The Dead and their Sucker Punch: A poem by Dorrianne Laux

Dorrianne Laux is one of our best free verse poets. She can write about everyday things and easily comprehend emotions clearly and with some genius of expression. She serves the situation with a fine, delicate balancing of the prosaic, the simple phrasing, and the higher allure of lyric speech and allows neither for overwhelming the other. Her poems, often time presented to us in the guise of prose, has an intimacy rare among a generation of poets who maintain distance from their most volatile emotion; her poems have the power of revelation, of someone sorting through old photographs or a rediscovered journal which, while recounting their day, gets a high pitch in their voice as they realize something even they hadn't realized. Laux never forgets herself as a writer with a goal; fret not, there is a point she comes to, the payoff one expects to make the listing of a poet's personal world resonate in ways it otherwise wouldn't. 

 She is suspicious of rhetorical resolutions to real problems and relationships that inhabit her poems and offers instead an intimate tone, the voice of someone who begins to tell you a story after some arduous activity which then lays herself bare. Not a confession, not dumping of toxic emotion, but a revelation, possibly at the very instance when the clarity comes to her; all the bits and pieces of past events with family, husbands, friends who have passed on are now a whole. Her poetry quite often is something extraordinary, intimate, moving. I found this poem fitting for the month since both my parents died in August at different times. Since then, the month has been a bit touchy for the family, but we collectively give a shrug and move on with nary a pause to linger over the lives of the couple born the four of us. One grieves, commemorates, and then moves on, right? Not so fast; sometimes, in the middle of watching a television program or waiting for the bus, something falls inside of me. It's the sensation you'd imagine having inside an elevator whose cable had been suddenly cut. The bad news hits you again, and yet again, if you let it. Laux's poem on the matter speaks to me and punches me in the gut to coin a phrase.

How It Will HappenWhen /Dorrianne Laux

 

There you are, exhausted from a night of crying, curled up on the couch, the floor, at the foot of the bed, anywhere you fall you fall down crying, half amazed at what the body is capable of, not believing you can cry anymore. And there they are, his socks, his shirt, your underwear and your winter gloves, all in a loose pile next to the bathroom door, and you fall down again. Someday, years from now, things will be different, the house clean for once, everything in its place, windows shining, sun coming in easily now, sliding across the high shine of wax on the wood floor. You'll be peeling an orange or watching a bird spring from the edge of the rooftop next door, noticing how, for an instant, its body is stopped on the air, only a moment before gathering the will to fly into the ruff at its wings and then doing it: flying. You'll be reading, and for a moment there will be a word you don't understand, a simple word like now or what or is and you'll ponder over it like a child discovering language. Is you'll say over and over until it begins to make sense, and that's when you'll say it, for the first time, out loud: He's dead. He's not coming back. And it will be the first time you believe it.

This speaker is talking about spending a period of her life trying to talk herself into accepting the loss of her dearly departed, and goes on from there to talk about a life that seems detached, dreamlike; there is an unreal calm in this world as she struggles to push on. Laux isn't contradicting herself but instead talking about the transition from merely mouthing the conventional platitudes of acceptance of a loss and the eventual, inevitable realization that her friend's absence is permanent. She is emotionally numb, so far as I can tell, until it hits hurt, triggered by what some small matter acutely detailed her when the artifice comes apart, and the fact of her friend's absence hits hard, almost like being struck. 

 Artifice includes ritual, is the compulsive house cleaning one occupies their time with while acting as if that they're moving on with their life; the activity and the manic obsession with the details of these tasks are, for me, a conspicuous clue that there is something the person would rather not deal with. There's an intuitive leap here. The poem's power is the quick but not illogical insertion of the final remark, that instance when you realize a loved one isn't returning. Laux shows that a feeling like this is like a sudden attack, coming from seeming nowhere, leaving you in what I could only describe as a state of shock. This is not a formal argument she is making; this has that eliding quality few poets capture well, the revelation expressed as if we're witnessing the thought coming to the narrator as she speaks. The "clean house" Laux mentions, with everything neatly arranged and placed in their place, every trace of the person is gone or tucked in some burnished-over corner:

the house clean for once, everything in its place, windows shining, sun coming in easily now, skimming across the thin glaze of wax on the wood floor. (...)

