You don’t walk away from something that was central to your very being for 35 years without … thinking about it.
Three or four years ago I wrapped my fourth book of poetry and hung up my quill, as it were. I wrote about it at the time, but no matter how self-aware or introspective or pensive or reflective you are, you simply will not fully understand this kind of momentous decision until you’ve had a chance to get away from it and develop some distance and perspective.
Lately I believe I have come to a deeper realization about my relationship with poetry than I ever had, ever could have had, before. When all is said and done, I believe poetry was killing me. Or rather, poetry was the weapon with which I was killing myself.
Fabulous feminist foremother Adrienne Rich has died at the age of eighty-two. I once went to a reading of hers. It was unforgettably powerful. I have read most of her books including her non-fiction “Of Woman Born.” I loved her and always will. She was brilliant. She was fierce. She was unapologetically feminist and unapologetically lesbian. From her New York Times obit tonight:
Adrienne Rich, a poet of towering reputation and towering rage, whose work — distinguished by an unswerving progressive vision and a dazzling, empathic ferocity — brought the oppression of women and lesbians to the forefront of poetic discourse and kept it there for nearly a half-century, died on Tuesday at her home in Santa Cruz, Calif. She was 82. Continue reading →
In a 1998 interview with the Paris Review, poet Strand said something I find fascinating:
Well, I think what happens at certain points in my poems is that language takes over, and I follow it. It just sounds right. And I trust the implication of what I’m saying, even though I’m not absolutely sure what it is that I’m saying. I’m just willing to let it be. Because if I were absolutely sure of whatever it was that I said in my poems, if I were sure, and could verify it and check it out and feel, yes, I’ve said what I intended, I don’t think the poem would be smarter than I am. I think the poem would be, finally, a reducible item. It’s this “beyondness,” that depth that you reach in a poem, that keeps you returning to it. And you wonder, The poem seemed so natural at the beginning, how did you get where you ended up? What happened? I mean, I like that, I like it in other people’s poems when it happens. I like to be mystified. Because it’s really that place which is unreachable, or mysterious, at which the poem becomes ours, finally, becomes the possession of the reader. I mean, in the act of figuring it out, of pursuing meaning, the reader is absorbing the poem, even though there’s an absence in the poem. But he just has to live with that. And eventually, it becomes essential that it exists in the poem, so that something beyond his understanding, or beyond his experience, or something that doesn’t quite match up with his experience, becomes more and more his. He comes into possession of a mystery, you know—which is something that we don’t allow ourselves in our lives.
I had the privilege of seeing Kinnell read while I was at Iowa State in the late ’80s. He did some new things – things he’d been working on during the flight out, in fact – but this was the high point of the evening.
Poems that occasionally challenge readers…the “trigger warning” excuses can begin in 3…2…1….
Throwing the House From the Window by Joshua William Booth
A couple of things will become obvious quickly for readers of this review. The first is that the reviewer has the same last name as the author being reviewed. That would be because we are related. Put that aside. If writers from Sophocles to Turgenev to Steinbeck have taught us anything, it’s that father to son assessments should be read with…a critical mind, let’s say.
The second is that the author of this volume of poetry is a working poet as well as the poetry editor at Scholars & Rogues. So I admit freely there’s a bit of insider trading going on here. But I challenge the reader to find a publication that does not tout works by its own staff. For those who’ve taken that challenge – well, they’ll be gone awhile, so let’s move on, shall we?
Throwing the house from the window is Booth’s third book and second book of poetry. A brief look at his first two works is probably apropos to set this third work in context.
Walt Whitman (1819-1892), age 37, frontispiece to Leaves of grass, Fulton St., Brooklyn, N.Y., 1855, steel engraving by Samuel Hollyer from a lost daguerreotype by Gabriel Harrison.
(The war is completed–the price is paid–the title is settled
Let every one answer! let those who sleep be waked!
let none evade!
(How much longer must we go on with our affectations
Let me bring this to a close—I pronounce openly for
a new distribution of roles;)
Let that which stood in front go behind! and let that
which was behind advance to the front and
Let murderers, thieves, bigots, fools, unclean persons,
offer new propositions!
Let the old propositions be postponed!
Let faces and theories be turn’d inside out! Let
meanings be freely criminal, as well as results!
Let there be no suggestion above the suggestion of
Let none be pointed toward his destination! (Say! do
you know your destination?) Continue reading →