be a picker

Poet, be a picker. Find the worth in what others throw away

adjectives arise

Start a review of a book of poems by listing all the adjectives that come to mind while reading the book.

lack of urban planning

In his Philosophical Investigations, Wittgenstein associated language with "an ancient city: a maze of little streets and squares, of old and new houses, and of houses with additions from various periods; and this surrounded by a multitude of new boroughs with straight regular streets and uniform houses."

seen for what it is

To be acknowledged and accepted, not only must the work of art be created, but it must be seen (experienced); and seen through the correct cultural lens.

runes and ruins

A notebook of runes, ruins.

lowered into the depths

Lines like a trawling net lowered into the depths of the psyche; no telling what they’d dredge up.

top down

Your title is cliché…it’s all going downhill from there.

never expedient

Poetry as exposition that eschews expediency.

aesthetic cage

Don’t forget that one’s aesthetic can be one’s cage.

captains courageous

The courage of good criticism.

thirty years

Today we held a thirtieth anniversary reading of the poets who have met at my house since early 1995. I told someone after the reading, how much I valued the 'soft deadline' of having to press an inchoate poem into in a presentable state before the weekly meeting.

from the belan deck

Naming things can feel impossible, but when it’s done well, it’s as if that thing could never be called something else.
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I'd browse anything vaguely literary, looking for phrases that stood out as titles. Found poems.
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If you don’t play around with the form, you’re not meant to be taken seriously.
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I do believe a bulleted list can be art, poetry.
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Give me artificial creativity—is there such a thing? Kenneth Goldsmith?
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Books are made out of books.
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Language is always an abbreviation.
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The proper work of the critic is praise, and that which cannot be praised should be surrounded with a tasteful, well-thought-out silence.
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When we buy a book, we think we are buying the time to read.
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Walt Whitman would sit on a bench at the South Street Seaport and watch waves of people come and go, swaying masses of humanity, individual points of light on each.

Our poets sit at the California Pizza Kitchen bar inside Terminal 1 at LAX, the crowds before them larger, more diverse than ever, teeming.
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Change the line breaks and call it a poem.
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The role of “poet” can only be filled by a human being.
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A poem is just a shape.
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The title is part of the text.

Matt Bucher, The Belan Deck (Sideshow Media Group Press, 2023)

large language models

Poets have been making use of AI LLMs for ages, just more slowly than racks of servers.

inferred from life

A good line of poetry is an inference from experience.

not supposed to be there

A sneaky, chameleon-like line that hid itself in the poem and evaded cross-out.

start scrubbing

I can easily imagine this piece as an erasure poem.

way of thought

Yet I am one of those who from nothing but man’s way of
     thought and one of his dialects and what has happened
     to me
Have made poetry.

—George Oppen, “Of Being Numerous” [section 9], The Collected Poems of George Oppen (New Directions, 1971)

unusual path

A poem by the language less travelled.

the many vs. the few

Spew words versus few words: the dialectic of contemporary poetry.

where poems come from

I have three children, but I only write about the troubled one.

doesn't stand up

A poetry of lame polemics.

who wrote that

I’ve got nothing to write about right now. Good thing my notebook has some half-formed notions and false starts that someone has recorded in my handwriting.

counting house poet

Chaucer’s poetic career in the years after 1372 shows how closely the movement of vernacular literary ideas tracked with the Italians’ international trading networks, and his work embodies that trade in ideas, frequently using accountancy—a young, exciting discipline—as a metaphor for moral reckoning. Noting how important those ideas were to Chaucer, his biographer Marion Turner goes so far as to call him, ‘the poet of the counting house’.

—Roland Allen, The Notebook: A History of Thinking on Paper (Biblioasis, 2024)

not much to go on

A poem may start with a premise, or only a promise.

elements unfolding

In a poem what matters is how the elements unfold.

ambulance chasing

The ambulance chasing poet was always first to write about the latest disaster.

too narrow a margin

I have a truly marvelous demonstration of this proposition which this margin is too narrow to contain.
Fermat’s Last Theorem

I have a truly marvelous draft of this poem which this margin is too narrow to contain.
Fermat’s Last Poem

charged line

The poetic line must be continuously charged.

allow it to happen

Let’s have fewer ‘generative’ workshops and more that are inspirational.

age overturned

The movement to free verse at start of the twentieth century, the turning away from regular meters and rhyme schemes, was much like the great shift in painting that occurred in the late 1200s in Italy. Driven by Cimabue and then Giotto, it brought naturalism into painting that too long had relied on the formulas that make early paintings look stilted and unreal to modern eyes.

image of note

London’s unsteady skyline
was not a reassuring one
but like a graph that measures
markets, snails and heartbeats.

