4.25.2015

these words

And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful.

Revelation 21:5, King James Version

4.24.2015

venn diagram

The universal set of poetry now encompasses any kind of text. Therefore each reader is required to draw the circle of his/her own subset.

4.23.2015

conversion experience

The day the minister mistook the collected Dickinson for his Bible.

4.22.2015

it's all in there

The poem as a cabinet of curiosities.

4.21.2015

hush money

Poets who never made much money until they offered not to write so much for money.

4.20.2015

new word

All the other letters should stagger backwards or scatter with each new word dropped into the poem.

4.19.2015

what have you done

James Joyce is supposed to have said that certain of Verlaine’s poems, among them the short best-loved ones, were the greatest poems ever written. The haunting sensitivity and disarming simplicity of Il pleut dans mon coeur, La lune blanche, Chason d’automne, Colloque sentimental, Le ceil est par-dessus le toit, etc., are to me unequaled.

I have before me two photos of Verlaine at the Café Francois 1er. From one I have done several drawings and paintings. In that photo Verlaine is leaning back with his head against the edge of the top of the bench on which he is sitting. He is staring upward into space, dreaming. No one else is visible in the café. He looks relaxed, not wanting for anything. Whatever was going to happen has happened.

Qu’a-tu fait ô toi que voilà
Pleurant sans cesse
Dis, qu’as-tu fait, toi que voilà,
De ta jeunesse?
*

Robert De Niro, “Corot, Verlaine and Greta Garbo, or The Melancholy Syndrome,” Tracks, a journal of artists’ writings, Vol. 1, No. 3, Fall 1975, edited by Herbert George.

* "What have you done, you, weeping there
            Your endless tears?
Tell me, what have you done, you there,
            With youth’s best years?"

—Paul Verlaine, “Above the roof the sky is fair…” translated by Norman R. Shapiro, One Hundred and One Poems by Paul Verlaine (U. of Chicago Press, 1999).

4.16.2015

on the sideline

Trust that critic who has no claim on being an artist.

4.15.2015

passing strange

The attraction of the poem was that it could not be immediately recognized as such.

4.13.2015

speed writing

Often we recognize poetry by its language speed.

4.05.2015

tight titles

Too many titles are tight-lipped, offering but a word or two.

4.04.2015

worth breath

Say something worth breath.

—Yusef Komunyakaa, from “Safe Subjects,” Copacetic (Wesleyan U. Press, 1984)

==
I love the raw lyricism of the blues. Its mystery and conciseness. I admire and cherish how the blues singer attempts to avoid abstraction; he makes me remember that balance and rhythm keep our lives almost whole. The essence of mood is also important here. Mood becomes a directive; it becomes the bridge that connects us to who we are philosophically and poetically. Emotional texture is drawn from the aesthetics of insinuation and nuance. But to do this well the poet must have a sense of history

—Yusef Komunyakaa, from “Forces that Move the Spirit: Duende and Blues,” commentary accompanying the poem “Safe Subjects,” in What Will Suffice: Contemporary Poets on the Art of Poetry (Gibbs-Smith, 1999), edited by Christopher Buckley and Christopher Merrill.

4.02.2015

poems from the prehistoric

Now when I watch old footage of poets using typewriters I feel like I’m seeing poems made with stone tools.

4.01.2015

no hardcopy

To think of a digital Dickinson, her poems locked away in some old hard drive.

3.31.2015

singularly ignored

Your poetry has avoided influence but I’m afraid it has escaped interest as well.

3.30.2015

made out of mist

A poem accomplished however implausible in its conception.

3.29.2015

one line elegy

The mailbox shines calmly: what is written cannot be taken back.

Tomas Tranströmer, “Late May,” translated by Robert Bly

3.28.2015

enemy me

P.S.: You have said that being a very good craftsman is a problem for you as a poet. How is this so?

Wright: Because my chief enemy in poetry is glibness. My family background is partly Irish, and this mean many things, but linguistically it means that it is too easy to talk sometimes. I keep thinking of Horace's idea which Byron so accurately expressed in a letter to Murray: "Easy writing is damned hard reading." I suffer from glibness. I speak and write too easily. Stanley Kunitz has been a master of mine, and he tells me that he suffers from the same problem. His books are very short, as mine are, and he has struggled and struggled to strip them down. There are poets, I have no doubt, who achieve some kind of natural gift, the difficulty that one needs. Because whatever else poetry is, it is a struggle, and the enemy, the deadly enemy of poetry, is glibness. And that is why I have struggled to strip my poems down.

