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.

filled out the form

The worse kind of poem is one that wouldn’t exist except to fill out a form.

more is bore

Some poets write two or more poems of the same type or theme within one poem.

don't abide

Hard to abide poets who abide only one kind of poetry.

markson notes

Because Theodore Roosevelt’s son was enamored with the poetry of E.A. Robinson, then President Roosevelt arranged for Robinson, who was destitute at the time, a job at the New York Customs House. A sinecure that allowed Robinson the means and the time to compose his verses.

Knowing that T. S. Eliot was born in St. Louis, visitors looking for his childhood home are surprised to find only a parking lot where the row house had been on Locust Street: The Waste Land.

Franz Kafka finished his story “A Hunger Artist” while dying from starvation due to complications caused by laryngeal tuberculosis.

bang-bang

Poet, bang it out.

signal plus noise

From the standpoint of information theory, poetry may contain a good deal of ‘noise’ but in the case of poetry it’s not extraneous to the signal.

not point at all

The scientist [Robert Hooke] turns next to “a point commonly so called, that is, the mark of a full-stop, or period.” Whether printed or made with a pen, the tiny point, circle or dot of the period turns out to be disfigured, ragged, deformed. Under the lens, this microdot looks as though it’s been made with a burnt stick on an uneven floor.

—Brian Dillon, “What Pitiful Bungling Scribbles and Scrawls,” Affinities: On Art and Fascination (New York Review of Books, 2023)

metaphoric power

The metaphor draws its strength from ever more disparate elements being joined until the difference becomes too great and the power of the metaphor dissipates. Of course the tolerance for disparity depends on the particular reader.

inflated till it pops

His reviews were inflated blurbs, to the point that reading to the end of one you began to wince, sure it was about to burst in your face.

violent forgetting

I notice where a page has been torn out of my notebook and this feels like a violent forgetting.

limited love

They claim to love poetry but can’t name more than a handful of poems beyond their own.

markson notes

Of the many languages that arose among humankind over the centuries, most never developed a written form.

It’s been estimated that Sappho wrote about 10,000 lines of poetry, but only 600 lines or so remain, many just single words on papyri fragments. Whole scrolls of Sappho’s poetry were lost to the fire that destroyed the library at Alexandria in 48 BCE.

“View du Boulevard du Temple” (1838) by Louis Daguerre is thought to be the first photograph wherein a living person is present. A small dark figure on the street in the early morning appears to be getting his boots polished. The person doing the polishing is obscured by the blur of the motions he was making during the long exposure, and by his lower station in life.

counter productive

Your hype is not helping your art.

be oblique

The poetic line may run straight across the page and be oblique at the same time.

knows more

The poet knows more about the poem than the poem shows.

don't go there

Poet, don’t dare to call the clouds flocculent.

content and container

Weigh and measure your content, then find or mold the container.

make it move

New or not, it must move me.

small change

He was a poet and so he could always dig into his pockets for a few more words.

floor to ceiling

The beauty of a good bookshop filled floor to ceiling with loaded shelves, or any well-stocked library for that matter, is that you feel here is a place equal to the mind, housing and holding the known and making available the unknown of this world.

stutter on

But every poem is no more than a stutter
beneath the endless stutter of the stars.

—Roberto Juarroz, Vertical Poetry: Last Poems (White Pine Press, 2011), translation by Mary Crow

nothing but

A nothing poem made of nothing but words.

bridge too far

He wanted to review poetry books but couldn’t imagine reading a bad one to the last line.

writer reader reviewer

It’s easier to write poetry than to be a reader, and harder yet to be a reviewer.

first stroke

First line: first brushstroke on a blank canvas.

fly in the web

I can draw a web of connections around any poem.

rhythm of my imagination

At that time, I knew only that free verse was ill-suited to my spirit….But I lacked faith in traditional meters….And besides I had parodied them too often to take them seriously now….I knew of course that traditional meters don’t exist in any absolute sense, but are remade according to the interior rhythms of each poet’s imagination. And one day, I found myself muttering a certain jumble of words (which turned into a pair of lines from “South Seas”) in a pronounced cadence that I had used for emphasis ever since I was a child, when I would murmur over and over the phrases that obsessed me most in the novels I was reading. That’s how, without know it, I found my verse, which was of course for “South Seas” and several other poems as well, wholly instinctive….Gradually I discovered the intrinsic laws of this meter…, but I was always careful not to let it tyrannize me and was ready to accept, when it seemed necessary, other stress patterns and line lengths. But I never again strayed far from my scheme, which I consider the rhythm of my imagination.

—Cesare Pavese, from Pavese’s essay “The Poet’s Craft,” quoted by Geoffrey Brock in the introduction to his translations of Cesare Pavese in Disaffections: Complete Poems 1930-1950 (Copper Canyon, 2002)

not me

If a poem writes itself, do I have a plausible alibi?

go slow

Reading poetry is slow reading.

demotic speech

If poetry had not turned to demotic speech after Modernism, after Beat, after New American Poetry, etc., it would have become like a collection of antique music boxes that are only wound from time to time to keep the springs in good working order.

talk it up

Blurbs and other forms of rodomontade...

"No industry [film industry] did more to destroy the meaning of words. The follies are too familiar to need laboring here—how the story of a couple of cowboys quarreling over a girl became an epic, the tale of a small-time 'hoofer' a deathless saga. Colossal, terrific, stupendous—these words became the small change of film advertising. A reservation was put on a whole series of other adjectives like throbbing, rending, tingling, pulsating, pounding, sizzling, scorching, stark, elemental, volcanic, and searing. No story was ever taken from life—it was ripped or torn from the mighty canvas of humanity."

—E.S. Turner, The Shocking History of Advertising! (New York: E.P. Dutton, 1953)

bad poet good person

When you are the organizer of a reading series, inevitably someone who is a terrible poet but a very nice person will ask to be a featured reader (often touting a self-published book)—and there is no good way of saying no.