—Fanny Howe, second stanza of “Primrose for X” from Love and I (Graywolf Press, 2019)

high perch

Model for a line of poetry: First, imagine a high perch, and then arrange some songbirds along its length.

very large fish

A Line in a Dream
Adam Moss: Let’s just start chronologically. How did this poem [“Song”] begin for you?
Louise Glück: I didn’t remember until I looked at those pages I sent you. But then I did recall something about its origins. There’s that piece of paper in the notebook that says, “Leo Cruz has white bowls, I think I must get some to you.” Those lines appeared to me in a dream. I remember waking up and writing them down and thinking, This is a gold mine. Though there’s nothing distinguished about the sentence. The language is very plainspoken. And of course it was altered in the final version. But I had a sense when I woke up that day that I had something on the line—some very large fish was toying with me under the water.

From “Waiting,” an interview with Louise Glück in The Work of Art: How something comes from nothing (Penguin Press, 2024) by Adam Moss

speed bumps ahead

Not speed reading, reading poetry should impede the reader.

burst bubble

When the poetry bubble burst no one lost any money.

turn to poetry

Note to celebrities who turn to poetry: Leave it to the poets, those language toilers who will never have the least measure of your fame.

cliché tweaked

In some cases it makes sense not to cut the cliché but to twist it, to repurpose it, making its application more acceptable.

bright nothings

A litany of incandescent inanities.

pretend no one will see

She had recently turned seventy, which may have been weighing on her more than she thought. Many friends she would show her work to are dead, she'd noticed lately. “So it’s like, who cares? You have to have someone waiting for you.” And readers? “If I think about them, I can’t write anything. When I write a poem, I have to pretend no one will see it.”

I asked what emotion was most productive for her work—sadness? happiness? “Loneliness,” she answered quickly.

Her best writing comes when, she said, she is “in my nightgown for days, not thinking about anyone else. It takes a couple of days just thrashing through the brambles to get to any type of clearing, and it’s very painful. It’s frustrating, you see all your limitations, but a lot of what is happening is the unconscious is just waiting to see if you if you mean it. I like it once I settle in, but the borders are tough.” Once she passes into the other state, “that’s the best feeling in the world—we’re utterly ourselves and we’re nobody.”

Marie Howe being quoted in The Work of Art: how something comes from nothing (Penguin Press, 2024) by Adam Moss

not much

How much I love a poem made by the least means.

the way in

In poetry, surprise is often a matter of perspective.

not seen

Poet, strive for the scene unseen.

fail to fly

Poets feather themselves with their chapbooks and books, but few lift off.

my break

James Wright’s The Branch Will Not Break, the book that hooked me on poetry.

only sincerity

In brief, Manet was liberal and a humanitarian. He was a refined and cultivated man of the world, and it would be a mistake to think that his hunger for recognition (which was always bitterly disappointed) was a mere character trait. When presenting his personal exhibition in 1867, he wrote: “It is only sincerity that gives my work a character that could seem to be one of protest. In fact, the artist has tried only to express his impressions. He has no desire to overturn tradition or to create a new kind of painting. He has simply tried to be himself, and not someone else…”
[…]
From beginning to end, Manet’s life was really an impassioned affirmation of a single right—that of expressing a world of feelings that he had really experienced. The refined “dandy” who was full of irony and scepticism, and who loved the superficiality of life on the boulevards, became terribly serious when anyone mentioned his art. Manet’s attitude and the domineering way in which he expressed his ideas about painting needed to be justified by exceptional novelty and clarity of vision, and that he was justified is abundantly shown by the influence that his ideas have had on all art since his time. “Manet was the first,” Matisse wrote, “to work by reflexes and thus simplify the painter’s task…expressing only what affected his senses and feelings immediately.”

—Dario Durbe, Edouard Manet (Premier Book, Oldbourne Book Co. Ltd., 1963)

fill 'er up

It was one of those long texts meant for those who need something to fill the blank spaces of their lives.

out of place

I found one of his poems slumming in an obscure little magazine.

store of value

Poetry is a lot like Bitcoin: It’s worth a lot to those who value it, and not much to anyone else.

device and artifice

A poet who used more devices than MacGyver.

architecture without lines

Claude Monet on his Rouen Cathedral series…

When the British painter Wynford Dewhurst asked for an account of the Rouen pictures, Monet replied, ‘I painted them, in great discomfort, looking out of a shop window opposite the cathedral. So there is nothing interesting to tell you except the immense difficulty of the task, which took me three years to accomplish.’
[…]
‘I have wanted to do architecture without doing its features, without the lines.’

