horiz-a-180011