POETRY FROM PARADISE VALLEY

POETRY FROM PARADISE VALLEY
Click Image to Visit the Pecan Grove Press Web Page for Poetry from Paradise Valley

POETRY FROM PARADISE VALLEY web page

Poetry From Paradise Valley

Pecan Grove Press has released an anthology of poems, a sampling of works published in Valparaiso Poetry Review during its first decade, from the original 1999-2000 volume to the 2009-2010 volume.


Poetry from Paradise Valley includes a stellar roster of 50 poets. Among the contributors are a former Poet Laureate of the United States, a winner of the Griffin International Prize, two Pulitzer Prize winners, two National Book Award winners, two National Book Critics Circle winners, six finalists for the National Book Award, four finalists for the National Book Critics Circle Award, two finalists for the Pulitzer Prize, and a few dozen recipients of other honors, such as fellowships from the Guggenheim Foundation, the National Endowment for the Arts, etc.

Readers are encouraged to visit the Poetry from Paradise Valley page at the publisher's web site, where ordering information about the book can be found.

Best Books of Indiana 2011: Finalist. Judges' Citation: "Poetry from Paradise Valley is an excellent anthology that features world-class poetry, including the work of many artists from the Midwest, such as Jared Carter, Annie Finch, David Baker, and Allison Joseph. It’s an eclectic and always interesting collection where poems on similar themes flow into each other. It showcases the highest caliber of U. S. poetry."
—Indiana Center for the Book, Indiana State Library

Sunday, May 31, 2009

Walt Whitman and Ralph Waldo Emerson


Walt Whitman, who was born on this date (May 31) in 1819, altered the direction of American literature when he introduced his first collection of poetry, the initial 1855 edition of Leaves of Grass, which contained a dozen untitled pieces and a preface. As Harold Bloom has stated: “Whitman founded what is uniquely American in our imaginative literature.” Upon publication of the book, Whitman sent a copy to Ralph Waldo Emerson, the nation’s leading literary figure, and Emerson responded with the following letter of welcome and congratulations, perhaps the most famous and most important item of correspondence in the history of American literature:


Concord, Massachusetts, 21 July, 1855

Dear Sir,

I am not blind to the worth of the wonderful gift of “Leaves of Grass.” I find it the most extraordinary piece of wit and wisdom that America has yet contributed. I am very happy in reading it, as great power makes us happy. It meets the demand I am always making of what seemed the sterile and stingy nature, as if too much handiwork, or too much lymph in the temperament, were making our western wits fat and mean.

I give you joy of your free and brave thought. I have great joy in it. I find incomparable things said incomparably well, as they must be. I find the courage of treatment which so delights us, and which large perception only can inspire.

I greet you at the beginning of a great career, which yet must have had a long foreground somewhere, for such a start. I rubbed my eyes a little, to see if this sunbeam were no illusion; but the solid sense of the book is a sober certainty. It has the best merits, namely, of fortifying and encouraging.

I did not know until I last night saw the book advertised in newspaper that I could trust the name as real and available for a post-office. I wish to see my benefactor, and have felt much like striking my tasks, and visiting New York to pay you my respects.

