Category Archives: Poetry

Reverie

“The image can only be studied through the image, by dreaming images as they gather in reverie.” ~Gaston Bachelard

I’m immersed in Bachelard’s The Poetics of Reverie, which has a subtitle I adore:  “Childhood, Language, and the Cosmos.” In the book’s first section, however, I felt myself a bit bogged down because the reverie of words (language) he describes deals with word gender. That works for French, and for most languages [or so I understand], but not for English.

Initially, then, I found myself wondering why I was reading the text. But I like Bachelard’s style, enthusiastic and looping and always replete with inquiry upon inquiry; and I love his dedication to and defense of poetry. Not all philosophers have been so kind to poetry.

As I was driving to work one morning, however, I found myself dwelling upon the above chapter about the reveries words can inspire. I fell into a recollection of myself as a very young child, the way I loved to peruse the dictionary. Even before I could read, the heavy tome with its onion-skin pages and glossy color plates of the flags of the world or of gemstones appealed to me as a room in which to become lost, a forest of leaves in which to cover myself or to lie upon, a river of language in which to be immersed. When I was older and a more capable reader, I browsed the examples, the multiple meanings and uses, the parts of speech and the etymologies of the words.

Ann E. Michael

Bachelard, I realized, is correct. The contemplation of words themselves leads to reverie, to thinking about thinking, to making dreamlike concatenations that chug through the consciousness and lead to imagination. His example involves contemplations and imaginings about the genders of words and how they suggest all kinds of interweavings and reactions, but noun gender need not be the motivating inspiration. For me, etymology accomplishes the same ends.

Contemporary adult life offers few chances for reverie. My commute to work is often the only time during the week when I can daydream a bit. My best opportunities for reverie are during a walk outside or while gardening, but I don’t get to do those things every day. I agree that reverie or daydream leads, very often, to poetry or to philosophical innovation or understanding; and Bachelard’s initial chapter on the rambling, amusing, aimless process of reverie makes me wish to go back to my childhood days of less responsibility and more imagination. Of course, that is impossible, but of course, that is part of what the philosopher intends (there is a later chapter on childhood reverie…I will be reading that pretty soon).

Boredom invites reverie. Who, in these busy times, with the many entertainments we carry in our pockets, is ever bored? So many of us, when bored, simply turn off the iPhone or the TV and sleep.

“It is a poor reverie which invites a nap.” ~Gaston Bachelard

My upcoming musings on this book will probably include garden reveries. Or memoir. Or etymology. Who can tell?

Haiku impressions

The reading Friday at Blind Willow Bookshop, a lovely used bookstore specializing in literature and unusual or rare books, combined the voices and perspectives of three poets who are exploring Japanese poetic forms.

Here’s a summation of my own remarks, though Marilyn Hazelton and Ann Burke had much to share. I’m not including the poems we read, either–Ann Burke’s haiga-like tanka poems coupled with art work or photos were lovely, though, and I wish I had files to post. Marilyn included work from the tanka journal she edits, red lights.

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I learned about the haiku form long ago, but I can’t remember exactly when. I think it may have been during my junior high school years, though I certainly didn’t learn it in school—there was no poetry taught at my schools. I was exposed to poetry through other means: church, nursery rhymes, my own reading, relatives, song lyrics.

Initially I learned the syllabic approach, 5-7-5 syllables in English. That is the way the form was taught in the USA the 1970s. And it was clear to me early on that haiku is visual or physically-based; the imagery is sensual and real—in other words, what is in the world is in haiku, and vice versa. So it is not imaginative in the sense of fiction or dream. It engages the imagination in other ways, which means the poet has to corral quite a bit of compressed and specific imagination into a few words. The intense compression of these brief forms requires the poet to work hard at expression through the tightest possible means in language without employing what we in the Western traditions term symbolism. Classic Chinese poems often used symbolism, but Japanese poems relied more on allusions of several types (historical, poetic, seasonal). We tend to term these “symbols” (ie, cherry blossom equals spring romance) but that is not actually an accurate way to define the way concrete imagery is used in Japanese poems.

Later, after more study, I learned some details and contexts for the seasonal allusion, the references to previous poets or poems, the cutting word, the reasons haiku in English may need to be briefer than 17 syllables for maximum effect; and I found out about related forms of Japanese poetry such as haibun, renga, tanka. I met Marilyn Hazelton and learned through her, as she studied and taught the forms, in English, to other aspiring writers. Japanese poetry forms may seem to follow arbitrary rules, but that is no more true than asserting that western sonnet forms follow arbitrary rules.

