Not resolutions but invocations
Last year, I substituted a mantra for a resolution: “breathe.” It helped a little. This New Year’s Eve I wrote up more resolutions, got upset about them, and then decided: to hell with self-improvement. I need fewer bullet points on my endlessly guilty, mildly self-loathing to-do lists. And better ones. In fact, let’s not even call them bullet points. They look like open pupils, too. Pencil points. Poppy seeds.
In considering what words I and others DO need to hear, I’ve been crafting a call for Shenandoah‘s next poetry submission period that will read something like this: “During our March 2020 reading period, please send us prayers, spells, charms, curses, blessings, invocations—poems that try to make change happen. All forms, styles, and procedures are welcome. A selection will appear in a special Shenandoah portfolio in the Spring 2021 issue.”
I know I’m not good about practicing self-care, but I want to keep asking for help this year, sending something like prayers or petitions outward and earthward. (I don’t believe there’s a god up in the sky, although it’s fine with me if you do; I do believe in a living earth that I can listen to and do better by.) I plan to mutter, be kind, pay attention, especially to myself. (And I will remind us to vote for kindness, too, whenever a crooked system gives you the chance. Fires blasting Australia, the U.S. president stirring up war to deflect attention from impeachment–I’m not sure we or the more-than-human-world can take much more of this.)
It may seem paradoxical, given these meditations on care, that I’m beginning 2020 by trying to be in two places at once. As the term starts here in Virginia, I’m handing a pile of syllabi and first-day lessons to my professor-spouse (I swear he’s fine with it, and well-rested!), then hopping on a plane to Seattle to attend the MLA convention. After thinking deeply about whether saying yes was another instance of crazed dutifulness, I decided that, actually, I want to go, as long as I can conference kindly.
The first thing I’m going to do when I arrive is hang out, for the pleasure of it, with a long-distance friend I hardly ever see, Jeannine Hall Gailey. Over the next few days, I’ll attend a few panels, and I’m speaking on a fun one, too (and trying not to stress about it). I joined Janine Utell’s MLA roundtable, “The Space Between Creative Nonfiction and Literary Criticism,” because I thought it would enrich my thinking as well as making my own work more visible, especially the creative criticism in my 2021 book Poetry’s Possible Worlds; this is the kind of conversation I want to have more of, genuinely. On Friday night, I’m part of an all-star lineup at the MLA Offsite Reading (2 minutes each and I’m quite sure most stars will peel off by the time we get to my part of the alphabet, which is fine with me–see the poster below). And on Saturday night, I join Jeannine Hall Gailey to read speculative poetry at Open Books. In between I’m planning to sleep, avoid my email, take a walk or two, and do minimal homework, as well as being super-nice to the anxious job-seekers in the MLA elevators.
Attending is also a way of being kinder to myself as a writer, rather than being maniacally diligent as a teacher (what do you mean, miss a class?!–we will NEVER GET THAT HOUR BACK!). I’d like to do better at fulfilling my responsibilities to what I’ve written, as Jeannine says in PR for Poets, which I’ve been rereading. In addition to the aforementioned 2021 essay collection, I have a fifth poetry collection, The State She’s In, and a first novel, Unbecoming, to launch this spring (look, I made pages!). I believe in them and I want them to find readers. No more prioritizing a tidy email inbox over inquiring about a reading series or submitting to a post-publication prize! I need to do less busy-work, somehow, in 2020, but also keep priorities straight. I will achieve this imperfectly, if at all. But it’s not about checking off a list, right? It’s about keeping those pupils wide. Wish all of us luck. And write some powerful spell-poems, please, no matter where you plan to release their magic.
Reading by the glow of a year on fire
2019 was a good year for books but a weird year for reading. For pleasure, work, and mood-medicine, I read constantly, but it’s been different lately: my poetry rate is typical, but fiction and I have had some problems. I couldn’t finish things, or I read multiple books in alternating fragments, concentration flickering. I received less solace from it.
What worked best for me were predictable genres: mysteries, fantasy, historical fiction. I’ve heard others say that they’re overworked and sad about politics, so the more escapist a book turned out to be, the better. That’s true for me, too, but personal stresses have diluted my attention even further. On the happy side, reading Shenandoah subs takes time and energy I used to devote to reviewing. I’m also launching my fifth poetry collection and my debut novel next year, and an essay collection in 2021. Good LORD did I reread and revise those mss, over and over, and when you’re reading your own pages you have less time for others’.
I still read and admired lots of poetry collections–many of those listed in “best of 2019” articles, and also small-press volumes by Erin Hoover, January O’Neil, Kyle Dargan, Martha Silano, Amy Lemmon, Ann Fisher-Wirth, Ned Balbo, Jeanne Larsen, Niall Campbell, Hai-Dang Phan, Paisley Rekdal, and Oliver de la Paz. I reviewed Franny Choi’s Soft Science for Strange Horizons. My brief year-in-review piece, forthcoming soon in that magazine, gives a shout-out to poetry collections that touch on sf as well as fun novels by Atwood, King, and a few others. Some sf-ish books I was excited to read, though, disappointed me, especially Ta-Nehisi Coates’ novel, which I found tedious (am I the only reader who thinks “Slavery is” might be an inauspicious way to begin a sentence?).
A few more books that touched, haunted, and even changed me: Joy Harjo’s Conflict Resolution for Holy Beings, especially a prayer-poem near the beginning. A Holly Black fairy-tale my son recommended. Angie Kim’s Miracle Creek, because of its disturbing exploration of “bad” parenting. Sarah Waters’ The Little Stranger, I don’t even know why–dark side of Downtown Abbey, maybe? Patchett’s The Dutch House, perhaps because I took it in more slowly than usual, as a brilliantly-delivered audiobook by Tom Hanks. And as I’ve posted before, I didn’t think The Slow Professor was a great book, but it gave me a lot to chew on as I considered how next year ought to be different.
2019 saw a lot more beautiful poetry books by beautiful people, and I WILL get to them in 2020, as well as voting for whatever candidate the Democratic party puts up against the current flaming-ass-in-chief. Oh, and I’m going to keep rereading this little treasure as I try to launch my own little fire-starters as brightly as possible. Happy new year, fellow readers!
