I don’t know if anyone’s reading it, but poets are still flying around the country going from lectern to lectern.That circuitry has become very well-established.
I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we’re drifting away from the casual beginning of the poem into something a little more serious.
Some difficulty is warranted and other difficulty I think is gratuitous. And I think I can tell the difference. There are certainly very difficult poets that I really enjoy reading.
I can’t picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I’m making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.
I have one of these early memories where I’m in the back of my parents’ car, a place I loved to spend a lot of time as an only child, not having to fight with venomous siblings over the only toy.
As soon as I start to write I’m very aware, I’m trying to be aware that a reader just might well pick up this poem, a stranger. So when I’m writing – and I think that this is important for all writers – I’m trying to be a writer and a reader back and forth.
I see the progress typical in some of my poems as starting with something simple and moving into something more demanding. This is certainly the pattern of weird poetry.
I mean, the sonnet will simply tell you, that’s too many syllables or that’s too many lines or that’s the wrong place. So, instead of being alone, you’re in dialogue with the form.
I’m just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I’m trying to interrupt some silence in their life, which is utterance.
I was an only child, a very late child, born to parents who were both 39 at the time, which was very late back then. That kind of confirmed my sense of being the center of the universe, which I guess every child feels – children and poets both tend to feel.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn’t give public readings very often, certainly not – there was no circuit of schools.
Clarity is certainly a way toward disorientation because if you don’t start out – if the reader isn’t grounded, if the reader is disoriented in the beginning of the poem, then the reader can’t be led astray or disoriented later.
Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem’s room and feel the walls for a light switch.