My study of this poetry brought me a better understanding of the Imagist poets of the early 20th century in the sense of how they were influenced by, and how they misinterpreted, the haiku poem, crafting in the process some critically important poems for western readers. Poetry is a marvelously flexible art, elastic and willing to morph as its authors are willing to experiment. I think of much of my work as based in a ‘haiku moment’ for inspiration or image.

I will be the first to assert that haiku is not my métier, nor is tanka form. My poetry—and I’ve written a great deal of it—is generally more Western in style and tone, no surprise given my cultural and educational background. Yet haiku appealed to me immediately because, I think, of my interest in visual art and in the natural world.

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My attraction to haiku is therefore image-based. My interest in Japanese poetry also increased after I studied Zen. The two are inter-related, also no surprise. In my notebooks, and on random pieces of paper I use to jot down ideas for poems, nine times out of ten the phrases I want to capture are physical images. Later, I may try to craft these jottings into a haiku. More often, they get employed as lines in other types of poems.

Sometimes, a poem I attempt to write as haiku becomes a tanka…or a longer poem in some other form (free verse, blank verse, etc.); in any case, the sensual first impression is usually what I first observe and note. My own interest in nature and my physical environment make haiku-type poetry sort of an inclination. So the inspirations and influences for me include Zen, visual art, physical or concrete imagery, nature and season, brief observation, compressed or concise language use, and a quality of universality in the poem.

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For writers who have done Westerners the service of exploring, interpreting, and explicating haiku and the Zen practice that leads to the haiku moment, I suggest Jane Hirshfield, Robert Aitken, William Higginson, Penny Harter, Hasegawa Kai, Earl Miner, Richard Wright, Gary Snyder.

Another poetry event

To anyone living in the Lehigh Valley area of Pennsylvania, a reminder about my two upcoming readings–one this Friday (April 20, free, at Blind Willow Bookshop) and one on Sunday the 29th. The event on the 29th is a fundraiser for the Lehigh Valley Arts Council, so there is a $10 fee.

Details are on my Events page.

This weekend, after the bookshop event, I plan to post a recap here. Meanwhile, enjoy the blossoms of springtime.

azaleas by Ann E. Michael

redbud

photo: Ann E. Michael

Chapbook review

I was away for a few days…and while I was in North Carolina’s Blue Ridge Mountains, Dave Bonta posted a nice review of my last chapbook, The Capable Heart, at his site vianegativa.

Thanks, Dave!

A longer posting of my own should appear here in a few days, after I have readjusted to the lower altitude of my Pennsylvania valley.

Water thoughts

This weekend brought some rain to our valley. Gratitude! The rain softened the soil and the air, bringing haze and drizzle and greening up the parched grasses. Nonetheless, a little searching of weather-history sites revealed that this March was the fourth-driest on record, with only .92 inches of precipitation; the average precipitation is 3.4 inches. The region is also 6″ below average for the first quarter of 2012. As a gardener, I take my “stewardship” of the earth and its resources seriously; and water is one of the most valuable resources that we take for granted here in the United States. I can conserve water at home through many means–and I have established fairly resilient plants in my ornamental gardens (if it survives drought and flood and the deer don’t eat it, I find a way to make it look pretty in the yard). There isn’t anything I can do to change the weather patterns, though.

Given my deep concerns about cyclical drought, long-term equitable distribution of water, potable water and clean waterways, I thought I would use this post to share the title poem of my upcoming collection, Water-Rites. The publishers at Brick Road Poetry Press will be bringing the book out this spring. If the year continues to be a dry one, then it’s strangely suitable for this particular collection: I wrote many of these poems during a serious drought cycle. Some of the poems deal with the loss of a close friend, too. For me, drought and grief are metaphorically closer than “floods of tears.” Loss felt more like the numb, dry absence of drought than like the gift of rain.

For some soothing photos of running natural waters, I recommend Don Schroder’s series taken at Rickett’s Glen. Meanwhile, I’m grateful for the rain.

Water-Rites

I.

I take my shower
lean into water’s hot stream
too many minutes
lathered in steam, guilty skin,
greedy pores

knowing the well empties
and the earth’s in drought.
II.

Off Nova Scotia’s south coast,
small islands spring fresh water
surrounded by sea. We hauled
the pine-brown but potable
stuff from the well in buckets,
heated it on the woodstove,
dabbed at our bodies, and dried
in the sea wind. We drank it:
pine-water coffee—water
sprung from nowhere, gift of rocks,
glaciers, lost to eons.
III.

The Mideast erupts again.
Retribution. Religion. Water-rights.

Oil will get you water;
water will buy you oil.
Barrels and tanks,
tanks and barrels—

each has a meaning
for water and warfare.

