Happy Friday! It’s “ski week” in the Peninsula Town, so I haven’t spent much time at my desk this week. A hike in the foothills, a trip to the city, many hours snuggling on the couch reading The Tale of Despereaux, and—let’s be real—settling arguments amongst siblings, reminding people to take out their laundry and put their dishes in the dishwasher… this is how I’ve spent my week. No complaints. Now on to the roundup:
the first fact of the world I’ve slowly been making my way through Robert Hass‘s essay collection, Twentieth Century Pleasures. I’ve read some of these essays before, but it’s been a while and a re-visit seemed needful.
I’ve also been reading poems (Larry Levis, James Wright, Frances Leviston, Chase Twichell) with an eye to trajectories: What is the journey of this poem, and how is the journey implemented? What are its structures and formal properties?
In Hass’s “On Form,” he writes: “The first fact of the world is that it repeats itself.” He argues that, from our earliest days, “we are clued into the hope of a shapeliness of things”—hunger felt, then satisfied; the school bus coming along right on time.
But what is form in an era of poetry dominated by free verse? It’s so much harder to define than a certain number of lines, with a certain metrical pattern, and a certain rhyme scheme.
Hass defines it this way: The form of a poem is “the shape of its understanding”; it “exists in the relation between its music and its seeing.”
Not exactly a step-by-step guide for finding a poem’s best form, but worth thinking about… .
exile n. 1. the state of being barred from one’s native country, typically for political or punitive reasons. 2. a person who lives away from their native country, either from choice or compulsion.
I’ve also been dipping in and out of Speaking and Language: Defence of Poetry by Paul Goodman. Regarding why he writes poetry, Goodman says:
“I am in exile. Like everybody else, I live in a world that is given to me—I am thankful for it. It is not made by me—and that too is very well. But it is not my native home; therefore I make poems.”
Goodman writes of a spiritual exile, of course, and I’m not entirely comfortable with using the concept of exile vis-a-vis art-making in a world when so many people are in actual, physical exile, and/or are risking their lives to achieve it. But his words resonate with me, and have me thinking about of poetry as a means to reconcile ourselves to the world, to ourselves, and to each other.
Each poem a little bridge, a little patch, a little healing, a little closer to home.
the only warm thing for miles Speaking of home, it’s that time of year when those who live in winter climes are beginning to doubt that spring will ever arrive. While I’m leaving my house in a light sweater and enjoying the earliest-blooming trees, I remember well that slightly crazed doubt, and I miss the way the sharp edges of changing seasons can mirror our inner lives. A friend sent me this poem by Danez Smith; you could call it an argument for winter:
I’M GOING BACK TO MINNESOTA WHERE SADNESS MAKES SENSE by Danez Smith
O California, don’t you know the sun is only a god
if you learn to starve for him? I’m bored with the ocean
I stood at the lip of it, dressed in down, praying for snow
I know, I’m strange, too much light makes me nervous
at least in this land where the trees always bear green.
I know something that doesn’t die can’t be beautiful.
Have you ever stood on a frozen lake, California?
The sun above you, the snow & stalled sea—a field of mirror
all demanding to be the sun too, everything around you
is light & it’s gorgeous & if you stay too long it will kill you
& it’s so sad, you know? You’re the only warm thing for miles
& the only thing that can’t shine.
(originally published in Michigan Quarterly Review)
Stay warm, Reader, stay warm. And thanks for reading.