Aside from this poem having the most boring title ever, I've grown increasingly fond of this quiet, formally simple poem after sharing it aloud at recent poetry readings.
Aside from this poem having the most boring title ever, I've grown increasingly fond of this quiet, formally simple poem after sharing it aloud at recent poetry readings.
This was written in Brooklyn in 1996 and 1997, shortly after getting my MFA from Columbia. As it took shape, I was seeking some kind of employment; teaching jobs were impossible to come by and I eventually took a position as an administrator for a financial services company on Water Street, very close to the bottommost point on the island of Manhattan. I had a small portrait of T.S. Eliot smoking a cigarette on my desk, framed in mauve, taken when he was with Lloyds Bank and doing the most important writing of his life. A lot of the brokers thought this 80 year old photograph was actually me, or my father. My boss hired me at first because he thought I had an MBA from Columbia.
I don't think that I will ever get over the feeling of looking out the window of a flying airplane. It isn't so much that it's shocking—which of course it is, if you think about it. It's that it's so interesting. Part ant colony, part lit-up window of a stranger's house, the earth, arrayed and displayed 30,000 feet below, scintillates. It rivets.
In many ways, my collection Easy Math is about how hard basic communication can be, and this poem, the first in the book, examines that idea. It also examines the absurdity of our daily lives, the excitement that we can reap from the weirdest cultural prizes (Three strikes! Turkey!), and the disconnect between what we are living and what we are feeling.
"Rainy Afternoons of the Soul" is a poem that surprised me. After my previous books, featuring poems that included everything (even one kitchen sink), I'd been trying to write shorter, slightly more focused if still meditative, poems. However, what I'd come up with—poems I thought of as "single-gestured," most of which were under fifteen lines long—seemed too tidy, at best, and in any case unsatisfying.
Liu Xia (b. 1961) is a Chinese poet and artist, born and raised in Beijing. She worked as an editor and then a civil servant for the Beijing tax bureau until she quit the job in 1992. Liu Xia started writing poetry in 1982 and has continued to this day.
As wife of the imprisoned Noble Peace Prize winner Liu Xiaobo (b. 1955), some of Liu Xia's work needs to be read from the context of the political situation in China and her personal experiences. She met Liu Xiaobo in the 1980s at a literary gathering and married him when he was imprisoned in 1996 (so that she could visit him in prison legally as she explained). Liu Xiaobo was first put in jail from June 1989 to January 1991 due to his involvement with the June 4th student movement. He was detained without trial from May 1995 to February 1996, then sentenced to three-year imprisonment from October 1996 to October 1999, and finally given an eleven-year term in December 2008. Liu Xia herself has been under house arrest since 2010.
Probably "Single page drawing" began in 2005, when an acquaintance introduced me to Cy Twombly's paintings and prints. That introduction marked a shift in my ability to identify things as language, and in my tendency to think of language as something to be seen as much as read, to be felt as much as known—to be felt as a way of knowing. Not that I began writing the poem then. But every time since then when I have stood in a room with Cy Twombly's work, I have felt two impulses: to largeness and to inclusion.
I began to draft this poem when I lived in New York, after one of many times someone stopped me and asked for directions.
The draft began as a conversation between me and an "offstage" character. Almost a monologue, but not quite. What drove me to the page is that I felt helplessly pleasant when asked for assistance. The sensation was awful on some level. I look like a nice, unthreatening person. And I am. Yet something about that is slightly intolerable. I kept writing to try to understand why. It has to do with power—power is at play in this poem. I am far from being a power-hungry person, but where is the line between helpfulness and manipulation? That question seemed the burning center of the writing.
For "poems" read, too, insurrections, from insurgere, "rise up." The word "Foxconn" was once the word "morning."
In the meantime I returned again and again, on my then-girlfriend's yoga mat I wasn't using for yoga, to images of the webbed netting to stop suicide at Foxconn. At the same time I learned gray foxes sleep in trees, in dens as much as 30 feet from the ground. I remembered hearing at 16 Beaver of treehouses connected by netting, occupied through the summer of 2011 in Puerta del Sol.
