Bounds against chaos

It is easy, even comfortable, to think of the past as a linear narrative; but that is not actually how brains record and archive our experiences.

Marilyn McCabe notes: “So much of the past is only what we think we know based on what we remember, or think we remember. The past is a fun-house maze of stretchy mirrors and blind corners.”

~

The brain and consciousness intertwine through so much complex, possibly fractal, and certainly inter-relational connections that chaos looms as an option all the time; human experience is an edge phenomenon. I have long considered the meadow and forest, the clearing or glade, the hedgerow, the riverbank, ditch, or roadside berm as metaphor for what keeps us curious–interested in life and its inter-relationships, its connectedness and its chaos.

~

By complete coincidence, a biologist/blogger posts a poem by Robert Duncan; an excerpt here:

Often I am permitted to return to a meadow
as if it were a given property of the mind
that certain bounds hold against chaos,
that is a place of first permission,
everlasting omen of what is.
Robert Duncan

~

Yes. Often I am, myself, permitted to return to a meadow. Pretty much daily, when I’m home. And what I learn there! What the edges and the chaos (and the patterns, and the simplicity) reveal to me!

IMG_5123

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As an aside: Dave Bonta writes poetry blog roundups here: https://www.vianegativa.us/2018/04/poet-bloggers-revival-digest-week-14/ Each of the links he posts is worthy of a read.

Dave has even posted his wedding to Rachel Rawlins–video, context, porcupine, open-sourced wedding vows, poems, & all: https://www.vianegativa.us/2018/04/mountain-wedding/

When it’s done well, lived well, marriage can be one of the bounds that hold against chaos, “a place of first permission”–even for anarchists.

Namaste! And keep reading poetry.

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Poetry books & the $

April has been designated National Poetry Month by the Academy of American Poets–the campaign was launched in 1996–and because I write poetry and love the art, and read poetry and know poets personally as well as through books, I try to keep the awareness of the month-long love-feast for the crafted word going in whatever small way I can. Hence, if a reader should happen to type the words “National Poetry Month” in the searchbar on this page, said reader would find tagged posts on the subject going back about eight years.

Some years I have endeavored to draft a poem a day for 30 days, some years I have been active giving and performing readings, some years in teaching; it varies on circumstance and energy. This year, I am celebrating by reading more than by writing.

When I buy poetry books, I try to purchase them–if possible–from the author or from the author’s original publisher rather than more cheaply (Amazon, used books, etc.) The author gets no royalties from books bought second-hand, and because few poets are rolling in cash from book sales–and while gaining an audience may be of value–even a small royalty check is a welcome thing, a confirmation of the work in the world.

Best-selling poetry is not necessarily the “best” poetry. Those of us who love the art can contribute in small ways by using the almighty dollar to support the writers we think need to be read.

Here are some poetry books I have bought, or borrowed from my library, in the past two weeks or so. I don’t usually go this crazy with poetry-bingeing; but as I’m not doing much else for Poetry Month this year, I figured I would contribute by doing what I love best: reading books!

Lesley Wheeler, Propagation; Louise Gluck, A Village Life; Grant Clauser, The Magician’s Handbook; Jan Clausen, Veiled Spill: A Sequence; Luisa A. Igloria, The Buddha Wonders If She Is Having a Mid-life Crisis; Aaron Baker, Posthumous Noon; Ian Haight, Celadon; Erica Dawson, The Small Blades Hurt; Brian Turner, Here, Bullet; Margaret Gibson, The Broken Cup. There will be others!

And two notable non-poetry books I loved, Elena Georgiou’s The Immigrant’s Refrigerator, short stories; and Laura Miller’s The Magician’s Book: A Skeptic’s Adventures in Narnia (a subject close to my own heart–her approach to the book and her history with it ring close to my own experiences).

There will be others, if I have any spare time. I am also planning to read a book by philosopher Andy Clark and a biography of C. S. Lewis and to proofread my brother’s latest paper on Samuel George Morton. If only the weather were warm enough that I could read in the hammock!

hammock

image from www.meditationrelaxationclub.com

 

Blogs

The snow’s receded, and the crocuses open; yet another wintry storm looms. Nonetheless, the past three days have felt less like thaws and more like spring itself. Today, I’m listing some great blogs to browse, breeze through, or peruse…as I am at present falling a bit behind on the Blog Tour (among other things).

muscari

 

There may be a hiatus to follow…in the meantime, follow these!