R.W. Emerson

When Whitman published his second edition of Leaves of Grass in 1856, now consisting of 32 poems, he also included Emerson’s letter as an appendix without authorization. Indeed, Whitman had previously used the personal letter in a few newspaper ads promoting the first edition in late 1855 without obtaining Emerson’s permission. In addition, Whitman included in the 1856 edition an open letter in response to Emerson, which appears to further make clear the impact Emerson’s views had on Whitman, perhaps most significantly Emerson’s 1844 essay simply titled “The Poet.” In that composition Emerson called for a poet to lead a distinct American literary movement independent of European influence. As Gay Wilson Allen wrote about Emerson in his biography of Walt Whitman, The Solitary Singer: “Here was the poet he had called for and predicted in his lectures and essays.” Allen suggests Whitman already seemed to have Emerson’s essay in mind when constructing the language for the preface to the first edition of Leaves of Grass:
Many of the basic doctrines in the preface could come straight out of Emerson’s own essay on “The Poet,” and possibly they did. Emerson’s poet also writes from experience and from intimate contact with physical things, and he too reveals the hidden truth that “the fountains whence all this river of Time and its creatures floweth are intrinsically ideal and beautiful.” Emerson’s poet is likewise “representative” and “stands among partial men for the complete man, and apprises us not of his wealth, but of the common wealth.” His impressions of nature are theoretically as vivid as those of Whitman’s poet: “Every touch should thrill.” And his form, too, is organic and analogous, for “things admit of being used as symbols because nature is a symbol, in the whole, and in every part.” Even bare lists of words can be poetic to the excited imagination.
Written in the typically expansive and comprehensive style of Walt Whitman, his open letter to Ralph Waldo Emerson included in the 1856 edition of Leaves of Grass:
Here are thirty-two Poems, which I send you, dear Friend and Master, not having found how I could satisfy myself with sending any usual acknowledgment of your letter. The first edition, on which you mailed me that till now unanswered letter, was twelve poems—I printed a thousand copies, and they readily sold; these thirty-two Poems I stereotype, to print several thousand copies of. I much enjoy making poems. Other work I have set for myself to do, to meet people and The States face to face, to confront them with an American rude tongue; but the work of my life is making poems. I keep on till I make a hundred, and then several hundred—perhaps a thousand. The way is clear to me. A few years, and the average annual call for my Poems is ten or twenty thousand copies—more, quite likely. Why should I hurry or compromise? In poems or in speeches I say the word or two that has got to be said, adhere to the body, step with the countless common footsteps, and remind every man and woman of something.

Master, I am a man who has perfect faith. Master, we have not come through centuries, caste, heroisms, fables, to halt in this land today. Or I think it is to collect a ten-fold impetus that any halt is made. As nature, inexorable, onward, resistless, impassive amid the threats and screams of disputants, so America. Let all defer. Let all attend respectfully the leisure of These States, their politics, poems, literature, manners, and their free-handed modes of training their own offspring. Their own comes, just matured, certain, numerous and capable enough, with egotistical tongues, with sinewed wrists, seizing openly what belongs to them. They resume Personality, too long left out of mind. Their shadows are projected in employments, in books, in the cities, in trade; their feet are on the flights of the steps of the Capitol; they dilate, a larger, brawnier, more candid, more democratic, lawless, positive native to The States, sweet-bodied, completer, dauntless, flowing, masterful, beard-faced, new race of men.

Swiftly, on limitless foundations, the United States too are founding a literature. It is all as well done, in my opinion, as could be practicable. Each element here is in condition. Every day I go among the people of Manhattan Island, Brooklyn, and other cities, and among the young men, to discover the spirit of them, and to refresh myself. These are to be attended to; I am myself more drawn here than to those authors, publishers, importations, reprints, and so forth. I pass coolly through those, understanding them perfectly well, and that they do the indispensable service, outside of men like me, which nothing else could do. In poems, the young men of The States shall be represented, for they out-rival the best of the rest of the earth.

The lists of ready-made literature which America inherits by the mighty inheritance of the English language—all the rich repertoire of traditions, poems, histories, metaphysics, plays, classics, translations, have made, and still continue, magnificent preparations for that other plainly signified literature, to be our own, to be electric, fresh, lusty, to express the full-sized body, male and female—to give the modern meanings of things, to grow up beautiful, lasting, commensurate with America, with all the passions of home, with the inimitable sympathies of having been boys and girls together, and of parents who were with our parents.

