If I told you I’m just screwing around this week, I’d be exaggerating. This is exam week after our twelve-week winter term, so there’s lots of grading, as well as chores involving grants, event programming, etc. Liberation from the rigors of my former schedule, though–during which I was trying to do much of the same work while also prepping and teaching–is making me feel giddy. It helps that my antibiotics have kicked in, because I came home from a tiring AWP with strep throat. Bonus: it’s really spring!
Each day I’m carving out a little time–maybe just fifteen minutes–to draft something, a poem or the seed of one. This morning I responded to a request from someone who wants poems about Mina Loy. I ended up rereading most of The Lost Lunar Baedeker, which is really teaching-prep, too, because I’ll teach Modern U.S. Poetry in the fall and book orders are just around the corner. I hadn’t spent serious hours with this collection in years and was newly struck by all the beautiful poems about aging. When I was 49, I thought I’d write a suite of poems about my poetic idols when THEY were 49. I ended up writing one sonnet about Edna St. Vincent Millay then quit, because it was so damn depressing. 49 is apparently not the happiest age for women poets. Now, past the hinge of 50, finding Loy’s intelligent take on what she calls the “excessive incognito” of “An Aged Woman” is such a gift. Plus Loy’s coinage “Bewilderness,” which appears in a poem about widowhood called “Letters of the Unliving,” is my new favorite word. I have the most fun when wandering a vague landscape you could call by that name–sort of working, sort of playing around.
One side effect of this work-play is reflection on how I’m spending time. I was just catching up with Dave Bonta’s Poetry Blog Digest and found this great post by Erica Goss about just that–a procedure for carrying the intensities of a major literary conference into a quieter, post-conference writing zone. I think it would mitigate the post-AWP blues I always feel, whether or not I get sick.
Of course, one of the things I’m reflecting about is the very teaching year I’m finishing up (I teach our four-week May term every other year–but not this one!). I honestly don’t know what my creative writing students thought of the first blended-genre workshop I’d taught in years. Many of them did outstanding work, but the vibe in the room was hard to read. My general education course in Protest Poetry, however, was warmly enthusiastic, although plenty of the conversations we had along the way about politics, privilege, and anger itself were very tricky. I posted earlier this term about a benefit reading we organized together. Their final project was to choose their own causes and find a way to advance them through poetry, then write reflective essays about the results. I was so proud and delighted by the variety and quality of their efforts! One student took poetry commissions to benefit Project VOICE; another broadcast a feminist radio show of songs and readings; others waged broadside campaigns about body positivity and the collapse of bee populations. Final products included found poems drawn from community participation; a poetry-infused brochure on the indigenous history of this area; and beautiful little chapbooks on climate change; water crisis; the experiences of queer students at W&L; and addiction and recovery, all distributed to the people who would most appreciate them.
I was so glad I experimented with this assignment, even though, at moments, I was alarmed by my own ambitions. It’s easier for me to play around in my teaching than it is for many others: I’m tenured, my college has great resources, and I teach small classes full of talent. But the Bewilderness, that zone of not knowing what you’re doing and being willing to risk mistakes–it’s where the good stuff happens. I need this breather from the classroom for a while and will make earnest use of it. One of the ways I’ll do so will be dreaming about fall’s wild experiments.
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