I reside in one of the Pennsylvania counties under “shelter in place” advisory, but I can work from home; also, we live on almost 7 acres, so outdoors activities continue. The buds bloom. The insects waken, goldfinches molt to their bright yellow, the magnolia tree bursts into blossom. The meadow is muddy, and vernal pools appear in the hedgerows.
Today, a miscellany of links and virtual or reading-related forays.
Meanwhile, I am still making my way through the 910 pages of The William H. Gass Reader, a selection of some of the prolific writer-critic-novelist-philosopher’s essays and excerpts. I love his piece on the book as a container for consciousness, and I suspect I’ll be saying more about that in future.
Two friends have come down with the coronavirus; it’s no joke, people, take the slow-down seriously and “level the curve.” Please.
Finally, here is a photo of the wonderful hospice staff at the in-patient unit where I volunteer (though, for now–no volunteers are permitted in the hospital to assist, so these folks are doing it all themselves, bless them!).
For people active in the arts, “creators,” the concept of the Muse is familiar–we read or hear about her often, sometimes in laments bemoaning her abandonment of the artist. May Sarton mentions needing a Muse to write poetry; in Sarton’s case, the Muse had to be an actual person, someone intellectually and sensually stimulating. For other creative types, the Muse is metaphorical, or acts as an aspect of a ritual to invoke inspiration, or as a method of removing writer’s block.
I rather like the idea of the Muse, as myth and metaphor; sorry to report, though, that I cannot recall a time when I felt I actually had a Muse. For writer’s block, I might have turned to Lord Ganesha, Remover of All Obstacles–but as I age into confidence as a writer, I find more patience with myself when the words don’t flow as rapidly.
I seldom think of myself as “blocked” anymore. During the times I compose less poetry, I can revise and rework older poems. I can gather completed poems together and puzzle over making the next manuscript. Or I might be busy writing various genres of prose, such as this blog or work-related articles and proposals.
Writing, for me, requires constant practice. It has little foundation in inspired revelation or appearances of the Muse. I do like prompts and challenges, though, for motivation and to pique my curiosity. My latest challenge-to-self is to write a screenplay. It’s a new form for me and I have to learn how to write dialogue and setting and to think in scenes. The only past experience at all similar has been my work on opera libretti, fascinating and, for this particular writer, extremely hard to do at all–let alone to do well.
Colin Pope writes, in a recent essay on Nimrod‘s blog, that he believes “poets are the types of people who feel most comfortable examining themselves on paper, tallying up inner thoughts and realizations…”
“to reflect, ponder, meditate; to be absorbed in thought,” mid-14c., from Old French muser (12c.) “to ponder, dream, wonder; loiter, waste time,” which is of uncertain origin; the explanation in Diez and Skeat is literally “to stand with one’s nose in the air” (or, possibly, “to sniff about” like a dog who has lost the scent), from muse “muzzle,” from Gallo-Roman *musa “snout,” itself a word of unknown origin.
While re-reading May Sarton’s At Seventy: A Journal, I recalled reading this essay about the book, by Jeffrey Levine, in June. I first read At Seventy when I was, I think, 40 years old…I recommended it to my mother-in-law, who–like Sarton–lived alone and loved to garden. I now recognize in Sarton’s journal aspects of life and aging and creativity that I had not thought much of when I was younger–at 40, I felt envious of her freedom as a single woman. I was raising young teens, managing a busy household, working on a master’s degree, feeling I had no time to myself.
One thing that interests me about Sarton is her decision to keep journals intended for publication, beginning I think with her journal about recovering from cancer, though she had written at least one memoir before that journal.
Another poet who wrote journals intended for publication was the Japanese writer Masaoka Shiki. Perhaps his most famous diary (in the West, at least) is “The Verse Record of My Peonies,” thanks to a translation by Earl Miner. Shiki kept writing haiku and haibun, as well as reviews, for the newspaper even as he was slowly dying of tuberculosis. His journal entries (there are others) were intended for readers.
My journals (and I have kept one ever since I was ten and read Harriet the Spy), however, would not make good reading; I would be embarrassed if they were published, especially unedited and unrevised, and no one would feel inspired, delighted, or edified by them. The concept of writing a daily journal intended to be read seems either brave or a bit dishonest, like a persona. Then again–many early weblogs were exactly that: daily public journals read by whatever online audience stumbled upon them. And perhaps this blog acts as my public journal, mostly about what I read, what’s in the garden, and what I’m teaching. Those pursuits, made public, do not mask who I am. They are the things I choose to reveal.
I don’t know if that’s different from a social media persona. But here’s a sleeping cat to look at while I ponder.
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.