Quoted in Jackie Wullschläger’s Monet: The Restless Vision (Knopf, 2024)

sad parade

Poets and social media: a parade of narcissistic self-promotion.

poets refuse

Poets refuse to be discouraged.

poesy not poetry

Some poets are still writing ‘poesy’, not poetry.

one and done

The saddest thing I could say about the poet was that no poem of his/hers I’d read impelled me to read it again.

what words are

The essential nature of words is therefore neither exhausted by their present meaning, nor is their importance confined to their usefulness as transmitters of thoughts and ideas, but they express at the same time qualities which are not translatable into concepts—just as a melody which, though it may be associated with a conceptual meaning, cannot be described by words or by any other medium of expression. And it is just that irrational quality which stirs up our deepest feelings, elevates our innermost being, and makes it vibrate with others.

The magic which poetry exerts upon us, is due to this quality and the rhythm combined therewith. It is stronger than what the words convey objectively—stronger even than reason with all its logic, in which we believe so firmly...

If art can be called the re-creation and formal expression of reality through the medium of human experience, then the creation of language may be called the greatest achievement of art. Each word originally was a focus of energies, in which the transformation of reality into the vibrations of the human voicethe&mash;vital expression of the human soul—took place.

—Lama Angarika Govinda, Foundations of Tibetan Mysticism (Rider & Co., 1960), no translator given

few wins

One wishes more poets took to heart the Latin motto: "Non multa sed bona," not many, but good.

shadow workforce

America doesn’t know how many really good poets it has, doing fine work in the shadows, without public attention.

published poet

When someone refers to themselves as a ‘published poet’, their writing is likely at a very low level.

rough going

A gritty poetics.

burned library

Such was his erudition that when he died it felt like a great library had burned.

[Thinking of Borges]

let's get lost

From the start of this poem you could hear Chet singing from the backseat, Let’s Get Lost…

drawn to poetry

He who draws noble delights from sentiments of poetry is a true poet, though he has never written a line in all his life.

—George Sand, The Devil's Pool (1846)

first to last

From the first line you couldn’t have foreseen the last.

innovative v. novel

Is the work innovative, an improvement of the art, or merely novel, different in a way that makes little difference to the art?

stay cool

Poet, learn to make no great claim.

break felt

Let the line break where it may, where it wants to break.

cards play themselves

That last line, lay it down like a full house or straight flush.

least made first

Their art so undervalued, poets act as though the world can’t do without their work.

higher speech

A poet of resplendent rhetoric.

[Thinking of Wallace Stevens]

flowers are few

Much that charms is small and fleeting
To the greatness of eternity.
The earth is a tiny shadow tottering on the edge of death;
The moon is a throb of splendor in the heart of the night;
And the stars are ephemera in the long gaze of God.
So grieve not
That your poems are the cool, fresh grass of a short summer;
The flowers are few.

—Pascal D’Angelo, last eight lines of “To Some Modern Poets,” Of Clouds and Mists: The Collected Poems (Sublunary Editions, 2024), with an introduction and Notes by Dennis Barone

different kinds of poets

There are poets who make poems and poets who receive and record them.

situational awareness

A poet should have the observational skills of a Jason Bourne.

recalling past voices

A poem…has the power to remind poet and reader alike of things they have read and heard. Also—and this is partly why the subject is so complex—it has the power to remind them of things that they have not read and heard, but that have been read and heard by others whom they have read and heard.

Thus the art, so private in execution, is also communal and filial. It can only exist as a common ground between the poet and other poets and other people, living and dead. Any poem worth the name is the product of a convocation. It exists, literally, by recalling past voices into presence. This has been no more memorably stated than in Spencer’s apostrophe to Chaucer in Book 4 of The Faeire Queene:

            through infusion sweet
     Of thine own spirit, which doth in me survive,
     I follow here the footing of thy feet.

Poetry can be written only because it has been written. As a new poem is made, not only with the art but within it, past voices are convoked—to be changed, little or much, by the addition of another voice.

—Wendell Berry, “The Responsibility of the Poet,” What Are People For: Essays by Wendell Berry (North Point Press, 1990)

all of a piece

He wrote the same poem in a thousand versions.

book before horse

Poets more concerned over publications than whether they’re read.