POETRY (78)
1/8 Hoover, Barnburning* (review)
1/13 Hayes, American Sonnets* (reread for class)
1/14 O’Neil, Rewilding* (fandom)
1/15 Komunyaaka, Dien Cai Dau (reread for class)
1/20 Barnhart and Mahan, Women of Resistance* (for class)
1/25 Coleman, Words of Protest, Words of Freedom (reread for class)
1/29 Macfarlane, The Lost Words* (for class)
2/6 Bashir, Field Theories (reread for class)
2/7 Harjo, Conflict Resolution for Holy Beings* (reread for class)
2/23 Dargan, Anagnorisis* (fandom)
2/24 Abraham, al youm (for class)
3/4 Mathieu, Orogeny (for class)
3/5 Nezhukumatathil, Oceanic (reread for class)
3/13 Silano, Reckless Lovely (reread for class)
3/16 Michelson, Dreaming America (reread for class)
3/25 Kaminsky, Deaf Republic (buzz—Twitter mostly)
4/6 Brown, The Tradition* (loved the title poem on poetry.org)
4/6 Jernigan, Years, Months, and Days (review)
4/11 Camp, One Hundred Hungers (reread for campus visit)
4/15 Lemmon, The Miracles* (fandom)
4/18 Fisher-Wirth, The Bones of Winter Birds* (fandom)
4/20 Silano, Gravity Assist* (fandom)
4/20 McCarthy, Surge (new pressmate)
4/21 Balbo, 3 Nights of the Perseids* (fandom)
4/27 Shakespeare, Sonnets (just got caught up in them)
4/30 Nethercott, The Lumberjack’s Dove (friend’s recommendation)
5/1 Kaneko, The Dead Wrestler Elegies (planning for his visit)
5/4 Youn, Ignatz (Krazy Kat fandom)
5/5 Xie, Eye Level (strong reviews)
5/14 Miller, Emily Dickinson’s Poems As She Preserved Them (teaching prep)
5/18 Larsen, What Penelope Chooses* (fandom)
5/18 Hayden, Exuberance* (fandom)
5/18 Selznick and Whitman, Live Oak, With Moss* (comics version, teaching prep)
5/18 Seay, The See the Queen (teaching/ visit prep)
5/18 Alleyne, Honeyfish* (teaching/ visit prep)
5/23 Camp, The Turquoise Door* (campus visit)
5/23 Nguyen, Ghost Of* (good reviews)
6/4 Nelson, The Freedom Business (forget where I bought it!)
6/10 Frank, Sometimes We’re All Living in a Foreign Country (bought at a reading)
6/12 Bashir, Where the Apple Falls (research)
6/17 Campbell, Noctuary* (fandom) 41
6/18 Rekdal, Nightingale* (fandom)
6/20 Bashir, Gospel (research)
6/21 Gray, Radiation King* (received review copy)
6/22 Schwartz, Miraculum (found it on my shelf)
6/23 Phillips, Reasons for Smoking (found it on my shelf)
6/23 Honum, The Tulip-Flame (found it on my shelf)
6/23 Baker, waha / mouth (fandom)
6/24 Phan, Reenactments* (fandom and research)
7/1 Choi, Soft Science* (for review)
7/4 Matejka, The Big Smoke (found it on my shelf)
7/8 Satterfield, Her Familiars (reread for research)
7/11 Bray, Small Mothers of Fright (research)
7/12 Ginsburg, Dear Weather Ghost (research)
7/12 Ginsburg, Double Blind (research)
7/13 Dawson, Big-Eyed Afraid (fandom)
7/14 Legros George, The Dear Remote Nearness of You (found it on my shelf)
7/15 Calvocoressi, Rocket Fantastic (found it on my shelf)
7/16 Ali, Sky Ward (research)
7/17 Mlinko, Marvelous Things Overheard (bought at a conference)
7/20 Winslow, Defying Gravity (by a friend)
8/25 Hancock, Cairns* (by a friend)
9/19 Gailey, She Returns to the Floating World* (reread for teaching)
9/23 H.D., Sea Garden* (reread for teaching)
9/26 Seay, To See the Queen (reread for her visit)
9/28 Lusby, Catechesis* (buzz)
9/30 de la Paz, The Boy in the Labyrinth* (fandom)
10/4 Eliot, Prufrock and Other Observations (reread for class)
10/8 Eliot, The Waste Land (reread for class)
10/10 Giménez Smith, Be Recorder (awards nominations)
10/? McLarney and Street, A Literary Field Guide to Southern Appalachia (I’m in it!)
11/10 Hong, Age of Glass (met her at conference)
11/19 Hughes, Montage of a Dream Deferred (reread for class)
11/29 Jones, dark//thing* (met her at a conference)
12/8 Sze, Sight Lines* (prize win)
12/24 Heid Erdrich, Curator of Ephemera (prep for a possible campus visit)
12/27 Parker, ed., Changing is Not Vanishing (friends’ rec, for teaching)
12/31 Graber, The River Twice* (fandom)
FICTION (36)
1/5 Miller, Song of Achilles (daughter’s recommendation)
1/19 Miller, Circe (daughter’s recommendation)1/27 Burns, Milkman* (book group)
2/9 Walker, The Dreamers* (reviews and Emily Mandel’s blurb)
2/23 Anders, The City in the Middle of the Night* (fandom)
3/17 Oyeyemi, Boy, Snow, Bird (friends’ recommendations)
3/31 Oyeyemi, Gingerbread* (fandom)
4/6 Martin, Passage to the Dreamtime (play) (bought at a conference)
4/19 Black, The Dark Part of the Forest (son’s recommendation)
4/25 Chambers, Calls for Submission (met at a conference)
5/3 Herriman, Krazy & Ignatz (teaching prep)
5/8 LaValle, Destroyer (teaching prep)
5/19 Garstang, The Shaman of Turtle Valley* (local writer)
5/28 McLaughlin, Bearskin* (local connections plus Edgar win)
5/31 Atkinson, Transcription* audiobook (friends’ recommendation)
6/17 Walton, Lent* (fandom)
6/22 Crouch, Recursion* (NYT review)
6/23 Cisneros, The House on Mango Street (reread for teaching)
7/1 Hubbard, The Talented Ribkins (gift)
7/7 Kim, Miracle Creek* (reviews)
7/12 Ginsburg, Sunset City (research)
7/19 Ray, Whiskey Tales* (translator is a friend)
7/20 Rosenberg, Confessions of the Fox* (daughter’s recommendation)
8/1 Adieche, Americanah (teaching)
8/3 Waters, The Little Stranger (fandom)
9/9 Horrocks, The Vexations* (preparing for her visit to campus)
9/16 Atwood, The Testaments* (fandom)
9/25 King, The Institute* (fandom)
10/16 Joukhadar, Map of Salt and Stars (preparing for visit)
10/? Pullman, Book of Dust* (fandom)
11/? Patchett, The Dutch House* (audiobook for travel, word of mouth)
11/28 Coates, The Water Dancer* (ads; sounded good but wasn’t very)
12/15 Stout, Fer-de-Lance (friend’s recommendation)
12/20 Christie, Murder on the Orient Express (had never read it!)
