The main piece of housekeeping wisdom my mother passed down to me was just make it LOOK clean. If the counter is wiped down, people will admire your kitchen. They’ll never know about the dust under the fridge or even see the crumbs on the floor. Was the family home immaculate? Rarely. Did the below-eye-level debris matter? Not at all.
That advice from a stay-at-home mom adapted pretty well to the life of a mother with a sixty-hour-a-week job, although when the appliance repair guy pulls out the fridge and uncovers some unholy dustscape, I do wince in anticipation of that look: what kind of woman are you, sitting around in sweatpants with piles of books, when THIS is growing HERE? Not that I feel guilty; it just annoys me to suffer raised eyebrows when I don’t have time to make speeches about gendered divisions of labor. I take Chris as a role model, since, in his focus on writing, he is completely impervious to looks the neighbors probably give him about our raggedy yard and the dire lichen blossoming on our siding.
The same principle converts fine to most kinds of work. At home, if the kids are thriving, it doesn’t matter if the weeds are, too. Likewise, at the office, if you’re giving students and colleagues the help they really need, you can leave certain emails to rot; you just have to be clear in your priorities and thoughtful about whether a small task completed now will matter enormously to someone later, or whether it’s really, genuinely small after all.
But what about writing? Scholarship is supposed to be meticulous. A small error now can be quoted and requoted twenty times, distorting arguments made decades later. Yet pore-over-every-source perfectionists may get scooped or never see publication at all, because research is endless, like housekeeping. Once you’ve scoured the whole field, dust is already gathering in the room where you started–there’s always a new angle, or an overlooked one, to worry about. At some point, you just have to say good enough and cross your fingers that the inevitable crumb on the floor stays invisible.
I have made mistakes in print. Blogging and social media make error even more likely–no editors, little time for patient scrubbing. I remind myself I’m not a surgeon–my slips usually cost someone proper credit for his or her hard work, not life and limb–but it still feels bad, as it should, I guess.
This season, as I’m delivering a new poetry book to the world, I realize I’m more fastidious about verse than any other kind of writing. A poem’s room is so little–nowhere for the trash to hide. I also know I can take my time with a poem. Unlike an article, whose reference list quickly spoils, a good poem has a long shelf-life.
Appropriately enough given today’s metaphor, my reflections on editing Radioland appear as a “House Guest” feature this week on Ecotone‘s blog. I’m still not sure if I got everything right in my new collection–my other books have flaws, although I refuse to name them here–but I worked on it word by word, comma by comma, at least as scrupulously as on any project I’ve ever undertaken. Go ahead, run your white gloves all over it and tell me what you find.
And, of course, I had tons of help; my acknowledgements page doesn’t cover the half of it. In addition to everyone named in the book itself, Mary Giaimo does meticulous copy-editing for Barrow Street Press. Sarah Kruse is laboring hard to fulfill orders and help publicity. Still further behind the scenes, many, many magazine editors made the poems better. (And on that note, hurrah for editors everywhere! I am delighted to have new poems lately in Eleven Eleven and the sci-fi issue of New Orleans Review.)
This week I hit pause on my critical project to complete some more invisible housekeeping. Some of it is unpaid work for others–reviewing articles and promotion files, writing references, and learning how to be a trustee for the AWP (did I mention I’m now Mid-Atlantic Council Chair?–yikes). For my own poetry’s sake, I’m working on a radio essay, with help from W&L people, and who knows if it will ever hit the airwaves? I’m sending out review copies, applying to festivals, and nominating myself for prizes. Most of that work won’t make any difference at all, it’s costly in time and money, and–let me show you behind the oven here–all the self-promotion gets kind of embarrassing.
But, well, hell, let the lichen grow all over the house and the dust bunnies fatten. Boosting the signal for Radioland–that’s high priority. And I am beyond grateful to everyone who has helped, or is helping now, by buying the book, ordering a copy for their library, reviewing it, teaching it, secretly plotting to invite me to read from it, or whatever else you’re doing for poetry rather than wipe out the kitchen cupboards. Seriously, nobody looks in there.
"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
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I imbibe words and consume past minds. As a result, I often awake next to strange sentences and forgotten meanings.
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