Thanks David Bowie

…for giving me permission to become a scary monster.

Sigh Like Twig the Wonder Kid

A party tonight with real boys / who needs trouble
Better the problems of representing shadow
Electric snap of static when fingers touch vinyl then
the amplified hush as needle meets its groove
Better to ponder freakishness / whether
the green eye wants what the brown foresees / His tenor
founders on the bridge and she can’t breathe,
as if she’s in love / or gazing in the mirror

Meanwhile she fixes Bowie’s sheen in oils
learning his rouged mouth’s quirks / Not the glam
rock waif who streaked a lightning bolt across
his face / not the corn-pale padded suit of cynical
1983 / but Changes Two
the wet look / Nothing set / nothing dry
Ruffled bedspread / sting of turpentine.
Plaid uniform skirt / her paint-swirled smock
She mixes a bruised hue to smudge around
his eye as cadmium washes from the sky

She applies so little pigment the fibers
of the canvas show / A famished child
a reckless thing / she knows how costumes sink
into the skin / That voice is forever / Yet she claws
up fishnets / finds her cobalt ankle-boots
An ink-and-mustard mini / some Dippity-Doo
Ground Control could learn a thing or two

From RadiolandBarrow Street Press, 2015. The poem was first published in Turbine. The slash marks came later, when I was thinking about punctuation in the book–they seemed a good way to encapsulate the either/ or cruxes of adolescence. Did I have a crush on Bowie, or did I want to be him? I still don’t know, but when I started writing poems I was following his lead, tracking down his every literary reference, studying how he put lines together. I’m sad about today’s news but also just really grateful. He opened strange doors that we’d never close again.

I did paint countless album covers in oils when I was a teenager; here are two, from my Virginia attic. Wish I still had the cobalt ankle boots. Bowie

 

 

 

Close-reading the 2015 National Book Awards

Forecast: capricious poetry weather ahead.

Last year I tackled the National Book Award’s poetry long list in time for a new year’s post and learned a lot from the exercise. This year I was completing the same task, reading with admirable industry and dedication, when I picked up Sunday’s New York Times Book Review and found it dedicated to the year in verse. Out of seventeen volumes receiving substantial mention there, it turned out I had only read two–and those had been granted relatively brief notice. Further, one of those, by Rankine, was a 2014 collection that continues to sell briskly. Granted, a few of the reviewed collections were newish–I follow Kay Ryan and Major Jackson faithfully and I’ll get to their new work eventually. Still, what a crummy percentage!

Let me repeat, then, that I despair of ever being very well-read in US poetry, much less in the verse of the English-speaking world, and I am not well-versed at all in contemporary poetry’s full polyglot splendor. Seriously, anyone who claims her best-of list is authoritative is kidding you, or herself. Some books, like Citizen, really are big events, aesthetically complex achievements speaking to the historical moment. And a collection must be skilfully written, thoughtfully edited, and attractively published to get media attention; as I observed last year, a suspiciously large percentage of books on these lists were published by fancy NYC operations. I’m sending out Radioland to post-publication prizes and can testify that thorough engagement in the awards game takes serious resources. Most presses don’t have the staff or the dough, and most poets can’t personally pick up the slack.

According to my partial survey, not from a mountain-top but an overgrown hill surrounded by cellphone towers and other scenery-blockers, I can testify that many of the year’s most exciting collections do appear on the NBA list.  Robin Coste Lewis’ winning collection is stunning poetry of witness–the central collage is impressive but the framing lyrics really blew me away. I liked Ada Limón’s Bright Dead Things so much I spent an afternoon just before Christmas reading bits aloud to my relatives. (I can’t find the title poem online, but look for it–it wowed my teenage daughter.) I’d characterize a good poetry collection as either deliciously crafty, or presenting a powerful take on urgent material, or both, but here’s another criterion: you want to share what you’re reading with loved ones. Limón’s book wasn’t perfect–a few weaker poems diluted the grand ones–but it hit me that way, as a collection I wanted to tell people about.