"the absence of pain is mistaken as solace, and the narrator tries to sustain a numbness in her household. But comes undone, inevitably; the years the person had resided in those rooms, the small, shared rituals and pet phrases on familiar furniture have absorbed something of his spirit, it seems, and a memory is triggered, a flash comes upon the narrator. This is an apt metaphor for the attempt to deal with a loss by discarding personal reminders of the departed; the house is "clean," as in emotionally neutral, the goal is that he would be a reclaimed and re-imagined space where comes not to grow but to not feel, not a feel a thing. Those who are gone remain in the details regardless of who hard we scrub the floors or repair the roof:

You’ll be reading, and for a moment you’ll see a word you don’t recognize, a simple words like cup or gate or wisp and you’ll ponder like a child discovering language. Cup, you’ll say over and over until it begins to make sense, and that’s when you’ll say it, for the first time, out loud: He’s dead.

Although he was burned and the household has been scoured and cleared of reminders that he once lived there, the space cannot be converted as if nothing had happened before. It's circular; what we toss out comes back to us.

He’s not coming back, and it will be the first time you believe it.

This is beautifully done, a setup for someone telling you that they've accepted life on life's terms, with the strong suggestion that they have exhausted their allotment of emotion, only to be struck once again that they've lost something valuable that cannot be replaced. The narrator is at the precipice, the classic existential situation: aware, finally, of the facts of her life as a felt experience, it remains her choice to stay in stasis and so become bitter and reclusive, or to finally, truthfully let go of what she's held onto and take new risks.

Billy Collins Reflects Rod Serling

470 331 522

"Seraphine": It's how you make it long

For a time after my UCSD years, I was a bit of a film dilettante , and felt cheated if a film was a merely ninety minutes long; I equated length with seriousness of intent and integrity , the way some people consider thick novels to be necessarily better than shorter ones. Getting older makes one discerning about what they’re willing to sit through and put up with, for many reasons, but for me it comes down to not having the patience to wait for a film to start to work. Time adjusted my aesthetics with my attention span. I liked Seraphine formally—the director Martin Provost did a fine job with his composition, and suggested a period in war time convincingly without turning this thing into a turgid, Scorsese-inflected costume drama, and it was a well down outlay of who this woman was, what her world was like, both private and public, and I was impressed with the way the artist’s process was incorporated into the narrative. Her mania to please her guardian angels, endearingly played by the reticent presence of actress Yolanda Moreau, was an intriguing back story to the obsessive art making, from the way she gathered her materials for her paints, the preparation of her pigments, and then the actual painting , with her fingers, on the floor, as if she were wrestling with a large vision that was resisting being captured on canvas. But it was long, very long, too long, and I found myself, like you, perhaps, getting a little antsy; maybe I’ve been seduced by the brutal efficiency and convenience of Hollywood narrative style, but I wanted the pace to pick up. It’s interesting that a director like Clint Eastwood has made a number of movies that one would consider slow-moving—Mystic River, Letters from Iwo Jima –but not consider glacial in the time it takes to watch them all the way through.

 The difference, I suppose, is that Eastwood , an admirer of European film making no less than any of us in the audience, remembers the best that Hollywood has taught him and remembered that movies are things that move. There’s always something going on, some bit of dialogue and visual cue that sets you for some satisfying dramatic complications. Eastwood, I suppose, would be a film maker who has wed a French eye for the small detail, the love of incidental things that make up a world he’s exploring, with the emotional impact of his masters, John Ford and John Houston. Provost, who’s work I’m not wholly familiar with, and tended to wear me out after a while. Lovely images, of course—I liked the final image of Seraphine hauling the chair out to the large tree so that she can be in environment that can enable her to find some psychic peace—but I wanted less of her and more of the others. 

Eastwood is amazing because he has an instinct in setting up dramatic contrasts, two strong minded characters having to clash, negotiate, argue, battle, make peace in dramatically plausible contexts. I wanted more about the critic and his world, his attempts to sell Seraphine’s paintings and the circumstances, cultural, social, economic, political , as to why she never ascended to the ranks of Picasso or Rousseau. The story needed to move beyond being solely about the title character and develop the lives and worlds of the people who interacted with her. The movie’s flaw is that the poor cleaning woman is the only one who is given any kind of complexity, a fact that allows the movie to remain in place, static. An interest in another character or two , with personalities amounting to more than the brief significations of the dialogue, likely would have given this beautifully mounted project a brisker tempo.