12/25 Hoffman, The World We Knew* (friend’s recommendation)
12/30 Harrow, The Ten Thousand Doors of January (friend’s recommendation)
NONFICTION/ HYBRID (21)
1/26 Fennelly, Heating & Cooling (reread for class)
2/6 Harjo, Crazy Brave (preparing for her visit)
3/16 Traister, Good and Mad* (college colloquium)
4/29 Sacks, Sacks, Way Up North in Dixie (research)
5/? Gay, The Book of Delights (fandom)
5/21 Woodson, Brown Girl Dreaming (reputation)
5/22 Davis, Why Art?* (gift)
6/4 Hayles, Chaos Bound (research)
6/10 Atkins, The Laws of Thermodynamics (research)
6/10 Polkinghorne, Quantum Theory (research)
6/22 Darling, Je Suis L’Autre: Essays and Interrogations (research)
6/22 Kiefer, Nestuary (fandom)
6/24 Anker and Felski, Critique and Postcritique (research)
7/10 Vargas, Dear America* (teaching)
7/14 Moore, 16 Pills* (pressmate)
7/17 McSweeney, The Necropastoral (research)
8/7 Anzaldúa, Borderlands/ La Frontera (reread for teaching)
8/25 Rich, Permeable Membrane (gift)
11/27 Berg, Seeber, The Slow Professor (to co-lead faculty book club)
12/2 Hughes, ed., Sylvia Plath Drawings (fandom)
12/29 Slate, Little Weirds* (gift from daughter)
*published within the last year or so
Not with a whimper but a bang!
Actually, that title sounds sexual–sorry. I MEAN to tell you how my year is ending, show off some cool student work, and wish you a happy solstitial impeachment frenzy.
My happy news–honored above by a photo of Ursula ecstatic about catnip–is receiving a Katherine Bakeless Nason Scholarship to Breadloaf Environmental Writers Conference this June. This is also the season I gear up for book publicity, and I’m SO glad to have ONE set of dates in stone now, as I query bookstores and reading series and the like. I’m thinking I’ll roadtrip to Vermont and book a few dates at mid-points along the journey, since both the poetry collection and the novel will be out by then. I’m also applying for additional conferences, residencies, etc., which is a ton of work. I’m really grateful that of the dozen or more applications I’ve already put out there, one came through. In the spirit of making visible my shadow c.v.: I’ve also received a cartload of rejections and non-answers (if you can imagine those ghostly silences filling up a cart, anyway). That’s just the way it goes, but it’s good to have one nice shiny “yes” to light up these long dark nights.
I’m also preparing, intellectually and socially, for the MLA conference in Seattle in January, where I’ll be speaking on a panel organized by Janine Utell called “The Space Between Creative Nonfiction and Literary Criticism: Theorizing, Writing, Publishing Critical/Creative Hybrids.” Right up my alley, but I still have work to do on my remarks. I have a lovely date set up with Jeannine Hall Gailey for the day I arrive, and I’ll also be reading with her on Saturday the 11th at Open Books, but I’d love to see as many friends as possible, so please let me know if you’ll be there.
That’s on top of Shenandoah and tenure-file reading, holiday prep, and all the other little tasks I fell behind on during the term, so this week has been pretty intense. I hope to put up a blog around new year’s, though, about the year’s reading, and another about certain resolutions that are forming in my stubborn brain. In the meantime, some delights from last week’s grading.
In U.S. Poetry from 1900-1950, my fall upper-level seminar, the students became so excited about researching little magazines that I ended up giving my students an experimental option in lieu of a second conventional essay: they could create 8 pages of a little magazine from the period, including a cover, masthead, mission statement, table of contents, and a few “solicited” submissions (mostly real poems from the period, but they were allowed to make up one or two plausible imaginary modernists, too, and write poems in those personas). They also had to write reflective essays explaining their literary and design choices and providing a bibliography of models and other sources they consulted. You’ll notice that’s actually MORE work than a conventional essay, but perhaps more fun. I’m sneaky that way. Pictures below, plus a particularly cool videopoem from my creative writing workshop.
Moving Poem by Amanda Deans
Screening Shenandoah submissions
It’s the last week of classes! I’m participating in what will be a brilliant reading at 4:30 today (in Hillel on W&L’s campus), from the beautiful Literary Field Guide to Southern Appalachia! And can I say it again?–this intense term is nearly DONE!
In corners of time, I’m also screening poems for Shenandoah, both for the fall 2020 issue and for the Graybeal-Gowan Prize for Virginia writers (both categories get equal consideration for publication). I thought it might be useful for some people to know what that process looks like, and I understand it better myself than I did a year ago, when I was just beginning my tenure as poetry editor.