I also thought, however, that some books didn’t belong on the long list at all. They were, as I said, skilful, but there were a couple I wouldn’t have bothered to finish if I hadn’t committed myself to the task. And on the finalist list, I’m happy to see strong books by Terrance Hayes and Ross Gay, but the collection by Patrick Phillips just wasn’t especially engaging, even for a poet who’s been mining similar material (dead fathers). I found Marilyn Hacker’s entry more impressive–that title sonnet crown is amazing!–and the books by Jane Hirshfield and Lawrence Raab trumped Phillips–well, both Phillipses–in emotional power, at least for me.

Also, while I’d have to reread my year’s favorites to be sure which collection I’d personally choose for the laurels, it’s a shame Claudia Emerson’s Impossible Bottle wasn’t in the running. No 2015 book moved me more than that one. Other achievements that won’t get enough attention: the interdisciplinary ecofeminist gorgeousness of Bindle, an art and poetry collection by Elisabeth Frost and Dianne Kornberg; or the gender adventure of Stephen Burt’s All-Season Stephanie. Both have lingered in my mind, the way risky books do. Neither looks like an NBA book for various reasons–Burt’s, for instance, is a chapbook–but they and many other collections shouldn’t get blown away like so many autumn leaves.

Radioland wasn’t eligible for the 2015 NBA list, by the way, and won’t be for 2016, either. 2016 books have to be published on or after Dec. 1 2015; my book came out Oct. 1, but galleys weren’t ready in time for the NBA’s summer deadline. I don’t think these grapes are sour, therefore, but as I said, I don’t believe in the fiction of impartiality, either. I know I missed or misread good 2015 collections, and I would like to hear other people’s favorites, too. Seems to me the party could use some new refreshments.

In the meantime, I was floored to receive mention on Bill Manhire’s reading list–scroll down to see. Thanks to Emma Neale for pointing it out. And any NZ readers who are having trouble getting Radioland, please let me know. That’s another problem with small presses, of course; I have trouble reading widely in the poetries of other countries unless I can browse their bookstores in person, and I know many other poetry-readers, wherever they are, feel the same frustration.

Today I’m also looking back at 2015’s literary weather in general, my own capricious reading as compared to what I’m supposed to admire. Here’s my count: 48 books of poetry read or reread; 54 novels; and 16 books of nonfiction, not including a jillion articles as well as books in various genres I didn’t feel like finishing. I don’t see how a person with a needy family and a full-time job could read much more, yet I still feel behind–it’s crazy out there. 77 of those books on my personal list were authored by women, and my 2015 reading was diverse in many other ways, too, but I didn’t read very internationally in 2015, except for a pile of British, Scottish, and Irish poems in the summer, and a host of classic British mysteries that kept me sane through the year’s roughest patches.

I’d like to do better as a global poetry citizen in 2016, but given a daughter in college and sabbatical austerities and a looming dental implant, I don’t expect to be springing for plane tickets. Nor am I in a mood for resolutions, except to keep reading and writing. Mostly I follow literary whims (my novel draft is at 45,000 words and counting!)–I read what genuinely calls to me as much as possible–but I will perform the NBA short-list-reading exercise at least one more time. It’s good to study the company I aspire to keep, one of these days.2015 NBA

 

 

Distraction and vegetables

I have been misbehaving again. Instead of finishing  a draft of my critical book this month–it’s close to done–I seem to have shelved it temporarily in favor of writing fiction, a genre I haven’t done much with since college. Ten thousand words last week alone, so the project is thundering along, and I’m having SO much fun. I guess that’s good?–it fits my rule of productive procrastination, anyway. If I can’t work on what I’m supposed to, I just work on something, and things seem to get done on the end. Plus, experiments are generally worth making; even if the project withers, you learn by the attempt.