I reach for soap.
IV.

On the Caribbean volcanic island,
rain’s the only source. Rock
carved into cisterns. Water
hauled in like gasoline, by truck.
V.

We do not need to be so clean.
The industry of soap cajoles us—
promoting glycerin, methyl paraben
and the lauryl sulfates—
exposes our filth and offers
deliverance from evil.
Lye and tallow. Better to wallow.
The cost is less. Think:
Were we not formed of clay?
VI.

Tap
like sap
provides
sustenance.

Water
up root and
down:
taproot.
Soil            unsoiled
needs rain

silt       sand       loess—
water-loss

water’s
lost,
VII.

runs down my body,
thirsty skin, down drain
into pipes, tanks, drainage field
where ryegrass covers meadow,
percolates through sand, loam; disperses—

if it should rain
I will run out, arms wide,
mea culpa, mea culpa,
so many parched human beings
desiccating earth and I—
I thought to wash
my trespasses away
in something other
than rain.

© 2012 Ann E. Michael

Adrienne Rich

Adrienne Rich has died at 82, a long life for a person who dealt with a chronic and often debilitating condition (rheumatoid arthritis). Physically small and often frail-looking–almost elfin–her appearance and her personal modesty belied her strength, influence, assertiveness. She influenced poets and feminists, women and men, and challenged the social norms in many ways. I discovered her work in the 1970s in a women’s literature class at college, and her thinking as well as her writing enriched my view of the world.

Rather than try to collect my own thoughts about this poet, essayist, and influential human being, I’m going to post some links to others who have done so. I’ll update as the week goes on.

Here’s a videopoem of “Diving Into the Wreck.” Thanks to Dave Bonta for pointing me to this film.

http://reveriesunderthesignofausten.wordpress.com/2012/03/29/foremother-poet-adrienne-rich-1929-2012/

http://www.midwayjournal.com/May09_Interview.html

http://omstreifer.wordpress.com/2012/03/29/adrienne-rich-may-16-1929-march-27-2012/

http://coldfrontmag.com/features/essentials-adrienne-richs-the-dream-of-a-common-language

A wonderful interview from 1999 by Michael Klein, who was a good friend of Rich’s, is available here–and is a must-read.

Kenny Fries just published this tribute, too.

And this from the Nation, which includes some new poems!

Now, a website of reminiscences and memorial tributes…

…and a radio commentary on Rich by Jan Clausen.

Best of all, this recent essay by Michael Klein, on Ploughshares’ blog.

Ambitious poetry

Recent discussions with a few colleagues brought up the question of what poetry “should” do. This question is seldom considered philosophical–it generally occurs among inquiries more aesthetic or educational in nature. Any time we have a “should,” though, we may be more clearly looking at an “ought.” Which brings us to philosophy. Or to poetics.

A friend stated that poetry should have aims, aims that relate to society. She prefers the poem that speaks to “all” to the poem that speaks to (or of) the individual. This is a rather grand and ambitious “ought” for poetry, but it strikes me as valid.

Another colleague defends what she calls the “quiet” poem, the one that circles in on itself with some kind of reminder that interior reflection is occurring in the poem. This sort of poem also has, it seems to me, an ambitious project (I hate that term, but I’ll go with it for now): getting the unknown reader to feel he or she is authentically inside that poem’s quiet, particular, individual world. Have you ever tried to convince another person to understand your perspective on anything? It is never an easy project. It can be accomplished sometimes. To accomplish it through a poem is, frankly, marvelous. So this poem is as ambitious as the poem that endeavors to speak to all.

Donald Hall has a significant essay on this topic, ambition and poetry, and edited an anthology of essays on various views of what poetry’s ambitions might be. I turned to it again last night when mulling over the topic of what poetry “ought” to be, or to do, or to say.

Hall begins, “I see no reason to spend your life writing poems unless your goal is to write great poems.” And that is certainly ambitious.  I do feel that is my goal; I don’t expect to attain it. Heck, if I produce even one poem that is great, I will be happy. Hall also writes, “We develop the notion of art from our reading.” Those texts are our models of what great, ambitious, lasting art (poetry) is.

So we develop the idea or aesthetics of what great art is through our enjoyment, study, acculturation, through the models we choose–or reject–ourselves.

Hall wanders into the controversy over writing workshops (the essay is from 1983). I’m not interested in that discussion for this post. But I constantly remind myself of this section from his essay:

Of most help is to remember that it is possible for people take hold of themselves and become better by thinking. It is also necessary, alas, to continue to take hold of ourselves—if we are to pursue the true ambition of poetry. Our disinterest must discover that last week’s nobility was really covert rottenness, etcetera. One is never free and clear; one must work continually to sustain, to recover. . . .