I wrote most of For Another Writing Back during the first year of my son's life. Motherhood created an urgent narrative situation in me: I had to write about my life. I wrote fast—it felt fast—and under the ardent sign of motherhood I chased subjects I'd glossed or abstracted or left out of previous poems. My sentence was the sizzling rope connected to the stick of dynamite under the door in a cartoon—out of time, out of time. Write it! detonating in my ear during my son's naps.
My dad is not a poetry reader. He reads nonfiction mostly. He's a Timothy Egan and Malcolm Gladwell fan, to name two. But when he came for a visit to Tucson this month, right after my new book, The Courier's Archive & Hymnal, had come out, he read it one morning before I awoke.
When I was an adolescent, I wanted to become a ballerina. I practiced with more dedication than I knew I possessed. Some nights I dream I can still dance the way I could at my best.
"Self- Portrait in the Body of a Whale" is telling the truth only in the first line, the rest is imagination. I did "come upon the body of a whale" on a trip to Block Island off the coast of Rhode Island in the middle of winter. There is nothing I love more than an island in winter. It is the only time you can have a whole beach to yourself. To me it is heaven. I grew up on an island, so perhaps that is why I feel so strongly about this.
I got obsessed with China. I used to live in Beijing, population 21 million. When I arrived I didn't speak Chinese, didn't understand it, and the city was alarmingly, indigestibly verbal. If not for a small group of expats who welcomed me into their world and gave me some sense of regularity I wouldn't have lasted long.
I work at a big state university: cement parking structures, orange construction mesh, scuffed stairwells that lead to halls where the clocks tell different times. Near campus there's a bubble tea place run by a friendly Asian couple. One day someone taped a piece of college-ruled paper to the wall with the question, "How Do You Feel?" written in ballpoint pen across the top.
When I think of this poem, I think of Math. I mean "Math uab Mathonwy," the fourth branch of the collection of Middle Welsh prose stories known as the Mabinogion. I wrote this poem after reading it.
I wrote "[taking away taking everything away]" in response to an assignment I gave my graduate students at NYU. I was teaching a course I called "Terms of Engagement." In this workshop the students wrote new poems every week in response to various modes of engagement including: ekphrastic, kinetic, narrative, collaborative, textual, hypnopoetic, historical, social, political. The first mode we considered was ekphrastic.
This poem is one of three in The Cloud That Contained the Lightning that share the title "Hibakusha," which is a Japanese word translating to explosion-affected people. It is used in Japan to refer to the survivors of the atomic bombings of Hiroshima and Nagasaki. I began this series of poems later into my writing of this collection, which centers around J. Robert Oppenheimer, known as the father of the atomic bomb.
A translation, whatever else it might be, is an attempt to recreate an experience. The tricky question is, whose experience? The German of Rainer Maria Rilke's Duino Elegies would have sounded very different to one of his contemporaries than it does to a modern German's ear, just as we recognize, say, Keats's language as being from an earlier period. Do you try to make Rilke sound slightly archaic to reproduce the experience that a modern German might have of the original, or do you try to find an equivalent for the experience that a German-speaking contemporary of Rilke might have had?
I wrote "The Descent of Man" after a long layoff from writing—or, to be more accurate, from trying to write, which is largely what I do. Poems written after a long layoff in my case usually turn out baroque, or more baroque than ones that are the result of working habitually. Not writing can be writing, too, but if it isn't the internal pressure that builds up in a real layoff, the fancy ideas that come from reading too much, and the overreaching resulting from all the built-up energies spilling over can create artifacts that are supersaturated, conceptually overdetermined.
We undertook this translation because we feel that interest in Mallarmé, among younger poets in particular, is dead. Our primary aim was to create translations that sound like his poems—that bring his music into harmony with the 21st century.