—James Wright, in a 1972 interview with Peter Stitt, James Wright: A Profile (Logbridge-Rhodes, Inc., 1988) edited by Frank Graziano and Peter Stitt.

3.27.2015

image inside

The psyche has an internal projector of remembered images.

3.26.2015

fled sentencing

It was one of those sentences happened upon in prose that you recognize immediately as a line of fugitive poetry.

3.25.2015

page turned

An anthology of poems that had fallen out of the anthologies.

3.24.2015

witnesses for the defense

There was no framed diploma on the wall of his office. But sometimes he would run a finger bumping along the spines of the books in his personal library. He thought these authors, though most long dead, must vouch for him.

3.21.2015

four elements

In the first place his poem must be deeply conceived, and be unvaryingly self-consistent. Then he must take pains to temper all with variety (varietas), for there is no worse mistake than to glut your hearer before you are done with him. What then are the dishes which would create distaste rather than pleasure? The third poetic quality is found in but few writers, and is what I would term vividness (efficacia);….By vividness I mean a certain potency and force in thought and language which compels one to be a willing listener. The fourth is winsomeness (suavitas), which tempers the ardency of this last quality, of itself inclined to be harsh. Insight and foresight (prudentia), variety, vividness, and winsomeness, these, then, are the supreme poetic qualities.

—Giulio Cesare Scaligero (1484-1558), “The Four Attributes of the Poet,” Select Translations from Scaliger's Poetics (H. Holt, 1905), translated Frederick Morgan Padelford

3.20.2015

nothing comes from nothing

The efficacy of any revision depends solely on having a solid core to work with.

3.19.2015

singular thing

The sonnet is a stand-alone poem. It should never be impressed as a stanza in sequence.

3.18.2015

important poem

A poem that was a monument in the collective consciousness.

3.16.2015

ring wrong

His rhymes were unexpected, but in that bad way of being right by sound but off in tone or out of sorts with the diction.

3.15.2015

desire finds its object

Soliloquies. Arias. Father-son dramatic agon. Symphonies—whatever we crave to experience over and over as we discover what art can be. Love buries these ghost-forms within us. Forms are the language of desire before desire has found its object.

—Frank Birdart, “Thinking Through Form,” Ecstatic Occasions, Expedient Forms (U. of Michigan Press, 1996), edited by David Lehman.

3.14.2015

me me how about me

Too many poets are of and only for the self.

3.13.2015

well-matched forces

Written in a way that alternates seamlessly between control and flow.

3.12.2015

3.09.2015

foothold on the heights

It was not just a book, it was a step on to Parnassus.

3.08.2015

ready for I

...I'm just really beginning to let myself say "I" because I feel that now I can do it without the kind of crudity with which some people who have just begun to write poetry write about their feelings.

I always feel that what…people should be doing, if they really want to be poets, is writing objectively. Writing about a chair, a tree outside their window. So much more of themselves really would get into the poem, than when they just say “I.” The “I-ness” doesn’t come across, because it’s too crude…For instance, the objective earlier poems of William Carlos Williams (who, in the ripeness of old age has been saying “I” in quite a different way) say so much more than what they superficially appear to be saying. They’re quite objective little descriptions of this and that, and yet, especially when one adds them together, they say a great deal about the man. In a much deeper more impressive way than if he if he’d spent the same years describing his emotions.

—Denise Levertov, in an interview with David Ossman, The Sullen Art (Corinth Books, 1963), interviews with modern American poets.

3.05.2015

fail better

When a poem fails and you don’t know why, it’s worth saving the pieces and starting over.

3.04.2015

line, angle, speed & show factor

You could watch his line 'drift' as he headed into the turn.

3.03.2015

never mine

The poem you admire because you wish you’d written it. The poem you admire because you know you never could’ve written it.

3.02.2015

so shall you be judged

This poem will be on your permanent record.