I’m prepared, on my best days, anyway, to accept that I will never be free and clear, that as a poet and as an amateur philosophe (is there any other kind?) I will always be working, continually taking hold of myself, trying again and again to become better by thinking. For me, this is what poetry ought to do.

Next door to God

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I’m currently reading a new Tupelo Press anthology of essays by poets, A God in the House. The essays are based on interviews with poets whose work engages with “the spiritual” or with “faith”–often in similar ways, though attained through widely varying means and experiences.

It’s lovely to savor these thoughtful commentaries on the spiritual. Many of the poets wrestle with the concept of faith, soul, or the spiritual as they try to put into words what that feels like. Poets know better than most people the limits of what we can say in words, and they push at those limits in and through their work.

And this book features some marvelous poets. Jane Hirshfield, Jericho Brown, Grace Paley, Carolyn Forché, Li-Young Lee, the incomparable Alicia Ostriker, Gregory Orr (one of my long-time favorite living poets), Annie Finch, and many others. Even if you are not interested in poetry all that much, the anthology is valuable if you are interested in the spiritual and how we obtain, understand, incorporate, question, and express it.

Can we attain transcendence? Or immanence, instead? Or are we fooling ourselves altogether?

Good questions.

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When I was a very young child, my father, a newly-minted Presbyterian minister, was assigned to a small parish in a rural area of New York. We lived in a ranch-style manse across the driveway from the 19th-century shingle-style church. We had a large yard which bordered a large field. There was a post fence along the side of the church yard and a barbed-wire fence in back of our own yard. I liked to sit on the post fence’s wooden stretchers and pretend I was riding a horse. There were tall pine trees at the front of the church and I recall watching birds fly in and out of the trees and also in and out of the eaves of the steeple. All of those memories I now associate with church-going and whatever the spirit is. I always think of that time of my life as the days I lived next door to God.

I was raised in the culture of God-the-Father. My father, my human father, was the man behind the pulpit. He wore flowing robes and he sang beautifully, but what I liked best was watching him as he opened the enormous Bible and read from it.

Yes, I was a bibliophile from the get-go.

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I suppose the words mattered. Certainly the verses, the language of scripture, its pacing, and the intonation of recitations, creeds, and prayer–not to mention the music–made their way into my forming mind. I learned to read by doodling on church bulletins and pretending to follow along in the hymnals as we sang “Fairest Lord Jesus” or “The Doxology.” But I do not recall ever believing, quite, that the words equaled the spirit, even though I memorized that in the beginning was the Word and the Word was God.

Now I have come around to words again. (Writers do that.) I am not in the right frame of mind to write eloquently, as the writers in A God in the House have done, about how my poetry, my practice, my beliefs entwine with the spiritual. Perhaps someday I will, inspired by the thoughts and reflections of others. It is a brave thing, to write about one’s faith–so personal. I am grateful to the editors (Illya Kaminsky & Katherine Towler) who envisioned this project and interviewed the poets; and I heartily recommend this book.

Cognition and storytelling

Apparently, there has been considerable excitement in the humanities and literature worlds concerning new discoveries in neurology and cognition. And while I have been thinking and reading along these lines for years in my own auto-didactic way, I’ve only recently stumbled upon the texts that specifically explore this cross-fertilization of the arts and sciences.

AWP featured a standing-room-only panel on the topic of Cognitive Science and Stories that alerted me to the work of Brian Boyd (more books for the to-read pile), for example; and just this past week, Annie Murphy Paul contributed an opinion essay titled “Your Brain on Fiction” to the New York Times Sunday Review. Oliver Sacks has, of course, worked along this territory for many years, mostly from the neurological viewpoint with research that suggests we consider the relationship of brain science to art. Leonard Shlain has written intriguing books on the subject as well; though he focuses on gender and visual/textual creativity in his earlier work (see The Alphabet vs. the Goddess), his more recent Art & Physics: Parallel Visions in Space, Time, and Light takes on the “rational” brain (physics) and the world and work of art.

The science, which encompasses both ‘hard science’ such as neurology and social science such as psychology, uses fMRI brain imaging and other forms of feedback measurement to record the brain’s responses to imagery, metaphor, descriptive writing, emotionally-evocative literary passages, and other stimuli to gauge how the human brain takes in such stimuli and which regions of the brain ‘fire’ when encountering the materials.