My childhood was built atop an apple orchard. Or rather, my childhood home was constructed on what used to be a former orchard. A single crab apple tree in our backyard remains. My friend Katie and I (both of us six years old) were digging in the backyard when we discovered a buried trash heap that must have been quite old.
I wrote the first draft of this poem in a third floor studio apartment in Mexico City. An aging architect owned the building, and his office stood adjacent to the three-story home, an office comprised of glass. His own Philip Johnson's glass house.
This poem contains one of my favorite ways to think and talk about poetry: "a game called all of this is hypothetical."
It also happens to be the very first poem in my first book You Are Not Dead—first firsts seem particularly pleasurable. In the summer of 2011, when I wrote this poem, I had moved across the country to Western Massachusetts for poetry school. Living in the midst of relentless new was both overwhelming and productive—I'd never before so consciously watched other people, inhabiting all manner of physical space, for seemingly no reason at all.
My friend was at work when a visitor to the building began to cough up blood. Medical help came quickly with no heroic measures needed, but the whole situation prompted a what if conversation among my friend's colleagues about deficiencies in their office emergency kit, which failed to contain a particular kind of transparent mask.
Usually it goes like this: Able-bodied poet evokes disabled veteran, or friend in some accident/illness, or figurative language thereof. We recognize these poems and we feel bad. We have been reading these poems since the Bible. It has gotten a little ridiculous, lately, with poems that use amputation as metaphor for Fragmentation or the Dead Father or Pick-Your-Sadness.
"On Dissonance" is a sequence of prose poems from the second section of my second book, Equivalents, the title of which I borrowed from a series of photographs by Alfred Stieglitz. His Equivalents—all several hundred of them shot between 1922 and 1935—are wallet-sized, black-and-white silver gelatin prints of the sky that are now considered the first abstract photography.
At readings, I usually introduce this poem as 'my love letter to New York City.' And while there's certainly a vein of sarcasm that runs through that comment, there is also a real earnestness that drives the poem. I think both represent the broad catalogue of emotions one can tangle with during a simple stroll in New York City on any given afternoon.
My mother died on Easter morning of 2007 when I was 22-years-old. Just weeks prior to this event, I'd been accepted to Saint Mary's MFA program in poetry. I spent the summer in Omaha, Nebraska cleaning out our family's house, which felt like closing a wound that kept reopening. Many nights I'd end up sitting on a closet floor reading her books, trying on her jewelry, or just living in the smell her clothes. Ultimately, I ended up donating almost everything.
Mario Santiago Papasquiaro is the pseudonym of José Alfredo Zendejas Pineda, the poet immortalized as Ulises Lima in Roberto Bolaño's novel The Savage Detectives. Born in Mexico City in 1953, Santiago came of age during a period of acute political repression, artistic censorship, and violations of academic autonomy that culminated in the 1968 Tlatelolco Massacre, in which hundreds of student protesters and bystanders were killed and injured, and over a thousand were arrested. The literary society Santiago encountered when he began writing poems in 1974 was stultifying and conservative. Turning for inspiration to Surrealism, Stridentism, the Beats, and Latin American avant-gardes such as the Peruvian group, Zero Hour, Santiago and a handful of friends—among them Bolaño—founded the revolutionary poetry movement, Infrarrealism.
All of the poems in the I Live Here Now section of Aphoria (which first appeared as a chapbook from Lame House Press) are untitled and appear with only a symbol of ( ) at the beginning of each poem. They appear this way because they are all a part of a quasi-linear thought process, or thought movement, with a focused concern on physical and emotional orientation, the way the body and mind moves through the world and how it relates (or doesn't) to its surrounding.
"They used to call him 'Blood and Guts Al,'" my father says about the newscaster who haunted my Cincinnati childhood, Al Schottelkotte. We're in my parents' living room, the day after my poetry reading at the University of Cincinnati. My father tells me this bit of information, though, after my first book, Hemming the Water, has been published, after my mother asks why I wrote this poem.