In the meantime, Radioland was just accepted to the Virginia Festival of the Book–it looks like I’ll read there on Thursday March 17th, but I’ll add the details (and some other upcoming things) to my events page when they’re confirmed. And I am THRILLED to see the first two reviews available online:

Both reviews are insightful and generous, but it’s interesting to reflect on their differences. Writing for a NZ magazine, Cresswell stresses the book’s Aotearoan content, but also the theme of dislocation. I see that place has become a big subject for me, but often in a perverse way, as I write about imaginary, damaged, or vanished locations, so I’m gratified to read her thoughts on the subject. Michaels, on the other hand, cocks her very good ear to themes of distance and intimacy, especially as they arise in parent-child relationships. Since I started writing about voice and medium in my scholarship a decade ago, I’ve been obsessed with them. Communication was the original organizing theme of the collection–although poems do take on a will of their own after a while. A poetry book is a broadcast that too often goes just one way, out into an unresponding world amid a blizzard of other signals. It’s wonderful when listeners out there in radioland actually beam their responses back!

I’ll be doing the same soon. Sometime around the turn of the year I’ll put up some thoughts about 2015 reading. I’ve taken on way too many commitments lately in wild sabbaticalesque enthusiasm–I’ll have various columns and reviews to cross-post in coming months–but I do think there’s a kind of writerly karma involved in buying, reading, and talking about books that move or help or entertain you, just as you hope others will do for you.

However, I also need to dial down the static enough to enjoy my family and the holidays. I haven’t been exactly centered, oscillating between light and dark moods as I am between writing projects. I’m tuning in to political outrage, too, and then overcompensating by shutting out most media for days, horrified by the headlines, afraid if I open my own mouth I’ll just start yelling. This can be a weird, hard time of year and I send good vibes out to the many, many folks having a rougher time than I am.

So, lest I give publicity to the forces that just enrage me, I’ll just say: merry cauliflower to you, beets on earth, and I hope you get some time with a good book soon.

cauli

Anthroposcenery

Washington and Lee students often refer to their version of Lexington, Virginia as “the bubble,” as if were a protected from the world by those soft, old mountains. It’s not, nor would that be a good thing, and they know that. But seeming out-of-time is part of the attractive weirdness of some universities in the U.S. I know the damages people sometimes suffer even this privileged place, sometimes because of the privilege, and yet I appreciate the fantasy too sometimes as I walk through my gorgeous campus with arms full of library books, thinking poetic thoughts. It’s gothic, as my well-read firebrand of a daughter recently commented. Beneath the floorboards of wonderful intellectual conversations, a heart is beating out an accusation, and everyone tries to ignore the sound. (She really does talk like that and it’s part of why I miss her.)

The uncanny pulse gets louder this time of year, when the town hosts a different crowd every few days–family weekends for the two colleges, or trustee meetings, during which stray piles of cash drift over our academic mission like fallen leaves. Good work depends on that fundraising, so I’m happy it succeeds, but it makes me uneasy, too, because the emphasis so often falls on the wrong things. This past weekend was homecoming at W&L so the streets were rowdy with young alums. The graduates I’m closest to are often skeptical-minded literary types, too clear-eyed for unreserved cheering about a very good college with some very real culture problems. I ask if they’re coming back and many say, um, not my scene, unless they’re a retirement bash for a favorite professor in the offing, or some other content to the weekend than rah-rah-school-spirit. 

So it was unusual but very cool to walk downtown Saturday for a beer with a former student (and football-playing-poet) who became a college counselor and a fierce advocate for literary study at small liberal arts colleges. On the way I bumped into other former English majors, now passionately committed to teaching middle and high-schoolers. All are vocally grateful for those hours talking critically about books, writing and revising essays, figuring out what kind of people they wanted to be. My own elder child, a first-year at Wesleyan University, loves English but worries about focusing on it—will she be able to afford organic vegetables when she grows up? (She is really fixated on the cost of produce.) This question does not make me anxious at all. She’s smart and engaged and will graduate with skills employers want, no matter what undergraduate specialty she chooses. Finding the right path, the kind of job that satisfies employee as well as employer, can take time but I have no doubt others will value her intelligence and fire. My own graduates—lawyers, ministers, physical therapists, doctors, HR professionals, writers, editors, artists, arts administrators, diplomats, FBI agents, teachers at every kind of institution—give me high confidence that studying poetry can lead to a good life, however one measures that. (They could level some pretty smart arguments, in fact, for better ways of measuring of the good life.)

