By Ted Burke
Meghan O'Rourke offers a credible description and defense of our new Poet Laureate, but as much as I enjoy the reasoning, I find the idea of Kay Ryan , Poet, more interesting than Kay Ryan's poetry. I'm not a fan of ornate language, since most poets do it badly, even those who are praised for it as a default remark, including our drifting poet Laureate Derek Walcott--if similes were empty wine bottles , he'd have drunk himself to death--but I would like some elegance and lift in the briefer lines as well, some polish besides the formulations Ryan offers us from the page.
The poems are lean, yes, clever with their internal rhymes, slants, conceits and all the rest, but there isn't the stamp of a personality to enliven these dry dictations. She is compared to Dickinson rather excessively, since Ryan's aim is to move toward a point she's cutting through the underbrush toward; she seems to know before hand what she's driving at, and for me so much of what she does amounts to seeing a neighbor park their car in the same spot for years after the work day is over.
Dickinson's minimalism is a slippier sort of stream to wade into; her habit was to meet herself coming the other way while on an investigation of a nuance; she contained and expressed her own contradicting assertions. Dickinson is the more interesting poet for all the material she implies, suggest, touches up with the minimum of space her poems consume; the dashes and asides still bother us, provoke discussion. Ryan is of the generation that thinks poetry has to have a point to make , a purpose to reaffirm. This makes her work, finally, fatally forgettable.
Wednesday, July 30, 2008
I'd be pleased if a poet preferring small matters to big themes became our Poet Laureate. But in the value of Kay Ryan, I find her work malnourished, under muscled, simply lifeless, and still as a rusty coin in a cushion crack. She is part of the School of Quietude, a dismissive term coined by Ron Silliman to describe the poets of the larger marketplace who concentrate on approaches to poetry that will not attempt to tackle more than one idea at a time. I have less animus toward poets who desire to do one thing well before moving on to the next matter at hand and have taken more than a bit of joy reading Billy Collins, Robert Haas. Collins, though, is someone whom you "get" in short order, amused, shall we say, but his stylish effects but with no compelling reason to revisit the poem. Dickinson, certainly not a Quietuder (although she has been mentioned in conjunction with Ryan's name), shows all of us that compact does not mean straightforward; whole philosophies and shades of far-reaching intellection exist between those dashes. We read her because she's not easy to reach; with each re-reading, the reader tends to bring more to their experience of her work. Collins gets paraphrased, like a joke one half-recalls. The impression he leaves is soon smoothed into a general nothingness like the white noise that makes up radio static.
The compressed diction, the ruthlessly scoured syntax, and sparse, clean rhythms (or rhythmless, at times) is breathtaking when it works in the world of single-subject poets, analogous to rare moments when a perception, an odd and unplanned arrangement of things, surprises you when your eyes come to rest on them. It's the sight of surprise, the aha!, and the short formers, the Quietuders, likely excavate against excess rhetoric and come upon the one thing they are writing about. It's not an easy thing to do well. But more often, it is a mere shtick, a form of slick aptitude for evading the harder edges a poet would be expected to walk on. One idea, maybe too, a good turn of phrase, a quick exit. Ryan, though, isn't even this interesting.
My problem with Ryan is that too typically, she seems to be getting started on an idea, about to unravel some mystery of a material thing and connect it with an ongoing argument each poet has against Platonic idealism. Still, she leaves, darts away, and is elsewhere after her aggravations are generated.
Bad DayNot every dayis a good dayfor the elfin tailor.Some daysthe stolen clothreveals what itwas made for:a handsome weskitor the jerkinof an elfin sailor.Other daysthe tailorsees a jacketin his mindand sets aboutto find the fabric.But some daysneither the ideanor the materialpresents itself;and these arethe hard daysfor the tailor elf.From Say Uncle, 2000
One admires skeletal purity and an aesthetic that won't be overstated or festooned with gamy rhetoric. Still, there are some things Ryan might have taken from the more formal approaches she turned her back on, central among them the need to finish a thought. As with the above, the ganging up of internal rhymes makes this poem cute as a button but not practical as a poem. It would serve, I suppose, as a setup for a more extended set of complications with the size of the clothes one is supposed to wear. Still, the theme is rather banal: one grows out of their clothes as they age and gain weight, and complications don't seem to interest Ryan anyway. Incompleteness can indeed be appealing in a poet who provides a strong sense of the absent details they address elliptically--strong points for Dickinson and the fascinating Rae Armentrout--but Ryan's is not that kind of poet. Her poems make you lean in so you can hear this soft voice suss through contradictions and the follies of fanciful thinking, but it ends in a mumble.
One should consider the work of a lesser-known but though brilliantly clear-eyed poet named Kate Watson, a writer I know and was featured within a 1996 anthology Small Rain: Eight Poets from San Diego (D.G.Wills Books). Her tone is modulated, her sentences balance tactile adjectives and purring verbs with an uncanny equilibrium, and her quiet moments transcend the perceived banalities of the School of Quietude and actually enter into perceptions that are sweetly unique, clear, aesthetically riveting. Something is arrived at. The rare thing about my friend Kate is that her version of considering the thing-in-and-of-itself is without the faux profundity so many other poets would evoke despite their best efforts to rein in their egos; poets by nature have a hard time stepping from being the Arnoldian seer/priest. Kate Watson's is a poetry that is in large part free of those posturing suppositions.
SmudgePussycat,pink eared, squintsin the sunshine,sniffing flowers.Button-eyed, shepurrs andfurlicks my legsin the kitchen.Four years ago, fourkittens bornin a drawer, smelledof a barnyard.Mature, she sleepsin a circle,the slope of her head suggests--young doe.TrinityShe meets Iin the bodywhich is onewith my motherI can seewhere sits by the blue fireflame-quick knittingIs she sighingshall I singshe is Iam a long way awaywhen the wind blowswhite wall coal blacklight grey hairmy mother winksfrom the middle of the flameand I rise upand leave heraloneIn the fire a reflectioncoming home?(C) 2008 Kate Watson
This is just a way of saying that the Library of Congress could have made a better choice. Saying that they could have done worse than Ryan doesn't say much for the office nor for what good graces are to be found in her conceit-laden lines.