What else can happen The States, even in their own despite? That huge English flow, so sweet, so undeniable, has done incalculable good here, and is to be spoken of for its own sake with generous praise and with gratitude. Yet the price The States have had to lie under for the same has not been a small price. Payment prevails; a nation can never take the issues of the needs of other nations for nothing. America, grandest of lands in the theory of its politics, in popular reading, in hospitality, breadth, animal beauty, cities, ships, machines, money, credit, collapses quick as lightning at the repeated, admonishing, stern words, Where are any mental expressions from you, beyond what you have copied or stolen? Where the born throngs of poets, literats, orators, you promised? Will you but tag after other nations? They struggled long for their literature, painfully working their way, some with deficient languages, some with priest-craft, some in the endeavor just to live—yet achieved for their times, works, poems, perhaps the only solid consolation left to them through ages afterward of shame and decay. You are young, have the perfectest of dialects, a free press, a free government, the world forwarding its best to be with you. As justice has been strictly done to you, from this hour do strict justice to yourself. Strangle the singers who will not sing you loud and strong. Open the doors of The West. Call for new great masters to comprehend new arts, new perfections, new wants. Submit to the most robust bard till he remedy your barrenness. Then you will not need to adopt the heirs of others; you will have true heirs, begotten of yourself, blooded with your own blood.

With composure I see such propositions, seeing more and more every day of the answers that serve. Expressions do not yet serve, for sufficient reasons; but that is getting ready, beyond what the earth has hitherto known, to take home the expressions when they come, and to identify them with the populace of The States, which is the schooling cheaply procured by any outlay any number of years. Such schooling The States extract from the swarms of reprints, and from the current authors and editors. Such service and extract are done after enormous, reckless, free modes, characteristic of The States. Here are to be attained results never elsewhere thought possible; the modes are very grand too. The instincts of the American people are all perfect, and tend to make heroes. It is a rare thing in a man here to understand The States.

All current nourishments to literature serve. Of authors and editors I do not know how many there are in The States, but there are thousands, each one building his or her step to the stairs by which giants shall mount. Of the twenty-four modern mammoth two-double, three-double, and four-double cylinder presses now in the world, printing by steam, twenty-one of them are in These States. The twelve thousand large and small shops for dispensing books and newspapers—the same number of public libraries, any one of which has all the reading wanted to equip a man or woman for American reading—the three thousand different newspapers, the nutriment of the imperfect ones coming in just as usefully as any—the story papers, various, full of strong-flavored romances, widely circulated—the one-cent and two-cent journals—the political ones, no matter what side—the weeklies in the country—the sporting and pictorial papers—the monthly magazines, with plentiful imported feed—the sentimental novels, numberless copies of them—the low-priced flaring tales, adventures, biographies—all are prophetic; all waft rapidly on. I see that they swell wide, for reasons. I am not troubled at the movement of them, but greatly pleased. I see plying shuttles, the active ephemeral myriads of books also, faithfully weaving the garments of a generation of men, and a generation of women, they do not perceive or know. What a progress popular reading and writing has made in fifty years! What a progress fifty years hence! The time is at hand when inherent literature will be a main part of These States, as general and real as steam-power, iron, corn, beef, fish. First-rate American persons are to be supplied. Our perennial materials for fresh thoughts, histories, poems, music, orations, religions, recitations, amusements, will then not be disregarded, any more than our perennial fields, mines, rivers, seas. Certain things are established, and are immovable; in those things millions of years stand justified. The mothers and fathers of whom modern centuries have come, have not existed for nothing; they too had brains and hearts. Of course all literature, in all nations and years, will share marked attributes in common, as we all, of all ages, share the common human attributes. America is to be kept coarse and broad. What is to be done is to withdraw from precedents, and be directed to men and women—also to The States in their federalness; for the union of the parts of the body is not more necessary to their life than the union of These States is to their life.