I log on to Submittable for a 20-30 minute block on most days during the submission month (this time, Nov 15-Dec 15) and do a quick screening, marking each new batch yes, maybe, no. The majority of subs are “maybe”: I can see some great language going on but I’m not ready to make a decision. “No” is for the poems that clearly don’t fit what Shenandoah is all about–the poems we want involve powerful material, skillfully treated. If a first reading reveals a lot of cliche, ineffective linebreaks, and a high level of predictability, I just can’t spend a lot of time on it (we’ve already received more than 600 batches of poems and I have a time-consuming OTHER job, with no course releases or extra money for this editorial labor of love). “Yes” is vanishingly rare this early in the reading period, but occasionally a poem grabs me by the throat. In that case, I wait a day or two, reread, and then ask Editor-In-Chief Beth Staples what she thinks. If we both agree that it would be tragic if some other magazine scooped the poem(s) up, I accept the work right off. I don’t accept ANYTHING without Beth’s agreement. Usually we’re on the same page, but occasionally we disagree, and then both of us have to consider: “do I need to fight for this one?”
Final decisions on all those maybes will happen by sometime in January, as well as selection of the Graybeal-Gowan winner (by both me and Beth–hiring an outside judge would decrease the prize amount so we decided against). I might write individualized rejection to poets who came close, but mostly a work-study student rejects what I’ve marked as a “no,” using a form letter.
Some things I like:
- Amazing poems! I love editing because I get to bruit terrific poetry.
- When the poet takes the time to address us by name and mention something they liked in a recent issue (although I try not to read the letter before the poems, the way the Submittable screen works means I sometimes catch phrases before clicking on the attachment).
- Professionally formatted subs, with one poem per page in a single file and an easy-to-read font. This whole bullet point is relatively trivial, but if you’re really anxious to make every little detail play in your favor, most editors, I think, have a (sometimes unconscious) preference for serif fonts. I am less fussy than many; I really don’t care which one. Shenandoah‘s font is Minion.
Some things I don’t like:
- Turning down poems I really like. I still have regrets about work I rejected last year, in fact. But 800+ batches of poems, 15 spots…the math just means good work slips away.
- Separate submission of every poem–too many clicks! Also, submitting multiple times in a single period without being asked to do so will get you rejected unread.
- Submission of fiction/ nonfiction during a poetry-only period. That’s a jerk move that means extra work for Beth when she’s busy trying to finalize the new issue (debuting this Friday!).
- Cover letters that begin with an insult to the submission guidelines or the magazine itself. You’d be surprised.
- Poems including racist, sexist, or other dehumanizing language, or otherwise displaying prejudice against groups of people. Again, you’d be surprised.
- This is more trivia, but I haven’t yet liked a poem that’s centered on the page or in a goofy font. I’m open, too, to reading work by teenagers, but in almost every case it just isn’t skilled enough yet. Let your work cook longer before hitting send. Poetry keeps.
- That I don’t have time to write more personal rejections. Honestly.
Modernism in Native American Heritage Month
Some terrific people at my university just organized our first ever Native American Heritage Month, involving two lectures, two documentaries, and a poetry reading with tastings of traditional foods. I made it to four out of five events, and every one was interesting, moving, and really fun–I’m so grateful to the organizers for their work.
The commemoration also made me return to a teaching/ research question that’s bothered me for a long time. My “modernist” poetry course hasn’t, in fact, carried that label for years, because I find it limited and misleading. Instead, I teach “U.S. Poetry from 1900-1950.” Alongside the modernist canon I was trained in, and the white women poets I added to my mental list of innovators during my PhD years, we read the formalisms of Frost, Millay, Cullen, Georgia Douglas Johnson, and others, and the poetic experiments of the New Negro Renaissance (these people and bodies of work overlap, of course). I’m currently teaching the most inclusive version of this course I’ve ever constructed. So where are the Native American poets?
There are a few modernist scholars out there doing great work to answer that question. I read a 2017 essay by Kirby Brown last week that I found really helpful: “American Indian modernities and new modernist studies’ ‘Indian Problem.'” He trains some light on Native prose writers–some of whom I knew, like Zitkála-Šá, and some novel writers of the 1930s I’d never heard of, especially John Joseph Mathews, D’Arcy McNickle, and Oskison. Of course, many scholars would say my periodization is wrong. I’m ending my course around 1950, and it’s easier to find work by marginalized writers in the modernist style, or bearing some relation to the style some call modernism, in the 50s and 60s. The prime example there is always Scott Momaday, whose hybrid novel (containing lots of poems) House Made of Dawn was published in 1969. Once you get into the 1970s and 80s, there’s a much richer array of Native writers publishing in every genre, and there’s no excuse for syllabi surveying those periods excluding them.
But what it I want to focus on the jostle of poetic styles and agendas in North American in the first half of the century–defining the class by decade instead of by style? I know Native America was visible and interesting to certain white writers, especially Marianne Moore (who taught business English in the Carlisle Indian School as a very young woman), H.D. (mostly in her novels), and William Carlos Williams. I have also observed that numerous biographies ascribe Native American heritage to poets of the New Negro Renaissance, although usually in a vague, distant way. Anne Spencer knew she had Seminole forebears and identified with that nation; biographers of Georgia Douglas Johnson and Langston Hughes, however, merely say they had “French, African, and Indian blood,” with no hint of how to find out more. I point out those intersections to my students, but it still doesn’t seem like enough.
Kirby Brown did give me one lead I’m excited to follow up: Lynn Riggs (Cherokee), most famous as a playwright (he wrote the play upon which the musical Oklahoma! is based), also published poetry. I’ve ordered the one collection he published in his lifetime, The Iron Dish (1930), and the posthumous collection, This Book, This Hill, This People (1982), but they’re out of print so might take a while to arrive. In the meantime, I showed my students a few poems published by Poetry and therefore easy to find online (bless the Poetry Foundation!): a sonnet about loss, “Dawn–Late Summer,” and an incantatory, mysterious poem in quatrains, “The Room” (1943). Maybe I can assign a more robust grouping, with more understanding of how to read them, next time. That’s always the hitch, and the intriguing puzzle, isn’t it? As the endlessly irritating and yet not wrong T. S. Eliot observed, each new writer makes you reconsider everything that has come before. I need to find ways to read Riggs, and doing so will put the whole canon in a different light, just as making a deep study of Millay, Hughes, and modernist poetry performance did.