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Good blogs on what it means to be a poet, in or out of academia, and to keep slugging away at the job:

Jeannine Hall Gailey, who has a new book about promoting & marketing one’s poetry (available from Two Sylvias Press): http://webbish6.com/

Diane Lockward: http://dianelockward.blogspot.com/

Lesley Wheeler: https://lesleywheeler.org/author/thecavethehive/

Grant Clauser: https://uniambic.com/

Donna Vorreyer: https://djvorreyer.wordpress.com/author/djvorreyer/

Kelli Russell Agodon: http://ofkells.blogspot.com/

Dedicated poem-a-day or nearly a-poem-a-day bloggers who actually write good poems:

Lou Faber: https://anoldwriter.com/

Luisa Igloria, whose fine book The Buddha Wonders If She Is Having a Mid-life Crisis just came out from Beth Adams’ (15+ years of blogging! @ Cassandra Pages) Phoenicia Publishing: https://www.vianegativa.us/author/luisa/

And Dave Bonta, also 15 years blogging, who does a mighty job of crowdsourcing poetry and poets: https://www.vianegativa.us/author/dave/

Then these blogs, which often blend visual art with poetry, or poetry with visual art, such as:

Marilyn McCabe: https://marilynonaroll.wordpress.com/

Art critic and artist Sigrun Omstreifer: https://omstreifer.com/

Artist Deborah Barlow: http://www.slowmuse.com/

And finally, a field biologist (specialty: entomology, bees in particular, but she photographs omnivorously) who loves poetry and posts the occasional poem amid her informative essays on birds, bugs, landscapes, hikes, travel, dogs, and all things lively and worth investigating: https://standingoutinmyfield.wordpress.com

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That should keep readers busy for National Poetry Month and beyond!

 

Blooms, books, buddies

I headed southward on a recent trip to visit a friend and to see if I could find spring, since my Pennsylvania valley has been extensively clobbered by late-winter/early spring snow storms. In southeastern North Carolina, the air was cool but the plants were blooming. Spring at last! May it head northward soon.

springblooms

~

On my travels, I took along Grant Clauser‘s collection The Magician’s Handbook. One of my best-beloveds has been learning sleight-of-hand and card tricks lately, and as a result I found it especially fun to “get” Clauser’s references to trick names and magicians’ moves in these poems. The poems demonstrate Clauser’s sense of humor, balanced with insights about contemporary life and a good use of metaphor, sound (nice alliteration in particular), and poignancy that never teeters into sentiment.

I thought my hostess in North Carolina would enjoy The Magician’s Handbook; she randomly read a few pages and liked the book so much that I gave it to her.

~MH poems

Poetry collections are terrific gifts for poet friends, of course; but it is particularly rewarding to introduce a friend to a poet’s work. I would not have discovered half of the writers whose work I love if it had not been for friends and fellow writers’ recommendations, although various public libraries and many a bookstore browsing session have been places of discovery, as well.

I like to read poems while traveling. On the one hand, it proves difficult to keep from being distracted by crowds, announcements, and departure times–which can make it hard to focus on the challenges a poem presents to its readers. On the other hand, poems tend to be brief enough that the inevitable interruptions do not completely disrupt the flow or content of the page; for that reason, I tend to struggle to read fiction while traveling. The brevity lends itself to gesture, so I can pick up on mood and tone and the sound of the poem (in my head–I don’t read aloud in airport terminal lounges). Later, when I am home again, I re-read the poems. That gives me a different perspective on the work.

So…I guess I will have to purchase another copy of The Magician’s Handbook for my re-reading pleasure. Meanwhile, my friend in North Carolina has something to read as a start to National Poetry Month, which is April!

Hey, that’s what friends are for! [And many thanks to BJG for her hospitality, Southern and South Jersey style.]

Obstructions

Things that get in the way, viz., from Online Etymology Dictionary:

1530s, from Latin obstructionem (nominative obstructio) “an obstruction, barrier, a building up,” noun of action from past participle stem of obstruere “build up, block, block up, build against, stop, bar, hinder,” from ob “in front of, in the way of” (see ob-) + struere “to pile, build” (from PIE *streu-, extended form of root *stere- “to spread”).

I’ve been in an odd sort of writing funk–not a writer’s block in the classic sense, because I am writing–both prose and poetry. Drafting, anyway. I feel the obstruction in a different area of the writing life, about which I’ve written in the past: publishing, submitting work, creating the manuscript…getting the work into the world. All writers face these issues if they want their work to find its readers.

My current obstacle is … motivational? existential? self-inflicted? I have not decided yet, but it feels real enough. I want to put together another manuscript and have, I think, enough completed, “good” poems to make a manuscript; many of them have already appeared in literary journals. What stops me from corralling the poems together and composing my next book?