On Sunday, however, I fell into a bleaker mood, worrying about my mother in hospital, so I picked up a little book by Roy Scranton, whose first-year-seminar my daughter can’t stop talking about. I ordered it a few weeks ago, but hesitated to jump in, given the title: Learning to Die in the Anthropocene: Reflections on the End of a Civilization (City Lights, 2015). And it is, in fact, a dark book, full of facts and figures about climate change—a rational person can’t deny a catastrophe is unfolding, but most of us prefer fictional televised zombie apocalypse to consideration of how our grandchildren, if they make it at all, might be subsisting on farmed algae in the new temperate zone of the Arctic Circle. That is the future to worry about.

Scranton was deployed to Iraq in 2003 as a private in the US Army. He managed his terror by following advice from an 18th century manual for samurai: Meditation on inevitable death should be performed daily. He ritually contemplated his own demise in graphic detail, then, “before we rolled out through the wire, I’d tell myself that I didn’t need to worry anymore because I was already dead. The only thing that mattered was that I did my best to make sure everyone else came back alive” (22). He applies the same logic to human civilization: the Holocene is already over; we have to come to terms with living in a different era, with a very uncertain future.

There’s a lot to disagree with in Scranton’s book, but I was moved to watch it turn, eventually, into a fervent argument for the humanities. “Through the ice ages of the past and into the long summer of the Holocene,” he writes, “we carried tools, furs, fire, and our greatest treasure and most potent adaptive technology, the only thing that might save us in the Anthropocene, because it is the only thing that can save those who are already dead: memory” (95). And: “The study of the humanities is nothing less than the patient nurturing of the roots and heirloom varietals of human symbolic life. This nurturing is a practice not strictly of curation, as many seem to think today, but of active attention, cultivation, making and remaking. It is not enough for the archive to be stored, mapped, or digitized. It must be worked” (99).

When we make literature central to our thoughtful lives, generate new art out of ancient myths, or read poetry to remember the dead, we are working the humanities. I’m glad people fund and value the labor, although I wish we could talk more openly and seriously outside the classroom, as well as in it, about the costs and benefits of the apparent bubble, who’s excluded from it, and how. In any case, it’s good to be part of the heirloom-seeds-relay, so that my students can go on to share their favorite poems in Baltimore schools or embassy outreach classes in the Czech Republic. I’m also grateful my daughter has such a humane, eloquent teacher to plant Gilgamesh and Blake in her brain. We need optimists—hopeful people focused on the practicalities of getting each other out alive—but we direly need our bleak rememberers, too. We lose so much, so constantly.

Poetic housekeeping

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. IMG_1688 (1)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.

Crazed poet-parent launches daughter and book

Mad Wesleyan

Now my daughter is off in radioland–away at college but constantly present in my imagination, and intermittently present through texts and posts. A message with cheerful emoji has such an instant calming effect on my blood pressure–it’s amazing that when I went to Rutgers, I could only communicate with my family once a week or so via a payphone shared by the whole hall. My mother says that after dropping me off, she went to bed for eighteen hours with her first and only migraine. Performing the same ritual thirty years later, I headed towards the tear-blurred George Washington Bridge, driving like a maniac as I fought a very strong urge to turn the car around again. It’s a relief to be off the highway and tuning into my daughter’s increasingly upbeat broadcasts.

The shock of the separation is, of course, a mark of love–it’s better, in some ways, than NOT finding the transition difficult. When my mother went off to nursing school at 16, no one even walked her to the bus. Imagine that, dragging your lonely suitcase down some Liverpool street towards mysterious adulthood, without even the illusion that the Twitterverse is listening.