Hemingway, the Prolix Dry Drunk

Moreintelligentlife.com has a story provocatively called "When Novelists Sober Up", luring the curious reader with a hint that laying down the bottle is not necessarily the best thing for the writer's art. We have instead a gutless amalgamation of the usual tropes about bards and scribes cursed with the hooch bug; it's a shuffle through the old cards..It is, in general, a bad thing for those who have it and for those around them, and hinders, erodes, destroys, with time, whatever talent or good graces a person might already have. That we still in large measure glorify booze as a needed ingredient to creative process is evidence of a sad business: we make it okay for certain social types to destroy themselves so they can fulfill our vague idea of what an artist needs to do in society. Considering that we have no consensus as to the role of the artist in our affairs reveals our muddled thinking on alcoholism even more.

An excellent book on the subject is "The Thirsty Muse:Alcohol and the American Writer" by Thomas Dardis. Though there were some writers in this study who remained productive and frequently good during their worst imbibing, they are exceptions, with the general scenario for the alcoholic being tragic and, worse, predictable. The talent that was already theirs to use was soon enough diminished by hoot ch, and careers were ended early.

What was especially irritating in this was author Tom Shone's occasional gaffes in describing a writer's style; he announces that writers of short sentences tend to fair better in sobriety than those more grandiose, opining that the "endless clauses" of Fitzgerald and Hemingway doomed them to unpleasant late careers. Hemingway? And I had thought that Papa, with his short sentences and stingy use of verbs, adjectives and metaphors was the prototypical minimalist, akin to Carver and Elmore Leonard later in the century.

How to be flawed

Mad TV had a dating service parody called Lowered Expectations that ran for a season or so, the gist of which were the absolutely undateable citizens looking for other undateables to hang with . The effect was sadder than it was funny--the sight of characters with intractable personality quirks trying a last ditch effort to find companionship through a whimpering admission of their grosser assets. Loneliness is an ungainly crucible for anyone to bear, whether super star or twitching wretch; the confession in the Mad parodies were losers begging for love, the assumption being that those who fall short, perhaps far short , of our insane standards of style and hipness suffer from a magnified self loathing. Which is why I like this poem by Cecilia Woloch. It's a declaration of what's- really-here, the words of someone who is unapologetic about their faults, perhaps a bit embarrassed by some of them, but not ashamed of any of them. It's not in-your-face like the monotonous products of slam poets can be--this is a monologue on a human scale, a bit of a conversation we come in the middle of, a splendid speech that fills in what we've missed without the digression of backward-motion narrative. Woloch is curt, crisp, and sharp in her lines, and manages to be take-me-or-leave-me-alone without being a full time jerk. I like this poem.

FIREFLIES
by Cecilia Woloch

And these are my vices:
impatience, bad temper, wine,
the more than occasional cigarette,
an almost unquenchable thirst to be kissed,
a hunger that isn't hunger
but something like fear, a staunching of dread
and a taste for bitter gossip
of those who've wronged me -- for bitterness --
and flirting with strangers and saying sweetheart
to children whose names I don't even know
and driving too fast and not being Buddhist
enough to let insects live in my house
or those cute little toylike mice
whose soft grey bodies in sticky traps
I carry, lifeless, out to the trash
and that I sometimes prefer the company of a book
to a human being, and humming
and living inside my head
and how as a girl I trailed a slow-hipped aunt
at twilight across the lawn
and learned to catch fireflies in my hands,
to smear their sticky, still-pulsing flickering
onto my fingers and earlobes like jewels.

WAHRENBROCK'S BOOK HOUSE, RIP: A Letter from Dennis Wills

Wahrenbrock's Book House, a literary resource in San Diego for decades, has suddenly closed it's doors forever. Information about the reason for the abrupt closure is scant, and the loss of this store leaves a significant gap in San Diego's reading and cultural life. Bookseller Dennis Wills, owner of D.G.Wills Books , was a good friend of the esteemed late owner Chuck Valverde and wrote this letter to all who've loved and found solace in Wahrenbrock's crowded stacks, finding the odd, the unusual, the rare, the crucial book they had in mind when they entered the store. Dennis expresses as well as anyone can the gravity of the loss:

To whom it may concern:

I have just learned that Wahrenbrock's Book House will close. While I remain unaware of any pertinent details which may have led to such a decision, I heartily implore any powers that be to reconsider the grave and momentous implications of such a decision. Sylvia Beach, publisher of James Joyce's Ulysses and owner of the renowned Shakespeare and Company in Paris, the most famous bookstore in the world at the time, was compelled to close down the store in the 1940s only because occupying German soldiers threatened to confiscate their inventory.