In the meantime, my students have given me permission to share their visual readings of my favorite long poem, Montage of a Dream Deferred by Langston Hughes. They’re pretty great, including one reading typgraphy as musical notation, and another, by Garrett Clinton, clocking the poems’ hours. (See here or here for more on how I construct the assignment.) There’s just one more week of classes after the Thanksgiving break (on George Herriman’s Krazy Kat). As usual, I feel sad about that–and not a little grateful.
Uncanny paneling
When you write a poem that resembles a spell, prayer, charm, curse, or blessing, are you trying to make something happen, and if so, what or how?
That’s what we talked about on the Uncanny Activisms panel I organized for the C.D. Wright Women Writers Conference last weekend (the conference as a whole was wonderful, especially the keynote by Camille Dungy). “We” from left includes Hyejung Kook, Jane Satterfield, Anna Lena Phillips Bell, Anna Maria Hong, Ashley M. Jones, and yours truly, talking with her hands again. Some brilliant tidbits I scribbled down from this brilliant cohort: Ashley remarking that all poems are spells; Anna Lena responding that spell-poems are the poemiest kind of poem, and speaking about how poems help us focus attention; Jane musing about shape-shifting through reading and writing, and how poetry can be a means to power, sometimes as an alternative when legal recourse isn’t working; Hyejung talking about poetry as an act of transformation (and about Icelandic fart curses, which I have yet to look up). I LOVED this conversation and it seems as if others did, too, which made me happy, as if we might be a small band of spellcasters setting out to fix the world through verse. If you want to join the effort, check out the amazing prompts I gathered from these writers for a pretty handout (less prettily listed below). We will be soliciting uncanny activist work for a future issue of Shenandoah, but for the moment, note that poetry subs open today (11/15-12/15), and there’s a special prize for Virginia poets: $1000 for the Graybeal-Gowan award, no entry fee, judged by Beth and me. Everything submitted will be considered for general publication as well as the prize. I’m excited to start reading but also a little worried about managing the deluge. My novel galleys just came in, and my students need lots of conferences this time of year, and I’m trying to squeeze in time to apply for book promotion opportunities…oy.
In other news, my review of Franny Choi’s amazing collection Soft Science is up on Strange Horizons, and my poem “Spring Rage” has been posted by storySouth. Thanks to the kind and careful editors at both magazines.
I’ve been down despite all the good things happening, at least partly because I’m not finding enough time to rest and read and think and play. I didn’t bring my laptop to the conference and that gave me respite, but Monday morning I was neck-deep again as soon as I walked into the office. I’m trying to take better care of myself, and I’m wondering if I shouldn’t start with one of these prompts. Writing poetry tend to channel the simple magic, at least, of temporary self-transformation: I feel calmer when I’m immersed in the work, possibly BECAUSE there’s so little money or prestige involved. Hope you get some drafting time, too.
Counting-Out Rhyme, from Anna Lena Phillips Bell
a. Choose a category of being- or thing-in-the-world—plants local to or new to your region; particularities of the way your family or community speaks; geologic formations or soil types near you; songs from a specific tradition; birds or small mammals or insects. List as many beings or things in this category as you can think of.
b. Optionally, write a paragraph describing what you’ve chosen, as well as any threats to it that exist. Save this text as a plain-text file, and feed it into the n-gram generator available at http://bit-player.org/extras/drivel/drivel.html, created by Brian Hayes. Copy the resulting text into another file, print out the pages, and mine the text for new words that speak to what you’re writing about. You may wish to search for rhyme-words within the text; or you may simply highlight words you like.
c. Write a counting-out rhyme using the words and phrases from your list. If you’ve used the n-gram generator to create new words, incorporate some of these as well. Write in lines of trochaic tetrameter (or choose another meter and stick to it); optionally, end each stanza with a line of trochaic dimeter. Where pronunciation of a neologism is unclear, use the meter to help guide readers toward how you hear it. Employ a rhyme scheme (aaa, bbb, ccc; abab cc, dede ff, ghgh ii; or similar), however slant your rhymes may be.
d. Your poem will evoke one layer of the landscape or community its elements are part of. For each being or thing you include, imagine how it helps make a portrait of that layer in the time during which you’ve experienced it. Read your completed poem to the beings or things it includes. Read it to other people. Revise based on these readings and imaginings.
e. Memorize your revised poem: make it part of your body and mind.
Ambitious poem, from Lesley Wheeler: Think about something you desperately want to achieve, an aspiration you may be embarrassed to admit. Imagine how you would achieve this goal and imagine taking those steps; consider who might have the power to help and imagine them giving that help. Write a fourteen-line poem in the future tense describing this process. The first word should be “let” and you should repeat the first line exactly, or almost exactly, at the poem’s close. Weave in references to: a so-called weed or wild plant you noticed recently; a scent that makes you feel good; and something other-than-human that produces a humming sound. (adapted from a prompt by Oliver de la Paz)
Self-invocation Poem, from Hyejung Kook: In this poem, we are going to name, invoke, and invent our most expansive self. Start by doing some research into your given name–how it was chosen, etymology, other people who share it, etc. If you prefer, do this work with a different name that calls to you. From your research, choose the three words that resonate most powerfully and incorporate these words, a color, an animal, and a scientific/historical fact that fascinates you. Use “In my wildest dreams, I” at least three times and allow yourself all the possibility the phrase grants you. Once your draft is complete, remove the phrase “In my wildest dreams,” from the poem.
Another possibility is to turn the naming-invocation outward, using the phrase “In my wildest dreams, you” while writing.
Po Go, from Anna Maria Hong: This exercise can be harnessed to jumpstart a new project, clear the deck, meditate on a question, or find a new question to guide your writing now.
1. Designate 15 minutes of your day to this exercise for 40 days. Ideally, do this exercise before you speak to or interact with another human being each day (dogs and cats, OK), but if this is not possible, allocate another time free of distractions.
