With both a novel and a poetry collection due to editors this spring, this winter is all about revision. I’ve been combing through my poetry ms, trying to get the opening tracks right (I’ve tried five million variations) and forcing myself to fix or cut iffy but beloved poems. I’m also organizing a last round of submissions, alerting magazine editors to the publication date, and thinking hard about the title. Finalizing the title may entail yet more re-tuning, as well as research into cover images. Eventually I’ll hand it over to Molly Sutton Kiefer at Tinderbox, and I’m sure she’ll will find more for me to do!–but it’s exciting to be circling in.
Then I switched gears to my novel, Unbecoming. (This week is an academic break, which helps.) Timmi Duchamp at Aqueduct asked me to read it aloud before handing it over. I’m finding plenty of klutzy sentences to fix as well as an unbelievable number of adverbs, although I thought I’d weeded them out in the last round–they’re like bunnies or dandelions, proliferating in a fallow ms as soon as you turn your back. Like my poetry book, Unbecoming has survived more than a dozen major revisions, but the last ones focused on character, pacing, and a tendency to summary and over-explanation. I still have traces of the latter to expunge, but what I’m really striving for now is clean, direct sentences.
I like revision, even though it hijacks ALL my creative energies. (With these rewrites to tackle, plus Shenandoah poems to read and grant proposals to draft for my 2020-2021 sabbatical and this pesky full-time job as teacher-adviser-program coordinator, I feel like I’ll never write a new poem again.) It’s rewarding to hone old efforts and feel sentences click into their grooves. But I’ve been thinking about the word “revision.” Its emphasis on “looking anew” doesn’t entirely capture what I’m doing. In both genres, I’m re-sounding lines, trying to hear them freshly, managing echoes within mss. I’m also thinking hard, as I revise, in order to revise, about giving readings. What passages or poems would I choose to read aloud to audiences, and why? Do they sound right in my voice? If I would want to kick off a reading with this poem, or end it with that scene, do those preferences have implications for the arrangement of a printed book? Or do the mediums of print and live reading simply have different requirements?
Can you hear the anxiety? I’m really happy about these books but subject to fizzes of terror, too. I know the poetry book is my best ever and I have decent credentials to make that judgment; what puts me on alert is mainly my drive to do right by the work, shining it up and showing the widest possible audience that my poems are worth their time. I know that sounds arrogant, but I actually believe it. Fiction, though! Giving readings from a novel!! At least Ursula finds revision relaxing.
Poetry • Creative nonfiction • Graphic nonfiction
The work wants to be made
Writing from both sides of the brain
"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
Writer. Editor. Throwback Surrealist.
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...