The same poem can serve several purposes. At my most single-minded, I began to understand this, against my will, in the years after my mother left the earth on May 22nd, 2008. For a time (and I'm not sure whether this time has actually ended, or will ever end) everything that felt like poetry also naturally resembled mourning.
"We Laid It Down. We Got Tired." was my attempt to be Rodeferian. Written long hand in a Xanax-and-alcohol stupor on a plane that seemed to be slowly crashing toward Memphis.
This poem began with its title, which emerged for me in the last few moments of a dream. The whole sentence surfaced at once, like a seashell revealed at low tide. My dream, as I remember, was an anxious one. I had to assemble an object composed of tiny, elaborate parts—screws and gaskets, a loose pile of flat washers that, maliciously, began to disappear when I grasped them.
I think that this might be the best place to say that I got a 5 on my American History AP test. Sometimes I think about sending WALKING ACROSS A FIELD WE ARE FOCUSED ON AT THIS TIME NOW to my high school history teachers—but I don't know if they would like it.
Had you driven over the bridge that night, you would not have seen the body in the bed. You would have seen the lighthouse. You may have seen the beacon flash. You may have, because it was late, seen the lighthouse as more of a shadow than a white, peaked structure. It would have been surrounded by snow.
Like Auden, I believe a poem should be more interesting than anything that might be said about it.
Jack Johnson, the first African American heavyweight champion, was one of the greatest mythmakers of the early 20th century. His skill in the ring and personality out of it were so outsized that almost anything he claimed seemed possible. When he said he hoboed from Galveston to New York City alone at age 12, everyone believed him. When he said he fought a 25-foot shark with nothing but his fists, no one questioned it.
The nuts that make up this poem were what I wrote on postcards to my friend the poet Genine Lentine. She was living at the San Francisco Zen Center, which has its sister temple, Tassajara, in Carmel Valley, CA, where I was going to live for the summer of 2010.
For a few years, I've been writing poems in which I use the natural environment as a force field and I try to receive frequencies, intuitions, from natural beauty to fuel and form a poem, in the same way radio waves and microwaves and light waves in the atmosphere carry content and meaning.
"After All These Years You Know They Were Wrong about the Sadness of Men Who Love Men" was written after a weekend in Palm Springs with my friend Matt. He lives in Los Angeles and invited me to join him and a group of his friends, most of whom I didn't know, to celebrate his birthday.
Comedians do more than make us laugh; they woo crowds into the world of a joke. With facial tics and anaphora and alligator shoes, they often sit us down in neighborhoods we distrust or are not privy to. They make us feel safe, activate the car alarm then crowbar the window for the knock off satchel sunning in the passenger seat.
This poem is the postscript to the 70-page title piece from my book The Year of the Rooster, which I spent most of a year or two writing, wrestling with the artifice of character. I was trying to figure out who this Roo was and why s/he kept bothering me, cutting a furrow at the outer-most edge of my thoughts by pacing back and forth there, exactly along the newly-forged neural pathway from too much thinking about Alice Notley's wonderfully vitriolic, fearless, mammoth, and terrific Disobedience.
As a teenager, yearning to leave my small hometown in the South and hungry for literature, I managed to get myself to New York City's Upper West Side. Without any money, lonely and out of my depth, whatever that could have been, I spent most of my time digging around for books of poetry to read in the dark innards of Columbia University's Butler Library. I'd studied Spanish in high school, and was on the prowl. Well, in no time, I found poems by Miguel Hernández.
Much of the work in my book, The Youngest Butcher in Illinois, was driven by a need to make sense of things from my life and, more specifically, family history. This poem is one of the oldest in the collection (I wrote it seven years ago). I included it because I thought it set up some of the book's concerns, and as such, it feels like the grandparent to others.
Inception: I found myself writing "The Contagious Knives" in a fury of contagion; a corrosive tide of rage and frustration at the state of the world, its steady state of exploitation, coercion, misery, metals, charisma. Everything comes out in the river, as Steve Jobs, now dead, said at TED: first time as industrial waste, second time as carcinogen. This is why the language of this play (as in life!) is itself toxic, tidal, runs headlong in riptides, loops in eddies, and piles up in scurfy little pools, reversing and resaying itself in the space of a single line or run of lines, rising in little violent crests.