This weekend, I am trying to concentrate on poetry-wrestling, herding poems, culling and grooming and all that. So–less time to reflect on writing my own blog posts.
However! I follow many poets and writers, and one or two philosophy and science blogs, would like to direct my readers to two writers who responded to Mary Oliver’s recent death--both of these poets commented on Oliver’s reputation as a nature writer and a poet of “joy.” Reputation isn’t the same as analysis.
Here is Grant Clauser, wondering whether it will be possible for him to write gladness into his observations (which are quite keen and worth reading).
And here is Catherine Pierce, a poet much younger than I who admits to her own prejudices when deciding which poets to read–which poets are “worth the effort” of reading (ie, which writers teach us most about life and about poetry-writing).
“Nature poets” can be fierce, asserting the need for stewardship of our blue planet; poets who write happiness well understand–and convey–that pain and sorrow remain our companions in life. That does not mean a focus-on-the-positive Pollyanna attitude. No–to compose poems that show us we have every reason to love what we encounter takes bravery, because we so often fear what the world offers. To do so takes deep acknowledgment of suffering, not just a glancing nod, but compassion. The poet may not “behave well” in his or her own life but has the practiced gift of observation and enough craft to show the reader difficult perspectives.
Sometimes, gladness and optimism and beauty get obscured by experience and griefs. Next time that happens, maybe turn to poems?
Poetry and publishing: two topics that seem diametrically opposed, if you look at them under the perspective that’s the norm in the USA—that of business, capitalism, popular culture. Shake off that norm, however, and publishing can be re-imagined as aural/oral, visual, textual, cinematic, digital, interactive…who knows?
When a reader begins to deepen her understanding of creative literature, she will also find it necessary to widen the concept of publishing. Some folks say this is a new world. Or they’ll claim things were better in the old days. Curmudgeons and prejudices abound.
In my lifetime, I have observed and been part of significant and constant changes in what constitutes publishing, from Linotype to Huffpost. Recently, I participated on a panel of poets talking to students who have just begun an MFA program. The panel was a discussion, but it jogged reflections on the process of getting poetry to an audience. So here’s a compressed version of getting poems published, as I experienced it.
I began to submit my work in the very early 1980s to the indie-publishing journals which were extant at the time: photocopied, stapled zines with print runs of 300, or maybe just 150. I was new at writing and aware that my work wasn’t ready for Ploughshares or Poetry and the so-called top-tier journals I purchased and read carefully and tried to learn from.
As a 20-year-old woman, I was not exactly full of self-esteem. Why did I submit at all, when I knew my poems were juvenilia? Well, I know that now…at the time, let’s say I knew they weren’t up to the work of Elizabeth Bishop or Audre Lorde. The reason was mentorship. I had two good friends who encouraged me to send work out but to be realistic. To read the journal first and analyze my work in comparison to what appeared in the magazine. Good advice—and let me tell you how much harder that was in the years before the internet! As I lived in New York and Brooklyn and Philadelphia, however, and it was the 80s, there were good independent bookstores to browse, and good libraries. And there was Dustbooks.
So analysis was crucial, not just for deciding where to submit but to learn how to be a better writer. It was important to compare, to take apart, to hear meter, to recognize rhythm and consonance and the fabulous image and the fresh metaphor, to say how does that writer achieve what she does and can I learn it? Without slavish copying?
Damned difficult. But thanks to publishers, at least the materials were available. If we hadn’t had poetry publishers, it would have been even harder to learn the craft; and I’m not the sort of sui generis writer who just creates out of genius. I had to study, practice, revise, and learn the hard way. Alas.
In the later 80s, I started doing some editing and publishing of other people’s work. My dear friend, David Dunn, and I had a small press that put out two broadsides and four chapbooks. Taught me a great deal. I helped to edit a Xerox-zine in Philadelphia in the 80s. Meanwhile, I kept getting work into small press journals nationwide, mostly these photocopied deals with tiny readerships; but the minor successes kept me going. After awhile I had enough hubris to try the better-recognized journals, with some success. This is how it works: persistence, but not bull-headed, blind persistence. One persists through the learning process; revises, practices, finds trustworthy people for feedback.
My sister, my spouse, and I all have worked in the publishing business-as-business, in how-to and B2B magazines; I was a typographer, proofreader, copyeditor, writer, indexer. All of that background was valuable in its way and never kept me from pursuing creative work. So I did eventually go for my MFA, in my 40s, and I got chapbooks and a collection published at long last in spite of—oh, you know—life.