A profound person can easily know more of the people than they know of themselves. Always waiting untold in the souls of the armies of common people, is stuff better than anything that can possibly appear in the leadership of the same. That gives final verdicts. In every department of These States, he who travels with a coterie, or with selected persons, or with imitators, or with infidels, or with the owners of slaves, or with that which is ashamed of the body of a man, or with that which is ashamed of the body of a woman, or with any thing less than the bravest and the openest, travels straight for the slopes of dissolution. The genius of all foreign literature is clipped and cut small, compared to our genius, and is essentially insulting to our usages, and to the organic compacts of These States. Old forms, old poems, majestic and proper in their own lands here in this land are exiles; the air here is very strong. Much that stands well and has a little enough place provided for it in the small scales of European kingdoms, empires, and the like, here stands haggard, dwarfed, ludicrous, or has no place little enough provided for it. Authorities, poems, models, laws, names, imported into America, are useful to America today to destroy them, and so move disencumbered to great works, great days.

Just so long, in our country or any country, as no revolutionists advance, and are backed by the people, sweeping off the swarms of routine representatives, officers in power, book-makers, teachers, ecclesiastics, politicians, just so long, I perceive, do they who are in power fairly represent that country, and remain of use, probably of very great use. To supersede them, when it is the pleasure of These States, full provision is made; and I say the time has arrived to use it with a strong hand. Here also the souls of the armies have not only overtaken the souls of the officer, but passed on, and left the souls of the officers behind out of sight many weeks’ journey; and the souls of the armies now go en-masse without officers. Here also formulas, glosses, blanks, minutia, are choking the throats of the spokesmen to death. Those things most listened for, certainly those are the things least said. There is not a single History of the World. There is not one of America, or of the organic compacts of These States, or of Washington, or of Jefferson, nor of Language, nor any Dictionary of the English Language. There is no great author; every one has demeaned himself to some etiquette or some impotence. There is no manhood or life-power in poems; there are shoats and geldings more like. Or literature will be dressed up, a fine gentleman, distasteful to our instincts, foreign to our soil. Its neck bends right and left wherever it goes. Its costumes and jewelry prove how little it knows Nature. Its flesh is soft; it shows less and less of the indefinable hard something that is Nature. Where is any thing but the shaved Nature of synods and schools? Where is a savage and luxuriant man? Where is an overseer? In lives, in poems, in codes of law, in Congress, in tuitions, theatres, conversations, argumentations, not a single head lifts itself clean out, with proof that it is their master, and has subordinated them to itself, and is ready to try their superiors. None believes in These States, boldly illustrating them in himself. Not a man faces round at the rest with terrible negative voice, refusing all terms to be bought off from his own eye-sight, or from the soul that he is, or from friendship, or from the body that he is, or from the soil and sea. To creeds, literature, art, the army, the navy, the executive, life is hardly proposed, but the sick and dying are proposed to cure the sick and dying. The churches are one vast lie; the people do not believe them, and they do not believe themselves; the priests are continually telling what they know well enough is not so, and keeping back what they know is so. The spectacle is a pitiful one. I think there can never be again upon the festive earth more bad-disordered persons deliberately taking seats, as of late in These States, at the heads of the public tables—such corpses' eyes for judges—such a rascal and thief in the Presidency.

Up to the present, as helps best, the people, like a lot of large boys, have no determined tastes, are quite unaware of the grandeur of themselves, and of their destiny, and of their immense strides—accept with voracity whatever is presented them in novels, histories, newspapers, poems, schools, lectures, every thing. Pretty soon, through these and other means, their development makes the fibre that is capable of itself, and will assume determined tastes. The young men will be clear what they want, and will have it. They will follow none except him whose spirit leads them in the like spirit with themselves. Any such man will be welcome as the flowers of May. Others will be put out without ceremony. How much is there anyhow, to the young men of These States, in a parcel of helpless dandies, who can neither fight, work, shoot, ride, run, command—some of them devout, some quite insane, some castrated—all second-hand, or third, fourth, or fifth hand—waited upon by waiters, putting not this land first, but always other lands first, talking of art, doing the most ridiculous things for fear of being called ridiculous, smirking and skipping along, continually taking off their hats—no one behaving, dressing, writing, talking, loving, out of any natural and manly tastes of his own, but each one looking cautiously to see how the rest behave, dress, write, talk, love—pressing the noses of dead books upon themselves and upon their country—favoring no poets, philosophs, literats here, but dog-like danglers at the heels of the poets, philosophs, literats, of enemies’ lands—favoring mental expressions, models of gentlemen and ladies, social habitudes in These States, to grow up in sneaking defiance of the popular substratums of The States? Of course they and the likes of them can never justify the strong poems of America. Of course no feed of theirs is to stop and be made welcome to muscle the bodies, male and female, for Manhattan Island, Brooklyn, Boston, Worcester, Hartford, Portland, Montreal, Detroit, Buffalo, Cleveland, Milwaukee, St. Louis, Indianapolis, Chicago, Cincinnati, Iowa City, Philadelphia, Baltimore, Raleigh, Savannah, Charleston, Mobile, New Orleans, Galveston, Brownsville, San Francisco, Havana, and a thousand equal cities, present and to come. Of course what they and the likes of them have been used for, draws toward its close, after which they will all be discharged, and not one of them will ever be heard of any more.