As a poet I've become increasingly interested in sound: how it works on the surface of a poem to disturb the image reservoirs below it, how morphemes and phonemes carry semantics, how slight disruptions in each bend meaning, in clang association and oneirologic. I've become more and more involved in music, blues in particular, over the past several years, so I think that informs my poetry.
When I was in high school men started hitting on me and I wasn't sure what to do. Most of my life I'd been trying to be a less assertive presence in the world (the general opinion of my elders and peers was that I needed to exercise humility, be less bossy, be less of a know-it-all, start fewer fights). I wanted to be a good daughter/ sister/ Sunday school student/ girl-scout/ slumber party guest and I suffered embarrassment and even grief whenever anyone indicated to me that I'd been, for example, a combative goody-goody attention-hog.
"Hand-Me-Down Halloween" was almost the title poem of my first book. It has no epigraph, but if it did, it would have one of the following:
Some research recently revealed that it is not too much information that is stressful or overwhelming, it's too much information that seems to be meaningful. For example a walk in the woods is full of enormous input: animal sounds, plant and dirt smells, textures, air moving, piles upon piles of elaborate visual details, and yet a walk in the woods is considered relaxing.
"My syntax shift" is both at the heart of Desiring Map and an outlier in the book. It is the only poem that uses the sentence as unit of composition, hence its title—so, in that way it certainly works within a different cadence, a different logic from the other poems. The poem also marks a shift in the book—away from the dreamy renderings of place in the sequence that it concludes and into the more concrete spatiality of the Kansas plains.
The truth is I had gotten obsessed with Laura Ingalls Wilder books. Why are these considered girls' books? People are building log cabins! They're digging wells! They're getting chased by panthers and dying of starvation and eating the curliest part of the pig, the tail! They're sucking horehound, the most lawless candy! Territories are declaring statehood. People are waking up in the Dakotas at last.
I don't remember exactly how I wrote this poem. I remember that it occurred quickly and required only a little revision. It is my personal favorite poem in a collection I wrote calledHider Roser, but I'm not sure why. I like reading it aloud and always include it in my set list when reading to an audience.
After I'd written "Flemish," I realized that it contained many unresolved and insoluble puzzles, and that was fine with me. Belgium, Flanders, Benelux, Low Country—so many words associated with this tiny and stunningly gifted land. It speaks Dutch, French, German, and its own dialects.
May Be! was conceived of while I was in the throes of a poetic-critical double bind as the Occupy movement was surging in the Fall of 2011. At the outset of that momentous event, the first "bind" / subjective impulse I had to confront was the go! go! go! of the immediate moment.
Dutch is not my mother tongue, but it is my mother's tongue. Though my brother and I were not raised bilingually, we've heard it all our lives. The sound of the language first and always precedes its meanings to me (Frost's "the sound of sense"). In the past two years, I have been studying a small group of Dutch poets and writers, mostly reading them aloud. It's not a proper study, and the list is eclectic, guided by other people's bookshelves.
I'm disappointed when writers, in discussing their work, interpret it for their readership. This seems a violation of the literary contract between author and reader. That in mind, here I'll lay bare the ideas that undergird "Violet for Your Furs" without doing you the disservice of deciphering individual images. Cataloguing these ideas will require some name-dropping. Bear with and forgive me.
Many poems in my book The Frame Called Ruin (New Issues, 2012) investigate the intersection of beauty and destruction, of creation and devastation. "Blur" was inspired by the four people who died on January 29, 2007 when a suicide bomber blew up a bakery in Eilat, Israel.
Here are the first twenty strophes of our translation of Aimé Césaire's 1939 Notebook of a Return to the Native Land. This 725 line poem is a work of immense cultural significance and beauty. To date commentary on it has focused on its Cold War and anticolonialist rhetoric, material that Césaire only added to the revised 1956 text which turns out to be the fourth, and until now, primarily known version of the work.