I know what it is.

My not-yet-second book stops me.

images

Sir John Tenniel, of course.

After about 7 years of endeavoring to get The Red Queen Hypothesis into print, no takers. Perhaps I have not sent it to enough publishers or contests, but I have done what I can given time and budget constraints. Perhaps, though I have had four excellent critical readers consult with me on it, the book still needs work; maybe the poems just are not strong enough (though the majority of them have previously been published in journals).

Maybe the book is simply too quirky to find a comfortable publishing house; I admit that I knew that before I even began submitting the manuscript around. The poems are semi-formal (yes, like a prom!). They range in form, and many of the poems use nonce forms, invented forms, slightly-damaged versions of formal poetry, and also free verse. Rhyme, off-rhyme. Rhythm, meter, off-meter, sprung rhythm. But a mix of these.

Outliers are often difficult to place, particularly when the imagery of the poems tends toward the natural environment, and the subject of the poems tends toward the speculative, and yet nothing about the poems is particularly edgy or youthful or ground-breaking.

This book represents me, the person (not just as poet) perhaps too well. I do understand why it’s been difficult to place.

As to how RQH acts as obstacle in my writing life? Um. I guess I have to say I am finding it hard to move to the NEXT manuscript when THIS one still hangs out in my psyche and on my hard drive, unpublished. I know that should not impede me; I have many colleagues who work on multiple books simultaneously, sometimes even books in different genres. How they do that remains a mystery to me, however; I guess I do not share that operating system–though I dearly wish I could learn it.

Etymology tells me I am building up a hindrance. There are other things building up can do, though. I need to build up a way over…and then “to spread” the words, perhaps in some other way. Maybe even self-publish. Or put aside the foundation I have built and use what I learned in that process on the next composition.

What is an obstruction but a challenge to surmount?

In defense of “is”

Contemporary poetry favors compression–perhaps all poetry employs that approach, condensing out of prose whatever has most vitality in terms of imagery, metaphor, emotion. Symbols, metaphors, actions, neologisms, wordplay, rhythm, whatever gets us to the kernel of the poem. My cultural inspiration began among biblical and metaphysical poems, however, and popular song lyrics (the lyrical narrative). Only later did I stumble upon the influences of Eastern poetic strategies, haiku and tanka, the Imagists, and the vividly imposing demand that writers of all kind, but especially poets, should avoid the “to be” verbs.

How would philosophy–or Hamlet–manage without to be? How shall a writer whose work often deals with the quandaries and paradoxes of being (namely: life, death) compose avoiding those verbs, verbs of existence? Existence has active components to it, to my way of thinking; and some of us need the to-be verbs, with all their various conjugations, to express the more inexpressible activity of being-ness.

During my long years of writing and of having my writing critiqued, I’ve been advised more than once to watch my verbs. I recognize the stylistic impulse and agree that too much to be, too much is, was, or has been, can slow or decompress a poem.

Sometimes, exactly what the poet intends to do.

Other times, exactly what the colloquially convincing narrator or character would say.

A time and a place for every verb.

~

Zhuangzi:zhuangzi

“There is a beginning. There is a not yet beginning to be a beginning. There is a not yet beginning to be a not yet beginning to be a beginning. There is being. There is nonbeing. There is a not yet beginning to be nonbeing. Suddenly there is being and nonbeing. But between this being and nonbeing, I don’t really know which is being and which is nonbeing. Now I have just said something. But I don’t know whether what I have said has really said something or whether it hasn’t said something.” (Watson, trans.)

~

I wrote this post not as an encomium for the to-be verbs but as a suggestion that they exist for good reason and possess action in their compressed sayability, that to be does not sidestep to mean. I defend “is” and its siblings. The important thing? Use them well.

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Smalls

This week in the blog tour, both Kelli Russell Agodon and Lesley Wheeler (poets) blogged about smallness, small things, smaller lives.

And a lovely (small) erasure poem by Dave Bonta got me thinking about ‘little things’:

in the night bog
I part with my road
curious about other things

I lack philosophy enough
to understand bread
or the question of touch                                            —Dave Bonta

~~                                             ~~                                                     ~~                                             ~~

iris reticulata

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Just yesterday, these tiny iris reticulata bloomed along the woodlot’s edge. This evening’s forecast is for a nor’easter and up to 8 inches of snow. So long, for now, little irises. During the brief time I observed you, beauty entered my day.

~

Can we even understand such small and usual things as bread? As touch? As the winter’s blossoms? Could we entertain an aesthetics of small things?

Or do I lack the philosophy for that?