2. Ideally, also designate a place for this exercise.
3. Begin each session with an invocation to the “gods” of poetry—whichever spirits might be enlisted to help you—household objects, ancient deities, your ancestors, etc.
4. Begin writing this invocation as a list: “I call on the bedside lamp, Jupiter’s moons, and the turnips in the fridge to assist me in my writing today.”
5. Then, free-write for the rest of the session and/or pick up threads from previous sessions (without looking at the previous entries).
6. Stop writing after 15 minutes.
7. Repeat for 40 days, and then and only then, review your writings.
from Ashley M. Jones: Think of an experience you’ve had that you wish others could experience to empathize with you—maybe it’s a struggle or a pain, or, maybe, even, more surprisingly, a joy that’s unique to your life. Try to think of something that, if experienced, would change the reader/spell recipient’s view or prejudice or oppressive mindset against you. Write a poem commanding them to feel that thing, focusing primarily on specific image. Take photographs with your words. Find the feeling, down to the hair. Your poem might be 10 lines, and it might include each sense (that is, The Five…or Six if you’d like).
from Jane Satterfield: Select a natural organism that you’ve admired or overlooked. Learn more about its species and life cycle; appearance, texture, smell. What are its beneficial or dangerous properties? Associations and attributes? What role has it played in legend, lore, and in myth?
Use tercets to weave your new knowledge of this organism into a poem that purges anger against someone or something that has hurt you, or that serves as a means of countering some injustice in your life or in the larger culture. Consider the way a curse can voice an appeal for restitution: a poem that begin as a curse can banish the harm you’ve experienced. Alternately, consider the way a curse can release the harm of the experience and turn the poem toward forgiveness and healing.
In a Samhain state of mind
Not to get too pagan on you, but this week I can feel wheels turning, for good and ill. On the good side: above is the cover of my first novel, to be released in June 2020. I’ve been so grateful for the excitement people have expressed about it. As I keep saying, this venture feels more like a leap into the dark than poetry publishing. I’m getting publicity gears grinding for my March 2020 poetry collection, too, but I know perfectly well that except for rare cases, “Writing a book of poetry is like dropping a rose petal down the Grand Canyon,” as Don Marquis poetically said, “and waiting for the echo.” I worked insanely hard on that novel, I’m proud of it, and I WILL get out there to give readings, etc.–but will it be like dropping a moderately-sized rose bush into the Grand Canyon, meaning, not much more echo-producing? I really have no clue. I feel pretty philosophical about it these days; I just want to know, a year from now, that I gave all my pretty rose petals the most energetic pitch possible.
Pitching, however, is a LOT of work. The “bad” of this liminal season is feeling stressed and anxious as I step from the overwork of October (teaching, grading, applications, event programming) to the overwork of November (teaching, conferencing, applications, and exceptionally heavy committee work). I just keep plotting out tasks on my calendar, trying to prove to myself that it CAN be done, and hoping I reach Thanksgiving in one piece. I’m also trying, to whatever extent possible, to pare off obligations that rev up my worries and spend time instead on what makes me feel better.
Ridiculously, that sometimes means work, but the kind of labor that produces an experience of flow rather than jitteriness. I gave Monday morning over to intensive lesson-planning, doing some background reading on William Carlos Williams and getting ready for tomorrow’s campus visit by the fabulous Lauren K. Alleyne, and you know what? I felt noticeably better after those hours of concentration. Answering email: not so soothing.
Today’s treat was reading a splendid new anthology I am lucky enough to have a poem in: the brand-new Literary Field Guide to Southern Appalachia, edited by Rose McLarney and Laura-Gray Street. They commissioned pieces on various plants and creatures from poets with connections to the region, and so many of the poems are gorgeous and moving. Each species, too, is described by naturalist L.L. Gaddy and illustrated in black-and-white by seven Southern Appalachian artists. The resulting book is both local and diverse, and truly a stunner.
The next task: prepping for the C.D. Wright Women Writers Conference starting on 11/8, because I’ll be away this weekend, visiting the kids (it’s Haverford’s Family Weekend). That’s downtime I sorely need, as I keep telling myself as I watch work pile up on either side of it… but I’ll be striving to be in the moment there, and at the conference, too. Check out the program; it looks kind of brilliant.
What I want to do most of all is work on a short story I’m feeling excited about; the poetry hasn’t been coming lately. And that leads to one last Samhainish thought: one of the funny things about publication is that by the time the work gets out there, you’re often mentally and emotionally moving on to new ideas. When you give a reading or do other kinds of promotion, you can feel like you’re trying to call up the dead and hoping the doors to the otherworld open, as they’re supposed to do this time of year. Come, ghosts, and help me out. I have, in fact, been thinking about my father and dreaming about my maternal grandmother, as if spirits are visiting–and I’ve also been remembering that tarot card reading I got around New Year’s, when the psychic told me two ghosts were following me around. If they are, and they want to be of use, maybe they could help with the committee work?
Teaching US Poetry from 1900-1950
I started teaching modernism as a graduate student, leading discussion sections for Walt Litz at Princeton in ’91. When I arrived at W&L in ’94, I resolved to teach much more diverse syllabi: I put the version of modernism I’d studied in conversation with the New Negro Renaissance and included many women writers (Walt’s syllabus was all white and male). Soon I was bringing in formalist modernism, too–featuring the so-called “songbird poets” and analyzing various kinds of experiment that earlier discussions of the field hadn’t made much space for. Something I love about teaching, though, is that you can’t just rest on your laurels: I’m teaching you a version of modernism that’s fuller and more complicated than the one I received–aren’t I the greatest? Changes in scholarship and theory demand renovated approaches, but so do the students themselves.