If I ever regain some mental focus–all these strong feelings crowd my receivers with a LOT of noise–I’ll be hunkering down to the sabbatical version of brisk September labor. In addition to my main writing project, I have conferences to prepare for and I’m behind on the regular work of poetry submissions. I’m also making to-do lists for the publication of Radioland in a few weeks. You can see the cover, blurbs, and a sample poem here, although it’s not quite available to order yet. Poetry presses do the best they can with limited resources, but publicity is mostly up to the poet, so I’m researching post-publication prizes, festivals, and other reading opportunities, and I’ll send out many notices and review copies myself. (Contact me if you want to teach or review it! Barrow Street Press is good about fulfilling orders, too.) This investment of time and money is intense but worth it; I put a lot of heart and hard thinking into the book so I want it to find readers, even if its chance for serious glory is, as always, small.

In the meantime, if you’re sending out a prose or poetry ms, check out C&R Press’s call for submissions. They published my first poetry collection, Heathen, but the press has new owners now. I’m impressed with the energy and smarts John Goslee and Andrew Sullivan are bringing to the enterprise. Thanks also to the editors of Time Present: The Newsletter of the T. S. Eliot Societywhere my review of Robert Crawford’s Young Eliot appears.radioland thumbnail

And beam me good vibes if you can spare any, because while I’m trying to be philosophical and appreciate my own luckiness, I am kind of a mess.

Women on the radio

english books

Broadcast, by Zayneb Allak

It’s about loneliness.
A woman from Birmingham tells us
about the time she was lonely.

When I left Birmingham
the Bull Ring was still ashen.
I remember it in the slush:

a lady in a pink and gold sari
with a grey anorak over the top
dragged blue and white plastic bags.

Nothing sounds more hangdog
than a lonely Brummie, I think,
no vowels could be droopier.

My dad used to mimic them,
I’m from Birmingham I am.
We’d tell him he was way off.

The woman on the radio says
the time she was lonely was bad,
she actually literally wilted.

Her cadences announce
what I least expect: home
how I might miss it.

The Rialto 82, Winter’s End 2015, page 50, reprinted by the author’s permission

I’ve been meaning to post this lovely poem for a while. When in England this past June and July, I picked up a bunch of books and magazines–Carrie Etter, Sarah Jackson, Rory Waterman, and other poets publishing there now are pretty great. I’ve also put myself on a catch-up reading course in 21st century verse from the British Isles, although in the haphazard way of a curious person rather than in the urgent way of a professor preparing a syllabus (I’m on sabbatical–have I gloated enough about that yet? Of course not!). I took out the few recent volumes our little library owns that I’d never read (how is Selima Hill new to me?). I also ordered books based on selections I liked in a couple of anthologies (Niall Campbell’s Moontide is magical–there’s a podcast by him here). And the new Irish-themed issue of Poetry just arrived, so more self-education awaits. Even on an endless sabbatical I couldn’t read all the published contemporary poetry in English, of course, but it’s fun to try.

Zayneb Allak doesn’t have a book yet–she’s finishing a creative dissertation at Nottingham Trent University. One of her critical chapters concerns my book Heterotopiaa Liverpool-themed collection she found by accident but that resonated with her own complicated experiences of place. She grew up partly in Liverpool, partly in Iran, and her family now lives in Birmingham, as “Broadcast” suggests. I love the lines “Nothing sounds more more hangdog/ than a lonely Brummie,” and I also love that her home-longing is triggered by sound, an accent heard over the radio. Given that my next book, Radioland, uses broadcast as a motif, it sounds like our obsessions continue to harmonize.

New Jersey and New York accents, hated as they are by many, sound homey enough to make my heart skip a beat. So do Liverpudlian voices. My mom doesn’t have a strong Liverpool accent; she grew up in that city but was mostly schooled out of scouse intonations, which carry strong negative connotations over there (but not in the U.S., where everyone thinks “Beatles!”). I had assumed this prejudice was past-tense until I sat with an English couple while traveling a couple of years ago; they were very friendly until they found out where my mother was from, after which they shut up firmly and kept their eyes downcast. I know the bias concerns class and probably politics. I’m too much of an outsider to understand the nuances, but I think of Liverpool when I hear people express prejudice against the varieties of drawl associated with the southeast U.S. The unfair cliche is that a southern accent sounds stupid, uneducated. I know many southerners who code-switch, dialing up the twang for local friends and muting it in, say, academic circles. I personally mourn the loss to the soundscape, but I’m sure I would code-switch too–and probably did alter my own accent unconsciously at some early age. My sister, for example, sounds more New Jersey than I do. And my mother says I had a British accent before I started school.

