I’m sure I’m doing a horrible disservice to an important theological concept by throwing around the phase above. I understand karma itself only in a pop-cultural way—the idea that you reap what you sow, even if not right away, not obviously. Here’s what I mean by hitching it to the adjective “poetic.”
I fervently hope poets get what they deserve. In the long run, the work itself should be all that matters—not whom you know or where you live but what you have to say and how powerfully you say it. I do not actually believe this is true, but I want it to be, and in the meantime every right-thinking Sisyphean poet-critic should be trying to make it true. I want most of our energy to go into writing really interesting, urgent, capacious, intelligent, brilliantly crafty verse, and then when the Roving Eye of Literary Fashion happens to pass over it, it has to pause: wow! look! has anybody noticed this is REALLY amazing? That is, when luck strikes, we’re ready with the goods. Or, you know, we’re not—the work is just decent, not amazing, and the Eye passes on, but at least then we’ve done our best and the results are fair. Some of us have to be the mulch from which a few splendid lilies rise. I hope I’m not compost, I’m trying not to be, though odds are that I am, and that you are too.
But I’m a modernism scholar, so I can look back and see that well, hell, most of the modernist-era poets we still read knew and helped each other, both with the poetry itself and with the process of delivering it to the world. Some of them dated each other. Granted, there were multiple overlapping circles of influence. There were also outliers who eventually hit the bigtime despite Ezra Pound’s indifference or their geographical distance from New York or London. But clearly extraliterary factors matter, especially personal networks and proximity to literary power.
So what’s a poet to do? I do think about relocation but I can’t move to a big city unless some crazy stroke of luck changes my marketability (or my spouse’s: he’s a fiction writer wildly trying to wave down the Roving Eye, too). My employer gives a world-portable college tuition benefit to my kids, who are now twelve and sixteen (if you haven’t looked at U.S. tuitions lately, know that the pricetag’s obscene). If I moved jobs now their options would diminish. Yeah, Robert Frost would have made his kids take the lump, but for better and worse, I’m nicer than Robert Frost. And this, by the way, is just the barrier to looking.
Here’s what I’m left with: write my heart out, make friends where I am, keep sending the work out, and do what I can to minimize distance through publication and travel (blogging and Twitter open up interesting interactions too, though, again, I suspect they don’t matter nearly as much as all the accidental conversations you have if you physically live in a literary nexus). And, with a mixture of idealism and skepticism, practice the following principles to create good poetic karma:
1. Read books and journals. Also, buy books and subscribe to journals.
2. Publish reviews.
3. Whenever possible, be generous. Say yes.
I’d like to think they’ll get me further than being a ruthless jerk would, but I don’t know for sure. I can say that while I’ve received a ton of rejections this summer, a few editors have sent along some very cheering acceptances. Also, in one of those random benedictions you can’t apply for, Poetry Daily featured one of my poems, “Powder Burn.” A review I published in Rattle prompted a letter from a writer named Nina Romano who then put up two of my poems in the “Poet’s Corner” of her press web site (they’ll only be there for a few more days, but still, what a random, nice thing!–and if you click on the link belatedly I think you’ll find someone else’s wonderful poem there). I’m particularly proud of a poem in the new Crab Orchard Review, too, in case you can get your hands on it.
I’ve regretted saying yes sometimes and planted plenty of seeds in apparently dead ground. But actions flower unexpectedly, too. Besides, behaving as if poets don’t get what they deserve—meaning selfish striving, I guess, or despair—might be rational but it also seems poisonous. I have a feeling my poems wouldn’t like it.
mapping the nest
A selfish poet
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