While Vernon Wahrenbrock may have founded Wahrenbrock's Book House in San Diego in 1935, for two generations booksellers and book buyers from around the world have come to know this flagship bookshop repository in this part of the United States as entirely a reflection of the work and the personality of Chuck Valverde and his very able colleague Jan Tonnesen. While Chuck is no longer with us in person, his legacy continues onward as reflected by the vast holdings of inventory available to the many thousands of gentle book lovers who seek out Wahrenbrock's from throughout the world, but also from the thousands of arcane and unusual items listed on the internet. To deny the book public throughout the world access to these vast holdings would be a terrible tragedy.

I sincerely hope and implore that some transitional equation may be created that will allow the legacy of Chuck Valverde to continue. The loss not only to the world but especially to the countless thousands of San Diegans who frequent Wahrenbrock's constantly is inestimable and unimaginable.

Sincerely,

Dennis G. Wills
D.G.Wills Books
La Jolla Cultural Society
www.dgwillsbooks.com

Poetry is what ever gets you to the next page

There is a long history of poets and critics declaring poetry is something completely other than prose, a separate art approximating a form of meta-writing that penetrates the circumscribed certainties of words and makes them work harder, in service to the imagination, to reveal the ambiguity that is at the center of a literate population's perception. An elitist art, in other words, that by the sort of linguistic magic the poet generates sharpens the reader's wits; it would be interesting if someone conducted a study of the spread of manifestos, from competing schools of writing, left and right, over the last couple of hundred of years and see if there is connecting insistence at the heart of the respective arguments. 

 What they'd find among other things, I think, is a general wish to liberate the slumbering population from the doldrums of generic narrative formulation and bring them to a higher, sharper, more crystalline understanding of the elusive quality of Truth; part of what makes poetry appealing is not just the actual verse interesting (and less interesting ) poets produce, but also their rationale as to why they concern themselves with making words do oddly rhythmic things. Each poet who is any good and each poet who is miserable as an artist remains, by nature, didactic, chatty, and narcissistic to the degree that, as a species, they are convinced that their ability to turn a memorable ( or at least striking phrase) is a key with which others may unlock Blake's Doors of Perception. The lecturing component is only as intriguing as good as the individual writer can be--not all word slingers have equal access to solid ideas or an intriguing grasp of innovative language--but the majority of readers don't want to be edified. They prefer entertainment to enlightenment six and half days out of the week, devouring Oprah book club recommendations at an even clip; the impulse with book buyers is a distraction, a diversion from the noise of the world. 

Even the clearest and most conventional of verse, poetry is seen as only putting one deeper into the insoluble tangle of experience. Not that it's a bad thing, by default, to be distracted, as I love my superhero movies and shoot 'em ups rather than movies with subtitles, and I don't think it's an awful thing for poetry to have a small audience. In fact, I wouldn't mind at all if all the money spent on trying to expand the audience was spent on more modest presentations. The audience is small, so what has changed?

notes on poems by Mark Strand and May Swenson

The quiet side appeals to me as well, much as I love abrasive post-bop jazz improvisation ala Cecil Taylor or the raucous cacophony of Charles Ives. Strip-mining the mediums alone won't satisfy what I can at best call a sweet tooth, a need to have pleasure. Sometimes it's instructive to appreciate things that are well made, whole, nicely put together, and to keep the sword in the sheath.There are those moods when what I need from art—and art is something which is a need—is a short harmonica solo, a small water color in a simple frame, or a lyric poem that dwells comfortably, musically on it’s surface qualities. One loves grit, but that doesn’t exclude finess. Mark Strand’s poem here won me over with it’s surely played music.

My Mother on an Evening in Late Summer
by Mark Strand

1
When the moon appears
and a few wind-stricken barns stand out
in the low-domed hills
and shine with a light
that is veiled and dust-filled
and that floats upon the fields,
my mother, with her hair in a bun,
her face in shadow, and the smoke
from her cigarette coiling close
to the faint yellow sheen of her dress,
stands near the house
and watches the seepage of late light
down through the sedges,
the last gray islands of cloud
taken from view, and the wind
ruffling the moon's ash-colored coat
on the black bay.