I posted on Facebook recently that my students have never been so alert to questions of gendered and sexual violence in “The Waste Land” as they were this October. I was really glad I had this recent suite of short essays from Modernism/ modernity to bring to class, organized by Megan Quigley and centered on how #metoo has changed conversations about a modernist poetic monument. My current students think sexual violation, as reality and metaphor, is at the very foundation of modernism, and while I’ve always highlighted those elements in certain poems, I’m still trying to get my head around that as a perspective shift on the whole field. They’re very interested, too, in modernist portrayals of mental illness and how it’s persistently feminized; the more I consider those questions, the more foundational they seem, as well. Honestly, I wish I had more than twelve weeks with these students, so we could deepen our reading together.
We are, however, past midterms already! This weekend I’m reading their first essays, and the scholar to whom I owe the most for the success of this assignment is Suzanne Churchill at Davidson, a scholar of modernist little magazine culture and another Princeton survivor (it was a messed-up place back then). When W&L’s Digital Humanities cohort brought Suzanne here a few years ago, she visited a version of the class I’m now teaching; for the occasion, she loaned me a little magazine assignment she’d been using in her own courses. I’ve since modified it into a sequence of steps: we read Suzanne’s essay “Little Magazines” from Companion to Modernist Poetry; used class time to compare poems from our texts to their original presentations in little magazines; and read this excellent website on Georgia Douglas Johnson that Suzanne created with her students. Then we devoted a session to informal presentations of this response paper assignment:
“Go to the Modernist Journals Project site and either browse through the magazines or search for an author you’re interested in and follow the links (search last name, first name—it’s not case sensitive). Find an issue of a journal that interests you. It should be published between 1900 and 1945, and it should include at least one poem. Then post a brief reflection (~300 words) in which you identify and briefly describe the issue you chose and why you chose it, saying something about how a poem within it relates to other content and/or design elements. What kind of readership does the magazine seem to be projecting? How do font, layout, juxtaposition, and/or illustration affect the poem’s meaning?”
Finally, they wrote 8-page essays comparing poems in little magazines to other published versions, either building on that response paper or switching focus, if they preferred. I shouldn’t report on their discoveries here because this assignment resulted in some actual original scholarship–illuminating publishing circumstances that haven’t been discussed in print before, to my knowledge, although, of course, we’d all have to do a LOT of work to determine that for sure. This means that grading their essays has been slow (I have a lot of backtracking to do, as everyone wrote on different pieces/ publications) but genuinely exciting.
I had originally cancelled this coming Friday’s session, requiring them to go to at least part of a department retreat instead, but the scholar whom we had invited to visit cancelled. So, I asked these students, what would you prefer? Go to a different lecture or reading as class make-up, or reinstate that class and choose readings for it, anything you like? To my surprise, they wanted the class back, and they wanted to focus it on contemporary poems responding in some way to the modernists we’re studying. I’ve had a lot of fun assembling a reading packet! Not surprisingly, many of my own poems have been triggered by modernism, but I’m mostly steering clear of my own stuff in favor of Bishop on Moore; Wendy Cope and Jeremy Richards on Eliot; Evie Shockley on Anne Spencer; Honoree Fanonne Jeffers on Helene Johnson; William Woolfitt and Cynthia Hogue on H.D.; David Ray, Lauren K. Alleyne, and Hilde Weisert on Frost; Kenneth Koch on Williams; Terrance Hayes and Franny Choi on Hughes; and more (many of these great poems are not online). Thanks to Diane Kendig, Max Chapnick, and others for suggestions–please post more in the comments!
In short, in a busy season, this class is absorbing a lot of energy and creativity. I could use an extra weekend every week, one for the work and one for some downtime…but I’m also really happy that I can teach this class for so many years and still, well, make it new.
Copy-editing and fact-checking poems
As the New York Times reports, we’re seeing industry-wide hand-wringing right now about how rarely books are fact-checked, following scandals involving Naomi Wolff and others. I’m proud that Shenandoah editor Beth Staples makes fact-checking a priority: the interns comb through every piece we publish, following up on names, dates, and a host of other check-able details. Not every poem needs fact-checking, of course, but some do. For example, I posted my own poem about the moon landing recently. Most people wouldn’t notice if I got the date wrong, but some would, and spotting the error might impair their faith in me as a writer.
So what level of precision do poets owe their audiences? Spelling proper nouns correctly, and checking dates and quotes, seems important, if a poem references real-world people and events. The trivia doesn’t matter, really–if I tell you right now that my teapot is as blue as loneliness, but it’s actually an unromantic beige, that seems like a reasonable bit of poetic trickery. (Gotcha! It’s orange.) Even in a persona poem like “The Love Song of J. Alfred Prufrock,” a piece that’s obviously fictional, you’d want to check the Dante quote before you hit send.
I just handed in copy-edits for my next book, The State She’s In–overcoming the usual Prufrockian abulia to do so, because finalizing a book makes me REALLY ANXIOUS–and the process involved a final round of fact-checking on my end. Several poems involve public history that’s important to get right. While I know I was careful during the period of composition, what if I made a bad mistake in a poem about slavery, say, or Confederate history? The vultures aren’t wheeling around my publications the way they do around high-profile nonfiction, but still, I’m addressing sensitive material.
For example, last year I published a poem in Flock. They nominated it for a Pushcart, bless them, although it’s a very tricky piece about studying lists of enslaved people once owned, then sold, by my employer. In it, I think especially hard about a boy named Albert, 13, who was the same age as my son at the time; his name appears on an 1826 list but has disappeared by the 1834 version, and I’m wondering what happened to him. This weekend, I went back to the sources one last time to check the names and numbers, and guess what? I’d made some mistakes. They didn’t change the tenor of the poem: I had to change “fourteen names further” to “thirteen” and the sum of “twenty thousand” to “twenty-two.” Still, I make the dodgy move in the poem of speculating about how Albert’s ghost might have answered me, if that were possible, and that’s enough risk for one poem. I’ll likely never know his fate, but I can damn well be true to the part of history that’s verifiable.
John Robinson’s List, 1826
This ruled and foxed document the only
record of your name, followed by numbers
firm and fat: three-hundred-twenty-five flat
for Albert, age 13. Your face, nowhere.
Ma’am, you do not know the first thing.
