5.24.2016

not random

The middle of the poem was so messed up you believed the poet must have a plan.

5.23.2016

but few are chosen

In our minds many poems make themselves known, but our hearts hold and carry forward a very few.

5.22.2016

well worn

When perusing another person’s bookcases, I always look for the tattered dust-jackets.

5.19.2016

active border crossing

The boundary between poetry and prose, always floating and permeable, has now become vital.

5.18.2016

near eye

At first art is archaic, the sensible form being rudely controlled by the artist's hand; it becomes, in the second stage, classical, the form being adequate to the thought, a transparent expression; last, it is decadent, the form being more than the thought, dwarfing it by usurping attention on its own account.

The peculiar temptation of technique is always to elaboration of detail; technique is at first a hope, it becomes a power, it ends in being a caprice; and always as it goes on it loses sight of the general in its rendering, and dwells with a near eye on the specific.

—George E. Woodberry, "A New Defence of Poetry," Heart of Man, and Other Papers (Harcourt, Brace & Howe, 1920)

5.17.2016

beauty beat down

A poem that beat me down with its beauty.

5.16.2016

abounds around us

The imagist can find any number of poems hidden in plain sight.

5.15.2016

pay dirt

The poet is a prospector finding ore in the played-out mine of time-honored themes.

5.10.2016

power source

The word that didn’t belong in the poem is now a node of energy driving its very existence.

5.09.2016

guard dogs

The lesser poets of the group/school are the ones most protective, even militant, in preserving its domain. Because that domain is the only thing that gives their work value.

5.08.2016

one speaking

I’m somewhat anti-Browning. He always spoke in another character, for another character. I do not let anybody else speak a word (in my poetry, it goes without saying). I speak myself and for myself everything that is possible and that which is not. Sometimes I unconsciously recall somebody else’s phrasing and transform it into a line of poetry.

—Anna Akhmatova, “Pseudo-Memoirs,” My Half-Century: Selected Prose (Ardis Publishers, 1992), edited by and translated by Ronald Meyer.

5.07.2016

long & short of it

If I had more time I would write a shorter letter.
—Blaise Pascal

If I had more time I would write a shorter poem.

5.05.2016

role players

The editor selects, the critic corrects.

5.04.2016

never apologize, never explain

A little magazine editor is often asked by a rejected author to explain the reason for his/her rejection. Which always reminds me of the line spoken by the character Capt. Nathan Cutting Brittles (played by John Wayne) in the 1949 western She Wore a Yellow Ribbon: "Never apologize and never explain—it's a sign of weakness."

[She Wore a Yellow Ribbon, screenplay by Frank S. Nugent and Laurence Stallings.]

5.03.2016

but drowning

He was a poet of the moment. The last time I saw him he was waving.

5.02.2016

ignores borders

The translator is a smuggler whose contraband is words.

4.30.2016

spells, prayers, songs

The belief that words in themselves have the power to make things happen—especially words in extraordinary combinations—is one of the distinguishing features of native American thought; and it may be said that for people who share this belief a connection exists between the sacred and the verbal, or, to put it in more familiar terms, a connection between religion and poetry.

When the connection is broken, poetry begins to lose its audience. It may still be admired, but it comes to be recognized as a form of self-expression, unable to establish contact with supernatural forces. Not surprisingly, the word ‘poetry,’ as it is understood in English today, has no precise equivalent in native American languages. What are thought of by outsiders as Indian “poems” are actually spells, prayers, or words to songs.

—John Bierhorst, introduction to The Sacred Path: Spells, Prayers & Power Songs of the American Indians (Wm. Morrow & Co., 1983)

4.29.2016

approximal readings

No one knew what the poem was about. But each reading was about right.

4.28.2016

press on

One never finishes a perfect poem.

4.27.2016

poetry is poetry written

The poet defines poetry in the making of the poem.

4.26.2016

adequate containers

Words just poured out of him, and thus his books were like buckets.

