Poet Expend Yourself
Several years ago, I was a beginning poet determined to learn the craft of poetry without the rigaramole and expense of earning an MFA. Inspired by my friend Rebecca Wallwork’s model—interviewing accomplished writers to get at the gems of their craft, which she’d then share on her blog, The MFA Project—I launched my own blog, Primal School, where I would do something similar with poets.
What I knew then was that I wanted to connect with and learn from other writers. I was prepared to give myself over to everything the art and craft of poetry would demand of me. I wasn’t as prepared to run into my own resistance to everything else the poetry universe demands of its artists.
With the blog my project began easily enough, beginning with questions for the poets I interviewed: How did you come to write this poem? What did you mean by this particular line? Tell us about your revision process. As I mined for the poets’ techniques and sources of inspiration and highlighted their work on the site, I got to know the people behind the poems. Relationships blossomed. Poets expressed their appreciation for the blog, for the attention and care being given to their work. In a few cases I even helped boost poets who were just starting their careers and whose credibility would be supported by an interview feature. As young as Primal School was, others had even begun sending their students to the site as a resource.
In the winter of 2017 I began a seasonal stint as an intern at Copper Canyon Press in what was then my backyard of the Pacific Northwest. I regarded this experience as another brick in the growing poetic education that was my self-created MFA. In a drafty building in the middle of Fort Warden State Park I made copies, filled book orders, and read the manuscript submissions that came in. In retrospect what was fascinating and almost funny about this period was how quickly my perceived status in the poetry world grew in a manner which had absolutely nothing to do with anything I’d written or actually done. I watched with fascination the god-like projections poets would lavish on Copper Canyon editors in spaces like AWP, some of which inevitably spilled over onto staff and interns including me. I noticed my ego eating it up. I also observed that something in me had developed an allergy to a disjunction I was seeing — between the artifact that is a poem and the life that is its habitat; between poet and other; between poet and the world. It was around this time that my writing dried up, and with it my personal life and the structures in my world which I had come to regard as given.
The exact source of this disruption is difficult to name. But I suspect that the seeds for it were planted during a trip to South Carolina for a writing residency in late fall of 2016. The election of our new president was around the corner; the lefties who were my peers at the residency were not the least bit concerned that this would be the outcome. I wasn’t so sure. For reasons of curiosity and cultural immersion I formed a deep relationship with a Trump supporter who had been kind to me, and as I got to know him, I understood instinctively that his stories were the life which had been missing from my experience. Life to me could no longer consist only of reclining on my chaise lounge with a volume of Tranströmer poems, so far removed from a world coming undone with its poverty, grief, abuses and addictions. I still wanted my poems, but their fuel source was out.
For the grand embrace of the All that is America, the poet we love returning to time and time again (of course) is Walt Whitman. Revisiting his “Song of Myself,” I detect an inspirational whiff of the thing that was missing and that I’d left behind when I committed my life to poetry:
I am enamoured of growing outdoors,
Of men that live among cattle or taste of the ocean or woods,
Of the builders and steerers of ships, of the wielders of axes and mauls, of the drivers of horses,
I can eat and sleep with them week in and week out.
When the calling came for the open road I knew I had to respond, which I eventually I did. My writing naturally was reignited.
Gary Dop gave a memorable interview on Primal School in which he advocated for poetry as one of the great healing agents in a culture which has lost its spiritual center. I think it’s worthwhile to examine the question of whether the literary community as a function of this wider culture has also strayed from its center — whether that’s in the way we write (towards a style or objective rather than our deepest selves); or in any number of paths we walk unquestioningly (first you publish poems in journals, then they win prizes, then those poems become a book, then the books win you more prizes, and you get to repeat the cycle ad nauseam till the end of your career); to our relentless concern for how others react or what others are thinking or doing, whether that’s in the reviews we write or how we go about sharing our work (we give readings, of course). I see nothing wrong with any of these things on their own; it’s the blind adherence to them as inevitable steps forward in the career every writer that I’ve begun to question.
As an experiment in confronting these time-worn paths and really challenging whether they are for me, I recently took a break from submitting to journals and have been giving my poems and other writing away on social media. I don’t know how long I’ll be doing this. The recent critiques and discussions around “Instapoets” are compelling for the questions they raise: What is “accessible”? Who gets to say what’s good, or what poetry even is? Why is it seen as a waste of a good poem for an author to post it to a social media platform right away (which constitutes publication) instead of submitting it for the formal validation of appearing first in a journal? Bob Dylan’s Nobel win, along similar lines, got me thinking about poetry as a wider arena that in a more inclusive world would encompass songwriters and spoken-word artists and others like them (I’m thinking of people like Gregory Alan Isakov, Cleo Wade and Andrea Gibson). As artists they are all masters of the creative giveaway, a concept worth revisiting in Whitman’s later lines:
What is commonest and cheapest and nearest and easiest is Me,
Me going in for my chances, spending for vast returns,
Adorning myself to bestow myself on the first that will take me,
Not asking the sky to come down to my goodwill,
Scattering it freely forever.
The older I get the more I believe that to expend oneself creatively is an act of communion that burgeons out beyond the individual into something that Gregory Orr describes as “the Beloved that is the world.” Recently I had an exchange with a poet who remarked quite cavalierly that he’d never understood poetry as needing a purpose that was rooted in anything that wasn’t the self. I disagree with him. Poetry demands that the self come to fruition and nothing less. But I think the self is just a conduit for the transmission; the real reason we write is to connect with the Other in as many ways as our tools will allow us. In a world steeped in suffering such as ours is in these times, the reason we write is because of our love and our pain, which are shared; our desire to sustain our belief in a world where goodness and mercy and mutuality have not been exterminated.
I am grateful for and continue to hold in highest respect the institutions and individuals who train our poets, who publish their books, who promote their careers. Without them I wouldn’t still be writing poems. I’ll be culling from their wisdom and ideas as I find my own path forward. But I also care about whether we are connecting to the full with the world around us; whether we are honoring our contract with life by saying yes to our deepest and most colorful possible participation in the universe through everything we create. That would be something worth giving my life over to.
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