America, having duly conceived, bears out of herself offspring of her own to do the workmanship wanted. To freedom, to strength, to poems, to personal greatness, it is never permitted to rest, not a generation or part of a generation. To be ripe beyond further increase is to prepare to die. The architects of These States laid their foundations, and passed to further, spheres. What they laid is a work done; as much more remains. Now are needed other architects, whose duty is not less difficult, but perhaps more difficult. Each age forever needs architects. America is not finished, perhaps never will be; now America is a divine true sketch. There are Thirty-Two States sketched—the population thirty millions. In a few years there will be Fifty States. Again in a few years there will be A Hundred States, the population hundreds of millions, the freshest and freest of men. Of course such men stand to nothing less than the freshest and freest expression.

Poets here, literats here, are to rest on organic different bases from other countries; not a class set apart, circling only in the circle of themselves, modest and pretty, desperately scratching for rhymes, pallid with white paper, shut off, aware of the old pictures and traditions of the race, but unaware of the actual race around them—not breeding in and in among each other till they all have the scrofula. Lands of ensemble, bards of ensemble! Walking freely out from the old traditions, as our politics has walked out, American poets and literats recognize nothing behind them superior to what is present with them—recognize with joy the sturdy living forms of the men and women of These States, the divinity of sex, the perfect eligibility of the female with the male, all The States, liberty and equality, real articles, the different trades, mechanics, the young fellows of Manhattan Island, customs, instincts, slang, Wisconsin, Georgia, the noble Southern heart, the hot blood, the spirit that will be nothing less than master, the filibuster spirit, the Western man, native-born perceptions, the eye for forms, the perfect models of made things, the wild smack of freedom, California, money, electric telegraphs, free-trade, iron and the iron mines—recognize without demur those splendid resistless black poems, the steam-ships of the sea-board states, and those other resistless splendid poems, the locomotives, followed through the interior states by trains of rail-road cars.

A word remains to be said, as of one ever present, not yet permitted to be acknowledged, discarded or made dumb by literature, and the results apparent. To the lack of an avowed, empowered, unabashed development of sex, (the only salvation for the same,) and to the fact of speakers and writers fraudulently assuming as always dead what every one knows to be always alive, is attributable the remarkable non-personality and indistinctness of modern productions in books, art, talk; also that in the scanned lives of men and women most of them appear to have been for some time past of the neuter gender; and also the stinging fact that in orthodox society today, if the dresses were changed, the men might easily pass for women and the women for men.