4.25.2016

reader falling behind

This process, Pushkin feels, can lead the poet to greater isolation even as the work becomes more insightful and accomplished:

He creates for himself, and if his works are still published from time to time, he encounters coldness or inattention, and he finds an echo of his sounds only in the hearts of a few admirers of poetry, who, like himself, are secluded and forgotten by the world.

Akhmatova takes this for a description of Pushkin as much as for a description of Baratynsky. "All of Pushkin's contemporaries enthusiastically recognized themselves in the hero of The Prisoner of the Caucasus," she writes, "but who would agree to recognize himself in Eugene from The Bronze Horseman?" While she doesn't overtly compare the drop in her literary reputation to the drop in Pushkin's, she draws a broad conclusion with her own situation clearly in mind: "Thus, it is not so much that poetry is static, as that the reader does not keep pace with the poet."

—Kevin Frazier, “A Posthumous Collaboration: Anna Akhmatova’s Relationship with Puskin,” review of My Half Century: Selected Prose (The Overlook Press; reprint edition 2012) by Anna Akhmatova (Ronald Meyer, trans.), bookslut, January 2013.

4.24.2016

faces in the crowd

Some say the process of composition is the most exciting, but it pales compared to seeing a rapt audience hanging on your every word.

4.23.2016

singular image

Seek the specific not the generic image.

4.21.2016

contested space

One might ask: Was ever a country’s canon created from contest winners?

4.20.2016

crazy craft

When craft transcends control and becomes obsession, it starts to get interesting again.

4.18.2016

pure and applied

The ‘pure’ is the imagination, the ‘applied’ is the craft.

4.17.2016

stop short

A popular form of Chinese poetry is the four-line poem called the stop-short, in which the sense is supposed to continue after the poem has stopped. But even in the longer poems that is almost universally the method. It is the hum of reverberations, after the poem has been read, that is sought for. And even such a narrative poem as Po Chü I’s Everlasting Wrong, one of the famous “long” poems of the language (though it runs only to few pages), is constructed in accordance with this instinct, and is, therefore, really a sequence of lyrics.

—Conrad Aiken, “Arthur Waley,” A Reviewer’s ABC: Collected Criticism of Conrad Aiken from 1916 to the Present (Meridian Books, 1958)

4.15.2016

loose words

The dictionary is dead. Long live the language at large.

4.14.2016

eyes open

Each day a poet wakes with new eyes for the same world.

4.13.2016

latticework canon

As poems multiply and lodge themselves in various media, each of us creates a latticework of connections—a poem here, a poem there, a poem over there—that will in time become one's personal canon.

4.12.2016

influence further

A poet who can’t be influenced can’t advance.

4.11.2016

revised horizon

He’d reached a point in his life when he had more poems in draft form than he had days left to revise and to finish them.

4.10.2016

emotional memory

Recalling the way a work of art made me feel is often more durable than other kinds of memory. I can often remember how I felt when I read a novel, for example, without having a good recollection of its plot. What remains after looking at a painting is not an exact imprint of the image in the mind, but rather the feeling it gave me, a feeling that I sometimes must struggle to name because emotions as experienced in the body are often cruder than the words we assign to them. Visceral responses to an image, however, are inevitably avenues to meaning. It isn’t always clear why a picture affects us the way it does, but for me, pursuing that mystery is the single most fruitful way to discovery. As Henry James once wrote, “In the arts, feeling is meaning.”

—Siri Hustvedt, Mysteries of the Rectangle (Princeton Architectural Press, 2005)

4.09.2016

bestest mostest etc

Hyberbollocks: Exaggerated nonsensical praise, often evidenced by the author’s blurbs.

4.07.2016

word forge

Like Homer’s shield of Achilles, give me language metallurgy.

[Homer's The Iliad, Book XVIII, "The Shield of Achilles," Alexander Pope translation.]

4.03.2016

best seller

The poet’s publisher called with some exciting news: “Your book is selling in the hundreds!”