Zayneb, a generous, capable sort of person, arranged some events for me in Nottingham and Liverpool. It was wonderful to meet her and I’m rooting for lots more poems with complicated accents under her byline in future. For the moment, here’s a picture of her near Nottingham Castle–I wish I could post a recording!english zayneb

And hey, speaking of little magazines doing good work in amplifying poetry’s signal: thanks to One for featuring my eccentrically-titled “Postlapsarian Salsa Verde” in their new issue. They’re looking for submissions for the next one…

 

Elephant blessing

On Sunday afternoon I took a bubble bath–I know, tough life–during which I was visited by an apparition. My spouse and kids say I overheated myself, and I did emerge flushed bright-red and a little dizzy, but I swear I spent that half-hour with an elephant made of bubbles. This wasn’t just a heap of foam with a snout, but a nicely shaped creature with ears, an eye-dent, and an impressive proboscis. It rocked back and forth on top of the water cheerfully, refusing to dissolve until I pulled the plug.

I had been laboring hard on several projects, including the ninth chapter of Taking Poetry Personally, the critical book I want to finish during this year’s sabbatical. Each chapter–and they’re short-ish, under 5000 words each–concerns a single twenty-first-century poem, paired with an issue I’m thinking about as I consider what it means to immerse oneself in a poem’s possible world. This one, “Brevity,” is keyed to a sonnet by Rafael Campo. I was finding it amazingly hard to be brief about it. Poetic compression is a big issue.

This book blends criticism with personal narrative, too, and the story I’d chosen, with the alleged virtues of smallness in mind, concerned weight. Like a lot of women, I’m a serial dieter. I began counting calories as a teen feeling the usual pressures to be small and feminine, to deny any appetites. Periodically for the next three decades, I’d decide the padding was getting out of hand and resolve to count calories and/or carbs. It was always excruciating, but it always worked, until a few years ago. Now if I eat healthy foods moderately and exercise daily, I slowly gain weight. If I get stricter, I stop the dial’s uptick, but no matter what I do, I don’t lose. Plenty of perimenopausal women experience the same thing, I gather, and medical opinion seems muddled about it. Some sources the body is desperately trying to maintain an estrogen supply–if the ovaries won’t keep producing, fat cells can be made to serve the purpose–so dieting is no use. (But you can game your metabolism if you take our supplements!) Others say you can reverse the gain through a more rigorous diet and exercise program. (1300 calories a day and intense exercise forever–you can do it! It just means making a career of weight control!) It’s all alternately depressing and infuriating. After all, I have other work to do, and I’m healthy. The prescribed level of hunger makes me angry all the time and unable to think straight–and now that austerity doesn’t even work anymore, it just seems like the stupidest kind of vanity. Better to come to terms with occupying more space. And yet, as I drafted the chapter, I felt increasingly crushed, unable to let go of the desire to be thin once more, to feel in-control and approved-of. I have been hungry, hungry, hungry for about a week, spending more time at the gym, and the scale hasn’t budged one ounce.

So it was particularly funny to share my bathtub with the elephant, biggest land mammal around. What does it mean?, I wondered, and the kids said, It means you should stop boiling yourself alive. (They also oppose austerity measures on principle because it means I stop making pasta.) With a pang of guilt, I remembered Asha from a roadside breeder zoo near here. We took the kids sometimes when they were little, but it was a depressing place, and in fact the zoo has been accused since of mistreating its animals. Asha is a female African elephant there who has been alone for nearly 20 years, although elephants are profoundly social. She touched my sneakered toe long ago with her trunk, jolting me awareness of her as a fellow creature, and likely a lonely, suffering one, but I had never done anything for her. On Monday I wrote a letter, signed a petition, thought of her. Was I called to do or learn anything else?