Because I feel that poetry needs audience, I was early to jump on the online publishing wagon, despite colleagues who warned that it wasn’t really as acceptable a venue as academically-affiliated print journals. Nonetheless I’ve found myself enthralled by online journals, by audio-poems, moving-poems (video), podcasts, blogs. I’ve watched well-respected magazines migrate to the internet. And there are problems with online publishing. I know about them, wrestle with them, yeah—keeps life interesting.
My route has not been the academic route, although I work at a college today; I am more of an outlier. Poets and writers can be nurses, doctors, mechanics, or landscapers, grandparents, people with disabilities, insurance industry managers, post office workers, tutors. Each of us discovers her own process for writing and for getting the poems into the world. Mine is pokey and slow and frequently interrupted, and my next long collection won’t appear until 2021, nine years after Water-Rites, my first. But I feel satisfied with my publishing record, such as it is. People do read my work, which is kind of the entire point of writing, no?
When everything is easy and there’s no chance of failure, life is boring. Writing creatively means taking risks, creating tension. Publishing creatively requires the same things. Risks, imagination, persistence, curiosity, analysis and a willingness to be open-minded. Fun pursuits, but not always easy ones.
For now, I will be taking a break, putting on the brakes, pausing for a breather. Briefly, though! Blogging has been not just a good discipline for writing practice but also for thinking practice. It has offered me a place to “bookmark” books that matter to me and to reflect on my teaching, my environment, my garden, and on The Big Stuff–consciousness, values, aesthetics, culture.
Urged along by other poetry bloggers (see Poetry Bloggers), I have posted 60 times in 2018. I felt quite disciplined about that feat until I looked at my WordPress statistics and learned that, for example, in 2014, I wrote 74 posts. This year I was no more or less active than usual (say the statistics). My average number of posts per year over the decade is pretty close to 60. Respectable enough–there are other things to do.
The college semester has closed. We are now “on break.” And I want to take advantage of the gap by making a break with our family tradition, just this once, and to relish the pause my job contains when the students are off campus. I’m especially happy to be breaking bread with Best Beloveds this holiday season. Before the year closes, I plan to enjoy long breaths in high altitudes and to look at the Milky Way.
May your breaks and breaths be of the best and most nourishing kinds.
Longfellow wrote that “Into each life some rain must fall” (“The Rainy Day“). The poem is an extended metaphor; here in my valley, the rain has been actual, physical, moist, sopping, wringing, drizzly, humid, soaking, and all the rest.
The metaphorical hasn’t been absent, either.
So this week, my post consists of other writers’ posts. Explore, please. All of these links offer much to enlighten the reader.
After some readings on metaphor and language, I tackled A Grammar of Metaphor (1958) by Christine Brooke-Rose. Admittedly, I was hampered in my reading by my lack of facility in the jargon and structure of what used to be, but is no longer, “basic” English grammar. It did help that I have read The Trivium and could refer to it now and again; and of course it helps to have a background in poetry and literature, though not one nearly as thorough as Brooke-Rose’s. I definitely can add this one to the “difficult books” I have enjoyed, and benefited from, reading.
The grammar part of metaphor was not something I took into much account when I studied poetry. Certainly, when I read for pleasure, I do not analyze for grammar. Poets often experiment with grammar–altering syntax purposefully, creating sentence fragments, run-on sentences, new compound words, jarring phrases, all in an effort to make something happen in the poem. That “something” may be sound, dream, argument, exhortation, emotion, surprise, pattern, recognition, or a matter of perspective on outlooks, worldviews, culture, tasks, the personal. I do not read for such insights until I want to return to the poem and find out how the poet managed to make the amazing process of language work upon me.
If I were to try parsing a contemporary poem using the Reed-Kellogg system I learned in elementary school, some poems would buck and kick and refuse to reveal their structures. It would depend upon the poem and upon how one interprets such things as line breaks and stanza breaks. I am not convinced the process would really assist most readers in developing an understanding of the poem.
Early June. Honeysuckle on the breeze. New graduates on the move to wherever they are fortunate enough to get jobs. Blessings & good luck!
Many local songbird species fledged during the last week or two, and now the courting has begun for the second brood of spring.
Robins’ nests: one never completed; one abandoned; one used, the fledglings flown.
Meanwhile, among those bearing exoskeletons, pheromones also drift upon the air. I saw quite a bit of this activity during my lunch break. I was sitting by the library, next to ash and maple trees, prime feeding and hatching spots for boxelder beetles.
This is a good place for me to make a plug for one of my favorite bloggers, the anonymous author/photographer/entomology geek known as standingoutinmyfield.
Meanwhile, I have been contending with some minor but niggling health issues and hope to get those sorted out soon, because I will be reading poetry at the beach on Monday, June 18–Cape May, New Jersey [hooray!]. Info appears on my Readings & Events page.