4.02.2016

game changer

It never occurred to me that I wasn’t going to write poetry until I read Wallace Stevens. When I was very young, reading Shakespeare and Blake and Keats, or when, in adolescence, I began reading Yeats and Eliot and Pound, my experience of reading invariably strengthened an existing sense of vocation. Because this experience, the fact that reading great poets increased my confidence, never varied, I had no reason to examine it. Then something completely different happened; then a door was shut very sharply. Reading Stevens, I felt I would never write, and because I didn’t want this to be true, I had to look more closely at those early experiences, and at the new, to find the source of the verdict.

--Louise Glück, “Invitations and Exclusions,” Proofs & Theories: Essays on Poetry (Ecco, 1994)

3.30.2016

digging and sifting

Less creativity and more archaeology; that is, less imagination and more psychic excavation.

3.29.2016

figure esquisse

If there’s no word for something, we can always use others to sketch its outline.

3.28.2016

as in love

Don’t go for the fast word. Wait for the fated word.

3.27.2016

human document

I most admire those writers who lived to write.

[Thinking of Jim Harrison.]

3.26.2016

endlessness

I am interested in the ways language can suggest or provoke (though never surround) an endlessness.

—Heather McHugh, Broken English: Poetry and Partiality (Wesleyan Univ. Press, 1993)

3.25.2016

coruscating course

A long poem flecked with many lyrics.

3.24.2016

character slide

A critic who began his career as a curmudgeon but in time became a crank.

[Thinking of Karl Shapiro.]

3.23.2016

reflexive property

He said that poetry was difficult. Like life?, I said.

3.22.2016

loss for words

This is a poem that should be quickly translated into a dying language.

3.21.2016

in the end is the beginning

A gifted lyric poet who lacked only the ability to see that he was rewriting one poem.

3.20.2016

comic turn

After modernism, formal poetry became a special case of light verse.

3.19.2016

moving parts

Practical or sensitive form—that the artist feels relationships, i.e. weights, measures, durations, correspondences, gravities, propulsions, and cooperates to set them in motion. The physical universe has “laws” of motion and the artist is sensitive to them. Here language—as well as paint, tones struck from the string—is a “matter” of vibrations; and form has to do with the working in structures of moving parts.

—Robert Duncan, “Notes on Poetic Form,” The Poet’s Work: 29 Masters of 20th Century Poetry on the Origins and Practice of Their Work (Houghton Mifflin Co., 1979) edited by Reginald Gibbons

3.18.2016

spinning wheel

This section of your poem is just buffering.

3.16.2016

fast talkers

An interview is a casual shortcut to exposing (for the interviewer) and to espousing (for the interviewed poet) a method and a poetics.

3.10.2016

universal accord

Criticism tries to steady the jangly localities of taste by striking a universal chord.

3.08.2016

horsemen pass by

The barbarians didn’t ransack the library because they didn’t know what it was.

[I realized after posting this one that I'd perhaps lifted the notion from Karl Shapiro's essay "The Poetry Wreck."]

3.06.2016

attempts to revisit

To revise one attempts to revisit the original psychic space of the piece’s composition.

3.05.2016

overplatoed his hand

Plato, courageous almost beyond belief, secure in his own literary powers, nevertheless appears to discard his own defensive irony when he rejects Homer in the Republic. Scholars of philosophy are not very wary in regard to Plato’s blunder, because (at their best) philosophy is for them a way of life. But Plato sought to replace Homer as the culture of Greece, which was as likely as demoting Shakespeare for the English-speaking world, Goethe for the Germans, Tolstoy for the Russians, Montaigne and Descartes for the French. I would add Walt Whitman for the New World, except that we have not yet learned how to read him, except for a handful: Thoreau, Hart Crane, Borges, Pessoa, Neruda.

—Harold Bloom, “The Greeks: Plato’s Contest with Homer,” Where Shall Wisdom Be Found? (Riverhead Books, 2004)

3.02.2016

long gone

I read the poem for a while, and then, my being unnecessary to its course, I just let it go on without me.

3.01.2016

incarcerated

A poem locked in the prison of the canon.

2.29.2016

cause of death

To a poet suicide is death by a natural cause.

2.28.2016

money pit

Are manuscript contest entry fees and other submission fees draining the disposable income that poets have for buying poetry books?