When I was finishing up my book, my editor suggested I write a few new poems for the final section, poems that would perhaps move closer toward the idea of hope that sits in the book's title. This is one of three poems I wrote in that frenzied couple of weeks (I've never written so quickly in my life!) and, like most of my poems, I don't really know how it came to move from my head to the page to making any kind of sense.
When I was young, the penis crop was plentiful. Every year, a bountiful harvest. Then came hot flashes, mood swings, sleeplessness, and a long—very long—penis famine. Thus the first two sentences, which floated into my head one day. I remember being immediately pleased with my simile.
I began Partially Kept in dialogue with the great 17th century essayist, Sir Thomas Browne while reading The Garden of Cyrus. My career-long practice has been to link my own writing to the writing of others and often to those I have taught (Shakespeare for Why/Why Not, W.G. Sebald forVertigo), so that intellectual inquiry and creative inquiry inform one another, so that I find myself in the magnetic field of someone else's range and diction, so that I am moved out beyond mere self-reflection.
I should say, first, that this "The landscape" poem is one of a series of eight all titled "The landscape." In this series, and in the other series in In the ice house, the everywhere and the nowhere—the everything and the nothing—are prominent features, which for me presents an interesting problem in writing poetry. We are often told to avoid general or vague language in poems, the "heart" that is always about to become a clichéd symbol of love.
I began work on "The Maud Poems" several years before my mother died. I wasn't interested in autobiography but I wasinterested in my mother's particular vernacular and vocal imprint. She was an older mother for the time, she'd grown up in Topeka, Kansas, after the first world war; her father had left, her mother Olive ran a boarding house, and her uncle Meldrum owned a funeral parlor
This earlier version of the poem had the same basic stanzaic shape, action, and deployment of images as "Mappa Mundi" does now but its tempo and temperament were much different: the imagination was less musical and there was far less torque between what was being seen, felt and spoken.
Writing about Mary Jo Bang's new translation of Dante's Inferno (Graywolf Press, 2012) in Vanity Fair, Elissa Schappell declares, "readers who once considered Dante's terza rima rhyme scheme and allusions to 14th-century Florentine politics as their own circle of pain will find Bang's free-verse approach, wit, and poetic pyrotechnics heavenly."
Below we present Bang's translation of the first Canto, with illustrations by Henrik Drescher (all of which can be enlarged with a click). The book party will be Friday, September 7, at 7:30 PM, at A Public Space (323 Dean Street, Brooklyn).
This poem originally stood on its own under the title "Collapse." It was one of the first pieces I wrote in what became the title series of my book. I was intent on writing seriously about death. The Iraq war was just beginning and was very much on my mind. I was thinking about my own lack of power and courage in that context.
It's funny how poems tend to get generated in my mind. They never begin with what, in my teaching days, students called "ideas." Rather, they begin with some sensory recall, more often than not auditory. This can be the sound, say, of a certain woodpecker on a very still spring morning; a snatch from an old Monk tune; or, as in this case, a small chunk of conversation that has lodged itself in mind, whether or not I knew it had.
"De Forest Station" is a poem from my collection, Meat Heart, that explores learning to live somewhat peacefully in the body through the help of a map. The map is channeled by other people's voices. Once you have the map you get to keep it, but only if you share it with others.
When I was younger I was really into horror movies. Back then I read a lot of articles in Fangoria in order to find different horror movies to seek out, and there was a write up about a rerelease of Lucio Fulci's The Beyond. I found it at this local hole in the wall video store (Video Village, long since closed) where tapes were fifty cents to rent for five days.
Mostly, for me, writing is a feral act. Mostly I am consumed by a hunch, irritated, harassed or made uncomfortable by something I can only clumsily accuse. I approach images and words as though they are a criminal or maybe just a far-flung snarl, and maybe that snarl is coming from me—I don't always know, though mostly I am the only one in the room.