Associations rule. Reading is associative.  The word “coffee,” as it turns out, engages the olfactory regions; so does the word “cinnamon.” Tactile word cues (velvet, sandy, rough) arouse sensory regions, notes Paul. We associate meaning with senses. Or perhaps senses evoke, in the human mind, associated meanings. This is one reason poetry engages its readers; poetry works via a series of different types of arousals by association–allusions to previously-known information, metaphorical associations by means of sensory-related responses, stimulation of brain regions by word-association, and also cultural or social association (contextual cues, which may also be physical). All of this means that the act of reading is an embodied behavior–we are actively encoding physical settings and sensations while we read!

Human brains fill in the gaps in memory and in event-series that may or may not be related. Some of these neurological studies suggest human brains seek patterns…and construct narratives. Hence, story-making may be something that evolved along with the human cortex while we learned that a growl in the bushes is likely to equal a hidden predator and that if we convey this information by narrative (or metaphor) it will be recalled more quickly by our listener. If the listener is offspring, and the lesson is remembered and used appropriately, the genes survive another generation. That scenario sounds pretty scientific/Darwinian; but to a writer or artist, the scenario is lush with the possibility of story-myth-legend-fiction-poem-art.

Storytelling facilitates sociality, claims Tim Horvath, who explained to the attendees at the AWP conference that sociality is the biologist’s “reciprocal altruism.” Because fiction meta-represents life, it simulates possible life scenarios that can help to foster understanding and offers a way to test out possible social reactions to behavior in a way that is low-risk for the reader. The reader can imagine, or play along, with the rebellious heroine and through this adaptive play (reading can be a form of play) learn how others around her might react if she were to try a similar form of rebellion. Indeed, Marilynne Robinson agrees that “The great virtue of the best fiction is to teach compassion.”

I look forward to learning more about the cognitive side of human narrative. I love it when science and the humanities discourse with one another.

A different kind of difficult book

Elie Wiesel’s Night.

Jerzy Kosinski’s The Painted Bird.

André Schwartz-Bart’s The Last of the Just.

Dominique Lapierre’s City of Joy.

Dorothy Allison’s Bastard Out of Carolina.

I’ve been posting about books that I love in spite of–or because of–their challenging material in terms of philosophical thinking or complex scientific explanations. It occurs to me there are other forms of “difficult,” and that topic is yet another challenge for the reader to encounter. These are books I found hard to read because of subject matter, events, descriptions of things I cannot imagine, or maybe can imagine, facing.

Sometimes a book seems difficult for me on these terms because of where I am in my life; it might not be difficult to read at another time. An example of this sort of book is Franzen’s The Corrections, which features among other characters a family patriarch in serious physical and mental decline. My family is experiencing something similar right now, and I cannot quite bring myself to open the book lying on the nightstand.

On the other hand, reading can help me get through tough situations. Maybe I’ll get to The Corrections soon after all if I recall how fiction and poetry–especially the latter–have often been tools for coping or “processing.” It was immensely difficult to read Marie Howe’s What the Living Do close on the deaths (by AIDS) of three friends, but I felt understood when I read her work; I can’t explain it any other way. This exchange is almost magical to me: I do not necessarily feel I understand the writer, but I feel the writer has understood me. Without knowing me. Without knowing a person like me would ever stumble upon and read the pages…yet the text makes me feel understood.

I love that feeling, even though the rational side of me cries “Magical thinking! Coincidence! Self-delusion!”

So that’s art.

Some tough books to read: Gray Jacobik’s Little Boy Blue, Chana Bloch’s Mrs. Dumpty, Donald Hall’s Without, Heidi Ann Smith’s The Carol Ann Burns Story, Selah Saterstrom’s The Meat & Spirit Plan, Allen Ginsberg’s Kaddish, Gregory Orr’s Gathering the Bones Together…and these books, mostly poetry, do not include the more traditional memoirs and non-fiction accounts of difficult events that are available to the reader. You could spend your entire life reading about the Holocaust, and some readers do just that.

Why would I willingly subject myself to disturbing reading? I kind of wonder about that myself; it’s not the same impulse that makes me want to read a thriller or mystery novel. In those cases, there is a promise of entertainment in a voyeuristic form and the outcome usually promises a kind of satisfaction that these other books do not always offer (read: hope, redemption, solutions…)

But I will hearken again to something I heard Marilynne Robinson talk about (see my previous post on AWP). She suggested that literature teaches us compassion. Good art of any kind opens up a new kind of perspective, one that thrusts us out of our own comfortable, individual points of view and therefore allows us–in the safety of our own homes, secure in the knowledge that this is only a book and is not happening to us–to engage with the “other.” When we feel empathy for a problematic character, when we feel we understand another person’s plight, even a fictional person, we move away from narcissistic isolation and into engagement with other beings. And that is compassion.

And that is also art.