Marilynne Robinson
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@jinxxking
Marilynne Robinson
“I am astonished in my teaching to find how many poets are nearly blind to the physical world. They have ideas, memories, and feelings, but when they write their poems they often see them as similes. To break this habit, I have my students keep a journal in which they must write, very briefly, six things they have seen each day—not beautiful or remarkable things, just things. This seemingly simple task usually is hard for them. At the beginning, they typically “see” things in one of three ways: artistically, deliberately, or not at all. Those who see artistically instantly decorate their descriptions, turning them into something poetic: the winter trees immediately become “old men with snow on their shoulders,” or the lake looks like a “giant eye.” The ones who see deliberately go on and on describing a brass lamp by the bed with painful exactness. And the ones who see only what is forced on their attention: the grandmother in a bikini riding on a skateboard, or a bloody car wreck. But with practice, they begin to see carelessly and learn a kind of active passivity until after a month nearly all of them have learned to be available to seeing—and the physical world pours in. Their journals fill up with lovely things like, “the mirror with nothing reflected in it.” This way of seeing is important, even vital to the poet, since it is crucial that a poet see when she or he is not looking—just as she must write when she is not writing. To write just because the poet wants to write is natural, but to learn to see is a blessing. The art of finding in poetry is the art of marrying the sacred to the world, the invisible to the human.”
— Linda Gregg, from “The Art of Finding”
but is it even poetry if it doesn’t haunt you a little?
how to move away from this food imagery into something new?
Daan Van Golden (Dutch, 1936-2017), Chéri, 1992. Colour serigraph, 50 x 50 cm.
a girls buzzing into the corded phone, mask in her pocket crying and pleading. a man forgot his blood type, his wife knows. a woman yells at a man who has another.
I've been writing more and it's been good and I hope to keep sending stuff out so I can show you guys. in the mean time feel free to send me some prompts and I might be able to post more here. x
writing draft? on a piece in my notebook bc I'm. not sure yet
red gems against the blinds
Discussion 11/13/20
1. Imposter 2. Black cat 3. Lip balm 4. Venus 5. Bring back softness
i. big blue eyes, biting. brown bags, snow underfoot. i'm trying my best here. eel amongst snakes.
ii. an old table and a package of smokes and a wedding that brings tears to your eyes. this is an older tale littered with fires in garbages and those who huddle around. sickness is huddled in bed, cold, waiting for the wine to burn off and shrugging into you.
iii. sticky honey, she's getting used to her wings, still wet and shaking.
iv. too much heat and no where to pack it into. not enough boxes to put all this love.
v. quiet nights and confessions and throwing God around under the covers. snoring in sync.
poetry criticism
Proofs & Theories: Essays on Poetry (Louise Gluck)
The Anxiety of Influence (Harold Bloom)
Beautiful & Pointless: A Guide to Modern Poetry (David Orr)
The Hatred of Poetry (Ben Lerner)
Contemporary Poetry Review has essay upon essay of criticism of poems
These are what I’ll offer, as well as a lot of T.S Elliot, but U kno he can be hard to swallow. So I’d offer him last 4 dessert.
Read this first, by Kristen Prevallet. Sample:
“To offer my two cents about poetry criticism I will say:
1) poetry reviews are seldom poetry criticism. They are usually fondling acknowledgments demonstrating likeability, and serve the absolutely essential purpose of keeping us sane. I write them, and will continue to do so, with pleasure. 2) criticism rarely gets written among people who know each other personally; as a rule of thumb, critics do not socialize with those they critique. The fact of the matter is that poetry has very few actual critics who are not poets, or who are not interested in socializing with poets. This is of course a problem, and means essentially that poetry criticism needs to be defined separately than ordinary criticism because it serves a very different function. 3) Poetry bantering and the inevitable personal repercussions are not poetry criticism. The poetic exchange is critical, but is not necessarily criticism; poetry criticism is a critique that takes into account the larger contexts - theoretical, social, cultural - that led to the production of poetry. The issue of whether poetry or a particular poet does or does not function within a particular scene is merely anecdotal; the real question is where does poetry intersect with larger contexts? Are poets willing or interested in forging that bridge? 4) It is very difficult to write poetry criticism and not have poets feel personally maimed (ask Jarrell). For some reason poetry criticism does not advance the formal, intellectual, or contextual parameters of poetry. It always gets confused with the personal. Just ask anyone who has been in the ring of fire: even the grandest provocateurs of the EP’s - people like Dale Smith, Brian Kim Stefans, Alan Gilbert, Henry Gould, Ben Friedlander, Dodie Bellamy, Juliana Spahr, and a host of others, including myself, who are opinionated when they write about poetry - can testify to feeling the pain of critique. Friedlander finally went underground, writing his reviews under a pseudonym. Gould launched such an assault on the poetics list that he was ultimately kicked off. Smith’s mocking sense of humor gets taken so painfully literally. Ultimately the general feeling among poets that I hear over and over again in conversations is the same: poets who make waves are annoying.”
There’s a lot 2 look at wrt criticism, a lot of it is on specific poets or books. A lot of it delves into particular eras or styles. These are all worth looking at, worth thinking abt. Tha important thing is 2 start somewhere.
Enjoy
i’ll be your prophet/God-sick/ rot-annointed
My poem Calf of Green has been posted to White Wall Review. You can read it here.
I wrote this when I was feeling quite angry at God for taking away my mother.
early morning walk to work.
I say: “the poem is the animal sinking its mouth in the stream,” and it’s not a metaphor, it’s like it’s my mouth. The poem is an organ, an organism, a being. All those words don’t fit it because it’s something else. Language itself is something so powerful and unknown.
Cecilia Vicuña, from an interview with Sarah Timmer Harvey (via arteryals)