Xi Chuan (pronounced Sshee Chwahn, not to be confused with Sichuan, the province), one of contemporary China's most celebrated poets, was born in Jiangsu in 1963 with the name Liu Jun, which means "army," reflecting the ethos of the era.
"Northern Baroque" emerged out of my thinking about visual art, and wondering how certain highly formal still lifes achieve their potency, their sense of urgency and intimacy. I also actually did have a vase of flowers before me when I wrote the first draft, and I couldn't tell if the flowers were dead or alive—but there they were, nonetheless, upright.
Now approaching ninety, Yves Bonnefoy is often acclaimed as France's greatest contemporary author. In selecting and translating the pieces for Second Simplicity, an anthology of his recent verse and poetic prose, I have been profoundly impressed by his enduring freshness of vision, his unabated will to set out anew.
For a number of years—and I suppose still—I've felt somewhat helplessly concerned with the figure of the Greek Chorus. I'd written a number of poems revolving around the Chorus before this one: a sonnet once, and another poem based on Eurpides's Herakles.
I almost never write a poem with a sense of what it will be about. I don't use preexisting forms (traditional or otherwise), writing exercises, or poetic formal devices to generate material. At this point in my writing life, I do tend to think about a whole manuscript while I'm composing individual poems, so I might begin a poem in relation to a manuscript with the thought that it should be a longer poem, or a shorter one, or perhaps lighter in tone, or maybe more fierce. But overall, I prefer to keep the parameters loose.
The world of this poem grew from a simple wish to play on the word "felt." I like the fact that the word houses both the material and the act of feeling (or the act of having felt). Also, at the time I wrote the poem, I was very interested in Joseph Beuys's work and was learning about his symbolic interest in materials like felt and wax.
"Bliss Street" was written in and about Beirut, where I lived for about a year, in faculty housing of the American University. My husband was teaching law, and I was tending to our two young sons. My first-grader was in the American school, which abuts the university campus; I was able to see a fragment of it from my balcony.
A few years ago I was in a writing group with some amazing poets—Noelle Kocot, Dorothea Lasky, Anthony McCann, Damian Rogers, Matthew Rohrer, Richard Siken, and Matthew Zapruder. The idea was we'd each write a poem every day for a month, and we'd take turns giving writing prompts.
This is a "distranslation" of the first poem in Alcools, by Guillaume Apollinaire. To say that I wrote it is less an offense than to say I translated it. Though it has everything to do with its correspondent text, the purpose of writing through "Zone" was not to reproduce it but to create an original work—the only real impediments put on the piece being its influences, which are many.
"The Figure" is an attempt to capture this mysterious, mercurial process. As a child, I remember painting in the art room, my favorite room at my elementary school. When my son went to kindergarten and we were given a tour of the art room all those memories of art class came forth. I was both compelled and terrified. What would I produce?
This poem was written over the course of several months, during which fear vied with hope and the idea of "trying" anything at all became almost laughably fraught. The poem became, in a sense, a meditation on effort, in which the suspension of effort was the aim of my efforts.
This is the first poem in Mean Free Path. I wanted the dedication to be integral to the book, not something set apart on a prefatory page. Because the poems are largely concerned with the possibility of writing and being for, with finding a mode of address capable of something other than ironic detachment or expressing prefabricated structures of feeling, it seemed like cheating to have a prose dedication external to the poems and their pressures resolving all of these issues as if by fiat.
In the summer of the year 2008, the Author, then in ill health, had retired to Berlin, where, in consequence of a slight indisposition, an anodyne had been prescribed, from the effects of which he fell asleep in his chair at the moment he was reading the following sentence, or words of the same substance, in Grammar, Gesture, and Meaning in American Sign Language: "Fauconnier and Turner argue that conceptualizing a situation in which the single monk becomes two monks, and then meets himself as the two of him walk in opposite directions involves a blending of mental spaces."