That night I dreamed of an elephant, male. He and I were going on a journey together, not as beast and rider, but as friends. Our house had a special door, like at a car dealership, large enough to admit him. He was thirsty and kept drinking from suburban hoses as we walked down the street. It was a sweet, companionable interlude.

Today I learned that one of the world’s many elephant deities, Ganesha, is a patron of wisdom and learning. People invoke him at new beginnings because he places and removes obstacles. Is that why I dreamed of him, looking for help with my sabbatical, my book? It’s not for the doomed diet: I’m not expecting any miracles as far as my own middle-aged girth. If I could choose my luck, anyway, I’d rather be a good writer than a skinny one.elephant

So many mountains

I am very glad I attended “Writing the Rockies” to discuss poetry and place with Anna Lena Phillips Bell, Tom Cable, Corinna McClanahan Schroeder, and many others. Getting there and back involved three flights each way, as well as some mild altitude sickness and a chagrined recognition that I’m too bad at sleeping in the first place to manage dorm accommodations (though my suite-mates were stellar company). But the conversations that started in panels and spilled into meal-times were exciting. It’s also wonderful to have cool sunny weather and grand scenery for the always direly necessary solitary walk on Day Two. A Friday night restaurant expedition was particularly memorable: the conversation ranged from poetry to negotiating childcare with spouses, and ended with a few die-hard poet-scholars finally walking one distinguished writer back to her hotel in the dark then stopping at McD’s for iced tea and soft-serve. Scandalous carousing, I know, so I won’t name names.

The poetry part of the conference, and of Western Colorado State University’s creative writing program generally, has a formalist bent. For example, during one paper for Anna Lena’s “Enplaced Poetics” panel, Tom Cable, medievalist prosodist extraordinaire, demonstrated how he can jog while reciting Shakespeare’s sonnets (and regularly does), but not while reciting “Sir Gawain.” Good thing we had a roomy venue. Ned Balbo took some blurry photos of the gallant galloping Texan–I’ll add them to this post when Ned gets home and sends them on. Corinna and I both discussed how and why poems immerse us in place, she by comparing her own “Instructions for Return” to Amy Clampitt’s work, and I in relation to the New Zealand poet Robert Sullivan. The always smart and generous Anna Lena closed things out by reading one of my poems–thank you!–and by talking us through an amazing handout. Check out, for example, Eric Magrane’s “Various Instructions for the Practice of Poetic Field Research.” I will definitely be returning to his prompts.

During these past few days, I’ve also been contemplating other 2015-6 conference plans. I’m likely taking on too much, but with Radioland coming out Oct.1, I’d like my work to be as visible as possible. Kim Bridgford and I hashed out panel ideas for the second annual “Poetry by the Sea”–I heard great things about #1–and my inbox was full of messages about events I’m helping to organize, including a participant reading at the Boston Modernist Studies Association meeting in November and long-term planning for a future regional AWP conference (I’m vice chair of the Mid-Atlantic region now and still figuring out what responsibilities that includes). Like half the US literary world, I’m waiting, too, to see how my 2016 AWP panel proposals fare (vice chairs can present, although chairs can’t).

Academic meetings and creative writing gatherings strain the wallet, the family, and the body, so making these choices is HARD. I therefore understand the frustrations expressed in last spring’s provocative NY Times piece by Princeton prof Christy Wampole, “The Conference Manifesto.” I have never, ever attended a meeting just to give my own paper then hang out at the pool bar, but I think her 10-point contract is good. It mystifies me that our conventional presentation mode in English is to flatly read out double-spaced pages. That would be a disaster in any classroom, and it’s a pretty lame use of time and funds, too, even when the audience is filled with patient, eager specialists. Yet Wampole’s conference skepticism also reflects greater access to informed conversation about her specialties than most of us enjoy. One published reply, “A Conference Manifesto for the Rest of Us” by Cora Fox, Andrea Kaston Tange, and Rebecca Walsh, was a relief to this professor at a rural liberal arts college. “…Academics often find themselves a party of one in their departments, working as the sole representative of a particular field, without immediate access to colleagues in their fields of expertise. Done well, an academic conference offers a chance for collegial dialogue of the sort that can lead to tangible progress.”–Yes.