2
Soon the house, with its shades drawn closed, will send
small carpets of lampglow
into the haze and the bay
will begin its loud heaving
and the pines, frayed finials
climbing the hill, will seem to graze
the dim cinders of heaven.
And my mother will stare into the starlanes,
the endless tunnels of nothing,
and as she gazes,
under the hour's spell,
she will think how we yield each night
to the soundless storms of decay
that tear at the folding flesh,
and she will not know
why she is here
or what she is prisoner of
if not the conditions of love that brought her to this.

3
My mother will go indoors
and the fields, the bare stones
will drift in peace, small creatures --
the mouse and the swift -- will sleep
at opposite ends of the house.
Only the cricket will be up,
repeating its one shrill note
to the rotten boards of the porch,
to the rusted screens, to the air, to the rimless dark,
to the sea that keeps to itself.
Why should my mother awake?
The earth is not yet a garden
about to be turned. The stars
are not yet bells that ring
at night for the lost.

Strand is someone who often works overtime to make the small things he chooses to write about into subjects that are poetically overpowering. Though he wouldn't be guilty of some fever pitched overwriting that makes the work of Nobel Prize Winner Derek Walcott seem like a riotous thicket of over -similed commonplaces--it has been said that the prize winner has never met a qualifier he didn't fall in love with and promise a home to--Strand has always seemed to fall just short of adding an item too many to his verses.

He does have a leaner, more genuinely lyric movement than does Walcott, whom I find more ornate than satisfying. Strand , to his credit , doesn't obscure the emotion nor the place from which is figurative language is inspired, arch as it occasionally reads. Walcott the poet, the world traveller, the cultivated Other in the presence of an Imperial Culture, reads like someone how is trying to have an experience. Strand convinces you that he has had one, indeed, but that he over estimates the measure of words to their finessed narrative.

That said, I like this, in that Strand trusts what his eyes sees, a series of things his mother was doing in a wonderfully framed triptych that might have been conveyed by Andrew Wyeth. It is a little idealized--the lyric spirit is not interested in the precise qualifier,but that adjective or verb , that rather, that both makes the image more musical and reveals some commonly felt impression about the objects in the frame--but Strand here has a relaxed confidence that is very effective. Brush strokes, we could say, both impressionistic and yet exact.

And my mother will stare into the starlanes,
the endless tunnels of nothing,
and as she gazes,
under the hour's spell,
she will think how we yield each night
to the soundless storms of decay
that tear at the folding flesh,
and she will not know
why she is here
or what she is prisoner of
if not the conditions of love that brought her to this.

This is the image of someone going about there daily chores and fulfilling their obligations thinking they are out anyone else's view, or better, the agenda of someone who hasn't interest in impressing any set of prying eyes. The mother seems less a figure in solitude than she does to contain solitude itself, comfortable and with intimate knowledge of the grain of the wood the floor is made of, the smell of the changing weather, the different pitches of silence and what the nuances of small sounds forecast for that evening and the following day. Most of all, this is about watching the world, the smallest world , both grow up, grow old, become frail and die, finally, aware of the seamlessness of going about one's tasks and the preparation for the end. This is a poem about preparation, I think; we, like the Mother, come to a point in their life when the gravity of things are finally felt through accumulated experience, as one's responsibilities have been added too over the years, and one develops a sense that what one does isn't so much about setting ourselves up for the rest of our lives, but rather in preparing the ground for what comes next, who comes next.

Somewhere in the work , toil , the bothersome details we get to rest and earn an extra couple of hours to keep our eyes close. The change happens slowly, unperceived,but it does happen, and the planet is a constant state of becoming, of change, and what changes too are the metaphors one would use to determine their next indicated jobs.

Why should my mother awake?
The earth is not yet a garden
about to be turned. The stars
are not yet bells that ring
at night for the lost.
It is much too late.

While Strand writes of his mother's preparing the day for the days that will follow,May Swenson finds comedy and tragedy lurking in the same set of skewed images with this poem. It has a fine elegance that nearly obscures the ominous tone that clouds the final lines, an effect that's artfully deferred.

