…The dark threw its patches down upon me also, Walt Whitman wrote in “Crossing Brooklyn Ferry.” Nearly as often as he reflects on his own tingling senses, Whitman, it turns out, writes about distance and solitude, sometimes expressing pain about it and reaching for touch across impossible gaps. “It avails not, time nor place–distance avails not,” he insists. We can be together, apart. This violent week has proven again that in my country, unity is a fiction. Some U.S. citizens are protected by police; in overlapping territory, other U.S. citizens are murdered by police. I admire Whitman’s desire to heal damage and division, but I can’t love my country the way he did.
Yet the fellowship of writers in other places, even other times, helps my heart. I wrote last week about feeling rested by the kind intelligence of Ned Balbo’s new book The Cylburn Touch-Me-Nots, and before that the pleasure of revisiting Martha Silano’s Gravity Assist. Silano also has a powerful poem in the issue of Shenandoah that will debut on June 5th; I’ve been proofreading it and appreciating the authors we’re about to publish. I also have thanks to give to many writers, editors, and event programmers who have recently shown me generosity.
A couple of new pieces about writing as a practice: Massachusetts Review, in conjunction with an essay of mine about Millay they just published, recently put up a “10 Questions” interview about the how and where of research and drafting; in both the interview and the essay itself, I talk about finding camaraderie with dead women poets, in this case wondering how authors I admired bore children or refused to. Next, Celia Lisset Alvarez has started a blog series at Prospectus about writers’ first publications. In “Unbecoming Hubris” I post about daring to write my first novel and some of the comeuppances I experienced before holding the book in my hands. This is a good place, too, to say thank you to my spouse Chris Gavaler for “My Unbecoming Spouse,” a post about book covers and messing with Audubon’s cross fox.
I have a couple of recent poems full of cosmic dread in Sweet. And if you’re in the mood to listen, I have recorded readings here for the Bridgewater International Poetry Festival and here for the Social Distance Reading Series hosted by the Vermont School and Green Mountains Review.
My school year has wound down now and I have a lot to catch up on, especially in deferred publicity work for my books–and being sad and worried makes it hard. I’m wondering if my deferred spring 2020 readings should happen in spring 2021, not this fall. As usual, I’m prone to dark crises of confidence, too, but good to know Whitman suffered them before me. The best I had done seem’d to me blank and suspicious,/ My great thoughts as I supposed them, were they not in reality meagre? I feel ya, Walt.
I’ll close with a hopeful poem from my own new collection, one I wrote with the stupidity of U.S. politics in mind. The spell I’m trying to weave won’t soothe anything except maybe a reader’s blood pressure for a minute, but hey, sometimes a moment’s glimmer is the best we’ve got.
State Song Because I call you, wind strips trees of little limbs they did not need. The streambed tilts a muddy ear and I pour words into its drain, the cup- shape someone’s heel dug filling up as if with rain. Because I call us together, the mountain blushes. A curtain parts, dissolves into rags of steam. Sun and clouds pattern fields with roving spotlights. Because I call you, power thrums the ground. Now is the hour, gilded, grand. I call this dazzle ours.
Category: Shenandoah, teaching, The State She's In, UnbecomingTags: bridgewater international poetry festival, Crossing Brooklyn Ferry, Edna St. Vincent Millay, Green Mountains Review, Massachusetts Review, Prospectus, Rose Solari, social distance, sweet, Walt Whitman, Washington Independent Review of Books
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