Titles

WL000492

image borrowed from www.borealforest.org

This morning I picked up Jane Kenyon’s Collected Poems and read for a long time before settling on this one:

NOT WRITING

A wasp rises to its papery
nest under the eaves
where it daubs

at the gray shape,
but seems unable
to enter its own house.

The title makes this poem what it is. (Imagine it as “Not Making Love,” or “Jilted.”)

After writing out the poem in my journal, and contemplating today’s postcard, titled “Yawning River Otter,” I struggled with how to write what I wanted to write. If otters yawn, my thoughts ran, why don’t they laugh? And if that’s simply my rampant anthropomorphism, it was followed by wondering why an otter might laugh. Maybe he laughs at the silly man staring from nearby reeds and making the weird clicking noises with that box, or because the world is joyous, or because laughing keeps him from crying.

The idea of how we (humans, not river otters) so often laugh to keep from crying, kept resurfacing in my draft of today’s poem, but I couldn’t make it fit. Then, I remembered that I had the title, too, to write.

Poetry Postcards

rainer-cover-reidOne of the strategies I use during the August Poetry Postcard Fest is to write out favorite poems of about that length by other poets. Despite having read and loved short forms — such as Haiku and Tanka — for many years, I still find it amazing that someone can pack so much into only a dozen or so lines.

So here is a poem from Sharon Olds, from her 1983 book, The Dead and the Living:

The Winter After Your Death
(for Katie Sheldon Brennan)

The long bands of mellow light
across the snow
narrow slowly.
The sun closes her gold fan
and nothing is left but black and white —
the quick steam of my breath, the dead
accurate shapes of the weeds, still, as if
pressed in an album.
Deep in my body my green heart
turns, and thinks of you. Deep in the
pond, under the thick trap
door of ice, the water moves,
the carp hangs like a sun, its scarlet
heart visible in its side.

Sonnet length, but with shorter, irregular lines, this poem accomplishes a great deal. We might notice the sounds of the opening lines, long bands of mellow light, where the n’s get us started and then the l’s fall into place. The o sounds of mellow, snow, narrow, and slowly, and then closes in the next sentence, raise a kind of expectation that sound is important here. If the lines are setting a visual scene, there is also a kind of hush created by these sounds.

If we abstract the moves this poem makes, we’ll notice that the first sentence draws simply and naturally from what is present, a description. It’s a move any one of us can make, just by looking up from the page. Just by looking. (In my writing cabin — a lamp, a ceramic bird with a candle in its belly, cracked coffee cups full of old pens.)

The next sentence shifts into metaphor. The sun is a person, a woman with a gold fan, which she closes now, and then the woman behind the poem is present too, the quick steam of my breath. We get another image, this time a simile, the weeds as if pressed in an album.

And then the images are repeated. Heart is introduced with the poet’s (or persona’s — the supposed person’s) green heart, and the carp’s heart. The sun (and notice how its gold chimes with the other colors in the poem, especially of the carp itself).

If we go back to the title, we can notice how much work it does, as well — “The Winter After Your Death” is a kind of idea or engine behind the poem, but it never has to be stated within the poem, because it’s in the title, expository, not quite necessary to the poem’s effect, but ancillary to it. What I love about this poem, finally, is how it paints a vivid image, like a postcard, and hangs on in my mind’s eye.

 

Your Journal Assignment for Tomorrow Morning

CAM00691“Mightn’t it be a good thing if everyone had to draw a map of his own mind — say, once every five years? With the chief towns marked, and the arterial roads he was constructing from one idea to another, and all the lovely and abandoned by-lanes that he never went down, because the farms they led to were all empty?”

I have been reflecting on this passage from Charles Williams’ The Place of the Lion for a couple of weeks now, and am still not at all sure what he meant by  it. I wonder, though, if most of us, challenged to do so, could draw a map of our own mind.

Asked why we support one political party or another — for instance — we can’t really say why, not beyond the standard prejudices and logical fallacies. I suspect that many people support the Democrats or the Republicans because their parents supported them, and their inherited notions are shored up by a lifetime of watching and reading only news that justifies what we already believe.

This kind of narrow or shallow belief is a terrible dilemma for a writer. A writer, in my humble opinion, needs to be willing to examine her own deepest beliefs and see into them, even through them. She needs to understand that her beliefs are not necessarily “true,” but a kind of lens through which she views the world. She needs to be willing to set her lens aside, and even to pick up another lens now and then. Otherwise she runs the risk of creating one-dimensional characters and  a world that feels less than authentic. I’m not saying the writer has to smash her lens with a hammer or permanently misplace them, just that she can (must) risk imagining from another’s viewpoint.

A long time ago, when one of my frequent teaching duties was a class called Writing the Research Paper, I used to require that students choose for their big, end-of-the-quarter research paper, a topic they were willing to look at from both sides. On their list of sources they had to include written arguments on both sides of the topic, and personal interviews. (We talked at length about how to have a respectful conversation with someone holding an opposite viewpoint.)

My students didn’t always follow my advice, or they did so in the most cursory way — choosing topics such as gun control or abortion (and quarter after quarter producing one-sided papers I grew very, very tired of reading). But when a student did take me seriously, the results were astounding. Often, the student writer found her opinion flipping from one side of the argument to the other. It was life-changing. north america

Charles Williams thought every five years would suffice, but what if for every presidential election season, you had to read all the pros and cons and have respectful conversations with people from your opposite political party, and actually make an accounting of why you think what you think?

What if you had to take a turn arguing the opposite side?

What if you could draw a map of your own mind? What winding staircases would you sketch in? What nearly overgrown paths might you reclaim? What towers would you dismantle?

Would you discover any newly created volcanic islands or a significant shift of continents? Can you say what it is exactly that you believe? Can you explain why you believe it?

 

 

 

What’s Up?

July has been a whirlwind of birthdays, weddings, and family get-togethers. I have not been very faithful about blog posts. I have been writing every morning, in my journal, and I’ve been going through my entire novel a little bit at a time, thinking-thinking-thinking about its structure and what the characters need most and what I want most from it. I’ve been trying to let it be. 

I am looking forward to taking August OFF of prose for poetry — August and maybe September, too.

  • I’m going to attend Peace Arts in Bellingham and take a class on August 3.
  • I’m a featured reader at the Auburn AugustFest celebration of poetry, on August 13.
  • I’ll be doing the August Poetry Postcard send-out again. If you would like me to send you a postcard poem, you can email your address to me (yes, that’s snail mail — an actual uniformed representative of our government will deliver your poem to your mailbox!) at bethany.alchemy@gmail.com.

Just for good measure, I’ll send you my snail mail address, too.

Now, off to the wedding. And here’s a love poem, just to hold my place.

A Blessing for Wedding

BY JANE HIRSHFIELD

Today when persimmons ripen
Today when fox-kits come out of their den into snow
Today when the spotted egg releases its wren song
Today when the maple sets down its red leaves
Today when windows keep their promise to open
Today when fire keeps its promise to warm
Today when someone you love has died
     or someone you never met has died
Today when someone you love has been born
     or someone you will not meet has been born
Today when rain leaps to the waiting of roots in their dryness
Today when starlight bends to the roofs of the hungry and tired
Today when someone sits long inside his last sorrow
Today when someone steps into the heat of her first embrace
Today, let this light bless you
With these friends let it bless you
With snow-scent and lavender bless you
Let the vow of this day keep itself wildly and wholly
Spoken and silent, surprise you inside your ears
Sleeping and waking, unfold itself inside your eyes
Let its fierceness and tenderness hold you
Let its vastness be undisguised in all your days