Water Pictures
By May Swenson


In the pond in the park
all things are doubled;
Long buildings hang and
wriggle gently. Chimneys
are bent legs bouncing
on clouds below. A flag
wags like a fishhook
down there in the sky.
The arched stone bridge
is an eye, with underlid
in the water. In its lens
dip crinkled heads with hats
that don’t fall off. Dogs go by,
barking on their backs.
A baby, taken to feed the
ducks, dangles upside-down,
a pink balloon for a buoy.
Treetops deploy a haze of
cherry bloom for roots,
where birds coast belly-up
in the glass bowl of a hill;
from its bottom a bunch
of peanut munching children
is suspended by their sneakers, waveringly.
A swan, with twin necks
forming the figure three,
steers between two dimpled
towers doubled. Fondly
hissing, she kisses herself,
and all the scene is troubled:
water-windows splinter,
tree-limbs tangle, the bridge
folds like a fan.

As with the Mark Strand poem , this is a wonderful piece of writing, a string of inversions and reversals of stance that make the grace and balance of the world seem comical and awkward. Where there is equipoise in the world above the water, the surface of the pond has a universe that appears to constantly teeter for balance and negate the general cheerfulness of the forward-moving world; birds fly upside down, a swan seems to woo it's perfect visage, the sky is a hard ground and cherry blossoms bloom over a bottomless, blue-tinted void. This eases neatly from the comic to the threatening,the foreboding occurs, a warning sounds that one ought not look into a reflective surface too long:

Fondly
hissing, she kisses herself,
and all the scene is troubled:
water-windows splinter,
tree-limbs tangle, the bridge
folds like a fan.

What was comic rapidly becomes distorted, and the infatuation of one's image, revealed, I think, by the saga of the swan's seeming narcissism; you are sucked into a world of reversals and turn into yourself rather the world outside yourself. "The bridge folds like a fan" , and one's ability to hold their own in a world of appearances is compromised. All may be mere appearence, as Plato maintained, but there are proper dualisms with which we can navigate reality and common to mutual terms on how to cross the street,what restaurant to meet at, or if the parking spot is large enough for what he drive. "Water Picture" is a reminder that we need to turn our gaze from the reflective surface and and set toward the other side of the hill, where we can join the legacy of the bear who went over the mountain, to see what he could see.

A familiar set of reshuffled notes

Critics without a malleable framework are talking only to themselves, finally. The value of criticism is in how it deepens the reading: an ideal criticism, I think, ought to be the sieve through which the variety is taken in and studied. A criticism that counts should, I think, help re-imagine the world and provide us with a plausible, doable, political feasible way of doing just that. Re-imagining the world requires action to effect the change. Re-description is precisely the problem with the Left in this country, which mistook the on-going circle jerk of language theory as a practical substitute for activism. The wan hope might have been that enough people might hack their way through the many books and monographs and learn, as a matter of habit , that their written and spoken responses to the world they navigate would be tempered so as not to privilege anything according to old hierarchies and that the a fairer existence would result. Literal or not, one needs to gauge the words in a sentence against the world the words are assigned to describe. Language, being a living activity that functions with a mind and consciousness that must adapt consciously to the constantly changing state of Nature, cannot contain meaning that is self-disclosing, absent at least a superficial gauging against the world. Even at the " most simple" levels, a reader constantly goes outside the words themselves to judge their veracity, their usefulness, and hence, interprets the words to come to what sentences mean, in their contexts and their subtler permutations. Interpretation isn't always the circuitous method of the academic, or the specialist: the activity is instinctual, I think, as we use language and change language to accommodate changing requirements and conditions.

Writing after drying out

I used to insist that poems that didn't have "dirt under the fingernails" were without value, insisting that live as it's lived by working men and women in America were more interesting , more complex and more important than the dense, academic poems one was made to read in contemporary poetry anthologies. In full disclosure, I was an undergraduate at the time, in the mid to late seventies, an earnest poet trying to be relevant who, incidentally, was having problems in literature courses requiring same said anthologies. There might have been a worthwhile insight somewhere in my whining for a polemic I could write if I cared to take the time, but it suffices to say that I was lazy, too lazy to read the poems, too stoned to go to class, far, far too stoned to read the secondary sources to be prepared for class discussions or for the papers I had to write. I did what anyone genuine undergraduate poet/radical/alkie would do; I blamed the system. So there.

