Poetry isn’t generally associated with suspense. It seems like an art of uncertainty–and a consolation for that uncertainty. Yet I find myself more and more convinced that poetry’s fragmentariness needs to be anchored by story (earlier post related to this idea here). I’m also wishing I could see the shape of my own story more clearly. As usual, I’m projecting my life into poetry, and vice versa.
On life suspense: my mother is ailing, and so am I, and so are several other people dear to me. Being ill without a clear diagnosis is definitely a bad kind of suspense. My mother has lymphoma and while chemo is triumphing over the tumor, it’s also wearing her down–the doctors are still figuring out why this week has been so bad. I’m a six-hour drive away, so I spend a lot of time waiting for my phone to buzz.
During my 2005-6 sabbatical I researched poetic voice; during this one, I’m making a long-term study of my mother’s intonations by telephone. It’s not just what she’s saying and in what mood, but hoarseness, shortness of breath, and when things are really bad, her difficulty tracking the conversation. Slurring in October first alerted us that something was seriously wrong. I’m judging my sister’s level of worry, too, through tones and texts. All this close listening makes me think of Dickinson only consenting to medical examination through a crack in the door. Not much for a diagnostician to go on.
I’m not so sick as all that. Asthma, swelling, palpitations, lightheadedness–I’ve had the basic tests done to know I’m not in the middle of some cardiac cataclysm, but these medium-annoying symptoms could spring from about five million different problems, and lord knows how long it will take to narrow it down. Another research project.
I’m medicating myself in the interim by reading and writing. I’m revising Taking Poetry Personally and figuring out what presses to query, but that requires high concentration. What I seem to want to do most is read and write poems. Since I have stacks of poetry books around, some sent for review and others I’ve been meaning to get to for ages, I’m picking one up every time I feel low.
Plenty of them are good, but too often I’m disappointed by the first few pages. Every published poet knows, I think, to pick a strong opener, a well-wrought poem that inaugurates the themes and strategies of the collection. It’s surprising, however, how few poets use those early pages to generate suspense–the good kind that keeps a reader on the hook. I don’t mean a murder should be discovered in the first stanza, leaving us to ponder who done it over seventy pages of clever line breaks. Yet there should, I think, be at least one urgent question percolating. And the poems that follow should sustain interest in those questions, so that, by the last few lines of the last verse, we have some provisional, partial, fragmentary sense of an answer.
Narrative isn’t the only tension-generator: poems can also be arguments, spells, and riddles, to be resolved by sound or formal elements as well as, or even instead of, sense. The best poetry book I’ve read recently is actually pretty experimental: Anne Carson’s Nox (what? you demand, and shh, I reply, because my yet-to-be-read list is really embarrassing). I bet many of you have already cracked that box, unfolded the astonishing accordion pages, and pondered her artful use of collage, translated verse, dictionary glosses, etc. The book certainly doesn’t tell a straightforward tale. Yet Carson has such a strong sense of story–she is one of the best living poets, I think, when it comes to writing suspensefully.
“I wanted to fill my elegy with light of all kinds,” she writes early on, addressing the death of her brother. “But death makes us stingy. There is nothing more to be expended on that, we think, he’s dead. Love cannot alter it. Words cannot add to it. No matter how I try to evoke the starry lad he was, it remains a plain, odd history.”
Who was her brother, you wonder, and how did he die? What’s “odd” about his life and death? Isn’t there something odd about this speaker, too–the mix of grief and cool detachment in those lines? Carson doesn’t reveal complete or stable answers to any of these questions. She replies, rather, as poets do, through patterned fragments. Nox is really a long poem and therefore much more unified than most collections, and maybe my own distraction makes me a cranky reader right now, yet I really, really wish more poetry books had some part of its propulsive drive.
In considering all this, I realize the guiding question of my next book of poems is already crystallizing. It’s: Where am I? Really, interest in place runs through all of my poetry collections (think of the titles Heathen, Heterotopia, Radioland), but I’m further out on that question’s ledge than ever.
One answer: nowhere. I’m a middle-aged striver laboring in an obscure small town. As I try to promote Radioland, and feel enormously grateful for the reviews I’ve received and the events coming up soon (W&L next week, and also the VA Festival of the Book, AWP, Kenyon College, and Poetry by the Sea), I’m also struggling. It is HARD to inspire people to order and/or open a poetry book, much less decorate it with laurels, no matter how engaging its interior might be. One kind of suspense I’m suffering from: of all the threads I’ve recently cast into the void, trying to launch the poems toward a larger audience, will any catch?
Well, I keep telling myself, suspense in this case is better than having hit the canyon floor. I’m proud of the book, plus the new work is worth doing in its own right. I’m finding the somewhere in nowhere and having a hard look around. These badlands have some interesting features.
"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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