These manifestos concern scholarly meetings but the creative writing ones work similarly: great presenters share the podium with unprepared, marginally coherent ones. You find soulmates in the art but also feel the disdain, sometimes, of cliques. Further, gender dynamics at most meetings of any kind range from slightly tricky to awful. Often, though not always, women are more generous in supporting each others’ work. An all-male panel draws a mixed-gender audience; an all-female one draws mostly women. I’ve never attended a wholly terrible, worthless conference, but there are some to which I would never return because of a poor sense of community.

The distance means I’m unlikely to become a regular, but there was friendly community for sure among the attendees of “Writing the Rockies.” I also appreciated how the critical and creative portions of the conference were similarly good and useful. That’s rare, and it’s what I want most–to bring both of my major writing commitments to a single, welcoming space. I’d like to put off choosing between the two sides of the hyphen in “poet-scholar,” yet so often my conference-going entails not balance as much as doubling the time, money, and effort. Even if my conference budget weren’t limited, my tolerance for sleep deprivation is.

On that note: while I’m taking a couple of days to normalize my circadian rhythms and organize receipts, it’s now that part of the summer when I need to sit down, consolidate what I’ve read and written during my travels, and establish a work rhythm. I’m finalizing Radioland, preparing to jump once again into the deep end of my critical book ms, plus I’d love to turn my attention to a few other projects now simmering on back burners. That’s a lot to do. Given the intimidating vista ahead, jet lag is joining forces with the usual pre-writing jolt of anxiety. Quiet hysteria, even. So many mountains.

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Rockies hand talker

Let us hold hands and look

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In a Bath Teashop, by John Betjeman
“Let us not speak, for the love we bear one another —
Let us hold hands and look.”
She such a very ordinary little woman;
He such a thumping crook;
But both, for a moment, little lower than the angels
In the teashop’s ingle-nook.

I have it on good local authority that Sally Lunn’s is the only teashop in Bath with an inglenook, so Betjeman’s poetic assignation must have occurred here. It’s the oldest remaining house in Bath, according to the plaque out front, and all the guidebooks say one must eat a bun there. We finally obeyed on Wednesday with my visiting cousins, and it was full of Americans–including one of my daughter’s high school teachers, to their mutual shock. It’s a lovely old three-story place with exposed timbers and a low curving plaster ceiling over the narrow stairs.

I didn’t scan for an inglenook because I wasn’t sure what qualified as one, but I just looked it up now: it’s a warm recess by a fireplace. The alliteration in Betjeman’s last two lines gets even more interesting when you learn than angel and ingle both come from Old English via Scots or Irish Gaelic–angel also means fire. I know almost nothing about Betjeman–although he was a poet laureate in the UK, he’s a small-ish figure in the US version of the British canon–but I admire the way character transformation links to linguistic change in this poem. How paradoxical, though, that speaking threatens to break the romantic spell. Language seems to debase love and identity here, and at the same time it carries the flame across great spans of time.

I’m saying goodbye now after a month in Bath, having never figured out what the local accent is, because everyone seems to be from elsewhere–or, at least, changed by long stays in other places. A month isn’t a significant sliver in forty-seven years, so I’m not claiming to have been re-written by the experience myself, as Bath itself has been re-mapped by Romans, medieval kings, and then the grand plans of the Georgians. But I made some wonderful connections here and elsewhere in England. I rendezvoused with family members I hadn’t seen in nine years. I talked and tippled with poets whose work was new to me and picked up more books and magazines than I should have, considering the luggage problem. I did some writing, too, and I suddenly have some new ideas for my youngest poetry manuscript, the core of the book that will come after Radioland. So now I’m off to a picnic lunch by the Avon, and tomorrow morning, very early, we’re dragging our cases onto a coach to Heathrow. Even though I’m returning to work and muggy heat and a small town without Thai food or Roman ruins, I’m feeling nearly ready for the translation.