It took a bit of doing--sobering up, bad grades, failed relationships--for me to get wise(r) and actually read the work I thought unworthy, and the remarks of critics who've done their own work considering the aesthetics at length, and I've since backed away from trying to shoe horn all poetry into a tight fitting tuxedo. What was learned was relatively small, a revelation for the truly dense; poetry works in many ways, and the task of the critical reader cannot be merely to attack and opine but to make an effort to weigh a poem's elements on their own merits , studying how effects are accomplished, and then, finally, lastly, to offer a judgement whether the poem works . Not that I adhere to this prolix method--I shoot from the hip and often miss the whole darn target--but I try. Now the issue is whether a poem can work if it lacks the glorious thing called "heart".

Anyone seriously maintaining that a work of art, be it poem, novel or painting is doomed to failure because it lacks this vague quality called "heart" has rocks in their head. Artists are creative people, on that most of us can agree, and by definition artists of narrative arts make stuff up from the resources at hand. Whether the source is actual experience, anecdotal bits from friends or family, novels, biographies, sciences, all these are mere furniture that go into the creation of the poem. The poet's purpose in writing is to produce a text according to some loosely arranged guide lines that distinguish the form from the more discursive prose form and create a poem that arouses any number of responses, IE feelings, from the reader. "Heart", I suppose , would be one of them, but it's ill defined and too vaguely accounted for to be useful in discussing aesthetics. Confessional poetry and the use of poetry books and poetry readings as dump sites for a writer's unresolved issues with their life doesn't impress me generally, as in the ones who do the confessing never seem to acquire the healing they seek and instead stay sick and miserable and keep on confessing the same sins and complains over and over. Journaling would be one practice I would banish from a poetry workshop I might teach. We are writing poems, not an autobiography .

I would say, actually, that one should suspect that poet who claims that every word of their verse is true, based on facts of their lives. I cannot trust the poet who hasn't the willingness to fictionalize or otherwise objectify their subject matter in the service of making their poems more provocative, worth the extra digging and interpreting. Poems and poets come in all shapes and sounds, with varied rationales as to why each of them write the way they do, and it's absurd and not to say dishonest that "heart", by which I mean unfiltered emotionalism, is the determining element as to whether a poem works or not. My goal in reading poems isn't to just feel the full brunt of some one's soggy bag of grief or splendid basket of joy, but to also to think about things differently.

The best relationship between practice and theory , as regards the arts (and poetry in particular) is when one blends with the other in a seamless fashion. It's a process that begins with the work itself, a reading and rereading of the poem, let us say, and then , after some routine reflection, referencing any number of critical schemes I think might work in bringing what's contained in the stanzas out from under the subterfuge. Seamless is the word I'd like to use, and it applies here although the handy term has diminished impact with overuse;all the same, theories of criticism , for me,are a way of extending the poem into general discourse. Poetry works in many ways, but so does criticism, and a pragmatics of interpretation is the most useful way for me to make a poet's work something other than another useless art object whose maker adhered to someone else's rules. My gripe is a constant one, that each succeeding school of thought on what poets should be doing are too often reductionist and dismissive of what has been done prior. This isn't criticism, it's polemics, contrary to my notion that what really matters in close readings is the attempt to determine whether and why poems work succesfully as a way of quantifying experience and perception in a resonating style.

Courage

A fellow contributor to an internet forum I frequent presented this quote for general discussion

In "Time Out of Mind," Leonard Michaels wrote: "Courage is continuing to perform your daily tasks, and being hopeful despite the odds; not inflicting your fears on others, and remaining sensitive to their needs and expectations; and also not supposing, because you're dying, nothing matters any more."

My two cents, uncommonly succinct:I agree with the quote to an extent, with the idea that someone with responsibilities and problems should just "man-up" , as the phrase goes, and live up to their end of the bargains they strike. I am taken with Robert Hughes' The Culture of Complaint that cogently described a country where complaining , whining, and victim-hood were taken to be the proper response to one's daily burden. Getting proactive with one's problems and obligations wasn't admirable at all. There are times, though, when there is too much on one's plate--the thinking remains that one should be self-sufficient and handle their affairs without aid, but this is a recipe for disaster, for oneself and those about him. Asking for help when help is required isn't a moral failing.

The other side of it, though, is just as odious; suffering in silence. The Hemingway code of personal stoicism makes for a fine trope filtered through a literature dealing with a male perspective of a post war generation, but one's life isn't a short story with obvious external mechanisms dictating how events and actions lead toward an ironic result. One does need to speak up, voice what it is they find objectionable, correct the record when lies are told by government and cultural elites, we need to critique, we need to debate, we need to keep stay vigilant.