"Army Cats" is the title poem of a book that will appear next spring. It comes out of a trip I took in the summer of 2007 when I went to Lebanon and Syria to do some journalism about Palestinian refugee camps, and the aftermath of the 2006 Lebanese Israeli War. I arrived just at the moment that the worst internal violence since the 1975-1990 Lebanese War broke out.
This poem was one of 32 "recipes" commissioned from various writers by the visual artist Suzanne Bocanegra (the project was published in the June 2010 issue of Esopus magazine).
There was a small neighborhood park in Carroll Gardens where I would sit almost every day after the weather turned warm. Most of the people who stopped in the park were there to simply be: two-year-olds with their fatigue-ecstatic mothers, quorums of older news-bearing women, a guy staring at the grass, patients from a nearby hospital who had been wheeled into scraps of shade for an hour. I came to love this place.
This poem is a direct response to the introduction of Coleridge's "Xanadu-Kubla Khan" in which he explains thata most unwelcome visitor from Porlock disturbed his "anodyne" vision and ruined his inspiration for his poem.I was always fascinated with this poem: who was this friend? What business was Coleridge called to?
How did I come to write this poem? Well the oddest thing started me off.
A friend told me that when she was in Chennai in the summer she had trouble with her computer. It wouldn't work. So she got a tech guy in, and guess what—there were insects in her keyboard. I had never heard of such a thing before but later, asking around I did hear similar stories from others. In any case what my friend told me stayed in my head.
At first the poem "The Cup" came in response to an assignment I gave myself: try for 14 lines and a single domestic image. Obviously I didn't make it! But focusing on the cup let me channel the narrative drive of the poem. Originally it was only about how the cup smashed, the pieces of the event all squashed into 14 lines.
I wrote "Lunaria" almost by accident, while working on another poem, which was about Judas and was not going well. In my poem, Judas was an ordinary man. Everyone knew Jesus had to die, including Jesus himself. Somebody had to make it happen, though, so that the story could unfold, and in that arbitrary way He has, God had chosen him. My Judas was like a character in a novel, who appears to be free, although in reality the writer controls him completely, only the Judas of my poem had the consciousness of a real person, and was completely bewildered to find himself standing on the street with that bag of money in his hand. It was as if Anna Karenina suddenly found herself on that train platform and thought, What am I doing here? Actually, I have alternatives!
My poem grew out of my thinking about a new dishwashing soap that I had discovered in a supermarket, a nicely colored liquid in a curvy bottle with an unusually abstract name—Method—which I associated with Descartes' Discourse on Method.
"Hollywood & God" is the title poem of my recent collection of poems, a book that combines poetry and prose, and coming late in the sequence distills and reflects back on the issues of the entire proceeding. From the outset, I viewed the alliance in the title as the intersection of two streets – Hollywood & Vine, Hollywood & Gower, and Hollywood & God. The book, as well as this poem particularly, tracks a continuum along what traditionally you might style transcendence and what we've today come to call celebrity culture.
This poem arose from a coincidence: the phonetic and visual (but not, as far as I can tell, etymological) sameness between the word for a small dun-colored game bird and the verb, often used in reference to the heart, that means to wither or falter or give way to decline.
I wrote this poem as part of a collaboration I did in spring of 2008 with the painter Chris Uphues. Chris and I met at a bar after a reading I had given, and he told me he was a painter. I had a feeling he would be good. He sent me photos of ten paintings via email and I was blown away by his work, so I took his titles and wrote ten corresponding poems.
"The notion that wants do not become less urgent the more amply the individual is supplied is broadly repugnant to common sense. It is something to be believed only by those who wish to believe. Yet the conventional wisdom must be tackled on its own terrain. Intemporal comparisons of an individual's state of mind do rest on technically vulnerable ground. Who can say for sure that the deprivation which afflicts him with hunger is more painful than the deprivation which afflicts him with envy of his neighbor's new car? In the time that has passed since he was poor, his soul may have become subject to a new and deeper searing."