3.01.2015

mischievous poetry

Give praise with children
           chanting their skip-rope rhymes,
A poetry not in books, a vagrant mischievous poetry
Living wild on the streets through generations
           of children.

—Anne Porter, from “A List of Praises,” An Altogether Different Language: Poems 1934-1994 (Zoland Books, 1994)

2.28.2015

not on the surface

Dredge the psyche for your deep images.

2.27.2015

good book

Closing a good book…clasping one’s hands as though to pray.

2.26.2015

neither here nor there

Do your poems begin in the world or do they begin in the word?

2.24.2015

exponentially experiential

A poem should gather force from experience and release that force through language.

2.22.2015

long flight

Reading the talk poet’s book all the way through was similar to getting stuck in an airplane seat next to an idle chatterer on a three-hour flight.

2.21.2015

sublimity of the spectacle

…imagine the stars, undiminished in number, without losing any of their astronomical significance and divine immutability, marshalled in geometrical patterns; say in a Latin cross, with the words In hoc signo vinces in a scroll around them. The beauty of the illumination would be perhaps increased, and its import, practical, religious, cosmic, would surely be a little plainer; but where would be the sublimity of the spectacle? [And he answers.] Irretrievably lost.

—George Santayana, The Sense of Beauty (Scribners, 1896).

2.20.2015

happy painstaking

When I read the poem I thought what good fortune to have been the medieval scribe appointed to copy out this poem in a fine script.

2.18.2015

room full of ghosts

The necessary arrogance of youth: “I look at those names in the anthology, and it just makes me sad. It's like a room full of ghosts."

From Oliver Stone’s film Any Given Sunday...
The young quarterback, Willie Beaman, after glancing at photos of past football greats, says: “I look at those pictures on the wall, and it just makes me sad. It’s like a room full of ghosts.”

2.16.2015

discursively grounded

Digressions that however far-reaching never lose touch of the stem theme.

2.15.2015

divagations

Digressions that seemed to go on branching off effortlessly and endlessly.

2.14.2015

big one that didn't get away

Even to be a minor poet one must pull off one major poem.

2.12.2015

income gap

My plan was to make a living by writing poetry. But I had a back-up plan of buying a lottery ticket each week.

2.10.2015

won't change the world

Qualcuno mi ha detto
che certo le mie poesie
non cambieranno il mondo.

Io rispondo che certo si
le mie poesie
non cambieranno il mondo.

==

Someone told me
of course my poems
won’t change the world.

I say yes of course
my poems
won’t change the world.

[Translation by Gini Alhadeff.]

– Patrizia Cavalli, My Poems Won’t Change the World (Farrar, Straus and Giroux, 2013), edited by Gini Alhadeff

2.09.2015

2.08.2015

top heavy

A title that tips the poem’s hand.

2.05.2015

pomp of the procession

The poem as a triumphal march of words.

2.04.2015

piecemeal

Six fragments in search of a poem. [after Pirandello]

2.03.2015

eyes to nerves

Images that flash upon the eyes but fail to infiltrate the nervous system.

2.01.2015

asyntactic time and emotion

It makes sense that this change of syntax would lure such feelings out of hiding. The conjunctions I was avoiding signal the operations of the rational mind; they communicate judgment, discernment, a comprehension of the relationships among things. They are words we use after the fact, when we have figured something out. In forging relationships between things (because of this, that; after that, this), they imply a kind of narrative, a sequence of events in time; the absence of such conjunctions allows for utterances in which time seems to be arrested and in which multiple—even contradictory—experiences can exist simultaneously, without explanation or resolution. What is free to come rushing into a sentence, then, is not understanding but bewilderment, astonishment, anxiety, grief and love.

—Chris Forhan, “Without Although, Without Because: Syntax and Buried Memory,” The Rag-Picker’s Guide to Poetry (U. of Michigan Press, 2013), Eleanor Wilner and Maurice Manning, editors.

1.29.2015

deflategate: please squeeze harder

Reading through various poetry books one wishes that more poets preferred their books with less air in them.

1.28.2015

flight granted

Imagination exists only by the grace of experience.

1.26.2015

deep-seated

Not just sprinkled on; images ingrained in the lines.