Persons bequeathed by Jockey Robinson
to this university, along with a thousand
acres at Hart’s Bottom. A sepia squiggle
ties you to Jerry, 53, and Elsey,
36, blind. Your parents? Dick, Amorilla,
Claiborne, Pompey, sisters and brothers?
I couldn’t say
but it does look likely.
Some of the entries hint at stories. Creasy,
68, twenty dollars, but the note,
in a column usually blank, offers a hard “worth
nothing.” The cursive relaxed but well-groomed.
A breeze huffs at linen curtains. A pitcher
sweats on the marble sideboard. How unworried
the appraisal. How satisfied the gloss.
Or thirteen names further, James the Preacher,
40, costly, his wife Mary, their eight children,
eldest five hired out, down to eight-year-old
Isaac for five dollars a year. What did James
preach about to Creasy-without-price,
“club foot” Nero, and “lame” Dick McCollum?
Your son is thirteen. Would he listen
to a sermon or sleep right through?
Are you like him? A quick boy, loves a game,
strategizing always? I remember you,
eyebrows hoisted, forehead grooved with notions.
No one gains by your imaginings.
Unless you do yourself.
I can’t find you on the 1834
“List of Slaves Belonging to Washington College,”
with Amorilla, Claiborne, Pompey, although
I riffle all the bills. Eighteen months later
Garland purchases nearly everyone
to send to his Mississippi plantation:
“Old Jerry was refused upon inspection.”
After the commission, trustees count
twenty-two thousand dollars into coffers.
That money translated to red brick buildings,
lichened shady trees, and my salary.
Is that how you linger, a ghost of ink
boiled from walnut shells? A row of desks,
a library shelf, digits propagating
in some faraway white-pillared bank?
Ma’am, I cannot say.
I’ve posted about revision A LOT in this blog–I just went back and reread this post from 5 years ago, which contains most of the wisdom I possess about ordering and pruning poetry books, and then there’s this shorter one about reading aloud to revise. Revision feels like a big subject, though, almost as big as the subject of inspiration in the first place. I think often about the day I first drafted the poem above: I was sitting in my office in the supposedly-haunted colonnade, shivering as I read that brutal history, typing out my questions, and then hearing the answers float up, a gift from my own unconscious, I suppose. The various days I wrestled with the poem, though, to make it as accurate as I could–those are important, too.
Pacing
Dear Poetry Professor,
How do you get the writing done?
-Lots of People
This has been a super-hard September, beginning with emotional transitions–dropping my son off for his first year at college, establishing my daughter in her first apartment–and proceeding through too many doctor visits and grant applications on top of the usual stuff. And the usual stuff brings its own challenges. It’s hard to kick off classes well; students and advisees need and deserve a lot of attention. One of this month’s biggest difficulties, though, arose from the good luck of having two books scheduled for spring publication. Edits for my poetry collection arrived in late August, but while finalizing any ms makes me super-anxious, those edits weren’t heavy. As soon as I turned them in, though, the novel edits began arriving, and they have been much more demanding, in large part because I’m newer at prose fiction. I had more to learn about economy and precision than I realized.
In short, I don’t really have time to blog! I just felt a drive to get some thoughts down about a question people address to me frequently. And that’s usually part of the answer, isn’t it?–something like drive. Honestly, I find time for certain things, even when frantically busy. This week I taught my classes, went to meetings, and handled a zillion pieces of apparently urgent paperwork; I also texted cat pictures to my kids, watched some lame Netflix, did the New York Times spelling bee puzzle every day, finished Atwood’s The Testaments, and started King’s The Institute (both novels are marvels of effective pacing, by the way–you can’t put them down). I also edited the hell out of my forthcoming novel, Unbecoming, following advice from my editor that the middle was kind of flabby. You’ve set up the world with vivid detail in the early chapters, she said; in the middle chapters, that detail is just clogging the gears. Pick up the pace.
I haven’t, however, been able to work on Unbecoming for more than two hours at a sitting, and that’s on the freest days. The aforementioned medical problems have cost me concentration, but it’s not just that. Work too long, and the quality of your attention starts to degrade, and a book ms is not something you ought to rush through tiredly. I get upset, too, if I feel like I’m shortchanging my students or my loved ones, or if I have no downtime, as happens when you’re trying to find myriad extra two-hour blocks in a full schedule. I overworked myself into a run of illness last year–that’s another way pacing matters. I’m mostly fortunate in the health department (there’s luck and privilege as well as drive in being able to get the writing done), but I have to keep reminding myself that when I push myself to the wall, I lose more than I gain.
I can be ruthless about writing, and sometimes that’s okay, especially when it’s a matter of shirking a minor chore or squeezing out just a little more work at the end of a long day. No one really cares, for instance, that in putting so much overtime this week, I never found time to clean that gunk off the front door (what even is that?), or do extra reading about Millay before class, or keep up with social media. I try to make lists and keep reminding myself what’s actually important, but playing hooky is necessary, too. My friend is probably right that I should make time to read The Slow Professor…when I get through this run of craziness, that is.
But one last point, something I’ve observed in others as well as myself: I’m most likely to push myself when the writing obligation involves someone else’s time and effort, as is the case in delivering mss to editors, and if you’re like that, too, you can find ways to create obligations that don’t involve imminent book contracts. One colleague made a lot of writing progress this summer, for instance, by blocking off non-negotiable writing time on her calendar and making public commitments to get a certain amount done. Another has started a writing group for two hours a week: with snacks, in silent camaraderie, we sit together and work on something not related to teaching, then set goals aloud for what we’ll do in the week ahead. I’m usually very solitary about writing–I’ll always choose a shut door and a quiet room over a cafe, for instance–so I’m surprised to be enjoying it, at least in small doses. I’ll probably be happier when I can use that time on new work rather than face up to the endless failings of this endless ms, but it’s good to be reminded that all the writers you know are waging similar battles with themselves.
Sometimes I wonder if I’ll ever just hang up the towel on the stress of publication, but I guess this post is one possible answer: I would keep writing even if no one wanted to listen anymore. I seem to rest from writing by writing in other modes, or at least reading. Lunacy, probably, but here I am.
