“No,” she said (I’m paraphrasing), “you have to post your daily poem. That’s how you learn to stop worrying about what other people think. It frees you.” Luisa Igloria, who gave a great reading here a few days ago, has published a poem a day at Dave Bonta’s Via Negativa since November 20th, 2010, so she should know. I’m still resisting, although like many other crazy versifiers, I’m drafting a poem a day this April for NaPoWriMo. Part of my resistance to posting them all is just plain ego and ambition: what if I write something brilliant, self-publish it in my blog, and then it’s not eligible for a starring role in some luminous magazine venue? (I do realize I could profitably let that reservation go.) Another part is skepticism that people really want to read my first drafts: I read students’ unpolished lines for a living and while helping people become better writers is an awesome job, I am not hungry to read more drafts in my spare time. I believe in and regularly practice radical revision, brooding over pieces for months or years. Many of my favorite poems convey hard thinking about knotty problems. I know their authors banged their heads against walls for a long time to figure out what’s really at stake in each of those babies. The flipside to that Bishopian sense of caution is that some great poems do pop, Athena-like, out of writers’ heads fully-grown, and you’re much more likely to receive those gifts if you hold yourself accountable to a daily practice.
My last reason for not posting my daily poems is the most artistically urgent, I think. I tried this regimen for the first time last April and the constant drafting did free me, in a way. I was writing so much it removed the pressure on each poem to be serious or even good. I started tackling subjects I’d never dared address before. I wouldn’t have been willing to take those risks on a public stage (if you can call a poetry blog “public”).
But, because Luisa has earned the right to recommend it, I’m going to post a few of my April poems here this year. The one below was occasioned by a gift she brought, and also by my recent reading of Trilogy with the talented students in my seminar on British and Irish poetry.
For another pretty book, this one full of less pretty drafts, see my exhibit in the wonderful Tapa Notebooks archive at the New Zealand Electronic Poetry Centre coordinated by Michele Leggott and Brian Flaherty. The first of the pages in the digital archive is a brainstorming exercise on terza rima I did with a group of poets in Wellington in June, 2011 (they called it “torture rima”). In the subsequent pages you can see lists of possible rhymes, a recipe for farro risotto, a blog draft, and notes from a wonderful conference on African-American poetry held at UT Austin. While I kept the first half of the journal as a commonplace book, I eventually called on other poets to fill up the back: I asked the writers I met to put down a few lines of poetry by another writer that had been haunting them lately. You can see some of those pages, too: Leslie Marmon Silko from Deborah Miranda, Terrance Hayes from Roger Reeves, Myung Mi Kim from Dawn Lundy Martin, Wallace Stevens from Dean Young, and more. Having excerpts of my writing journal online makes me feel a little naked, but it’s a terrific project and being involved is an honor. Another American whose Tapa Notebook just got archived: Joy Harjo.
She Must Have Been Pleased With Us
the pages, I imagine, are the blank pages
of the unwritten volume of the new
H.D., “Tribute to the Angels”
She gave me a journal as small as a camel
cricket. I don’t have visions like other
poets, just an occasional auditory or
olfactory hallucination, but Maria Luisa’s
gift reminded me of Lowndes Square
in wartime. Bryher thought to raise chickens
there—Belgravia!—but they ate their own eggs.
The Lady with the Book came to Hilda in May
1944. Those interminable blackouts, long
confinements in the flat, began to shorten;
one might keep the window open late,
imagining the scent of apple blossom
from a charred tree. Perdita’s darning needle
limned by the dim glow from a clock-face.
Waiting for the zrr-hiss. I can’t see it.
My book whirs along a fine bronze chain
around my neck. A lady gave it to me
in an egg-shell. I would need a camel-
hair brush, a single fiber, to paint a poem
there. Each syllable a sensillum.
H.D. thought, she was satisfied
with our purpose, and heard campanili
call the names of angels. I hear
the sky creak with cold: no cricket music
yet. I smell candlelight, a long-ago
poet toasting bread over a little blue jet.
April 3, 2013
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
a poetry page with reviews, interviews and other things
Mundane musings from a collector of the quotidian
I imbibe words and consume past minds. As a result, I often awake next to strange sentences and forgotten meanings.
The Parlando Project - Where Music and Words Meet
Poet, Writer, Instructor
Low-Residency Graduate Programs – MFA, MA, Certificate
Thoughts on writing and reading
poetry. observations. words. stuff.
breathing through our bones
(The poetry blog of Grant Clauser)
Into one's life a little poetry must fall
Scribblings in awe of poetry, transitions, mutations and death
Rising towards the light...
Writer and Artist
Little flecks of inspiration and creativity
Writer, Editor, and Writing Coach
Reading and Writing Children's Books