Infidelism usurps most with foetid polite face; among the rest infidelism about sex. By silence or obedience the pens of savans, poets, historians, biographers, and the rest, have long connived at the filthy law, and books enslaved to it, that what makes the manhood of a man, that sex, womanhood, maternity, desires, lusty animations, organs, acts, are unmentionable and to be ashamed of, to be driven to skulk out of literature with whatever belongs to them. This filthy law has to be repealed—it stands in the way of great reforms. Of women just as much as men, it is the interest that there should not be infidelism about sex, but perfect faith. Women in These States approach the day of that organic equality with men, without which, I see, men cannot have organic equality among themselves. This empty dish, gallantry, will then be filled with something. This tepid wash, this diluted deferential love, as in songs, fictions, and so forth, is enough to make a man vomit; as to manly friendship, everywhere observed in The States, there is not the first breath of it to be observed in print. I say that the body of a man or woman, the main matter, is so far quite unexpressed in poems; but that the body is to be expressed, and sex is. Of bards for These States, if it come to a question, it is whether they shall celebrate in poems the eternal decency of the amativeness of Nature, the motherhood of all, or whether they shall be the bards of the fashionable delusion of the inherent nastiness of sex, and of the feeble and querulous modesty of deprivation. This is important in poems, because the whole of the other expressions of a nation are but flanges out of its great poems. To me, henceforth, that theory of any thing, no matter what, stagnates in its vitals, cowardly and rotten, while it cannot publicly accept, and publicly name, with specific words, the things on which all existence, all souls, all realization, all decency, all health, all that is worth being here for, all of woman and of man, all beauty, all purity, all sweetness, all friendship, all strength, all life, all immortality depend. The courageous soul, for a year or two to come, may be proved by faith in sex, and by disdaining concessions.

To poets and literats—to every woman and man, today or any day, the conditions of the present, needs, dangers, prejudices, and the like, are the perfect conditions on which we are here, and the conditions for wording the future with undissuadable words. These States, receivers of the stamina of past ages and lands, initiate the outlines of repayment a thousand fold. They fetch the American great masters, waited for by old worlds and new, who accept evil as well as good, ignorance as well as erudition, black as soon as white, foreign-born materials as well as home-born, reject none, force discrepancies into range, surround the whole, concentrate them on present periods and places, show the application to each and any one’s body and soul, and show the true use of precedents. Always America will be agitated and turbulent. This day it is taking shape, not to be less so, but to be more so, stormily, capriciously, on native principles, with such vast proportions of parts! As for me, I love screaming, wrestling, boiling-hot days.

Of course, we shall have a national character, an identity. As it ought to be, and as soon as it ought to be, it will be. That, with much else, takes care of itself, is a result, and the cause of greater results. With Ohio, Illinois, Missouri, Oregon—with the states around the Mexican sea—with cheerfully welcomed immigrants from Europe, Asia, Africa—with Connecticut, Vermont, New Hampshire, Rhode Island—with all varied interests, facts, beliefs, parties, genesis—there is being fused a determined character, fit for the broadest use for the freewomen and freemen of The States, accomplished and to be accomplished, without any exception whatever—each indeed free, each idiomatic, as becomes live states and men, but each adhering to one enclosing general form of politics, manners, talk, personal style, as the plenteous varieties of the race adhere to one physical form. Such character is the brain and spine to all, including literature, including poems. Such character, strong, limber, just, open-mouthed, American-blooded, full of pride, full of ease, of passionate friendliness, is to stand compact upon that vast basis of the supremacy of Individuality—that new moral American continent without which, I see, the physical continent remained incomplete, may-be a carcass, a bloat—that newer America, answering face to face with The States, with ever-satisfying and ever-unsurveyable seas and shores.

Those shores you found. I say you have led The States there—have led Me there. I say that none has ever done, or ever can do, a greater deed for The States, than your deed. Others may line out the lines, build cities, work mines, break up farms; it is yours to have been the original true Captain who put to sea, intuitive, positive, rendering the first report, to be told less by any report, and more by the mariners of a thousand bays, in each tack of their arriving and departing, many years after you.

Receive, dear Master, these statements and assurances through me, for all the young men, and for an earnest that we know none before you, but the best following you; and that we demand to take your name into our keeping, and that we understand what you have indicated, and find the same indicated in ourselves, and that we will stick to it and enlarge upon it through These States.

Walt Whitman

Brooklyn, August, 1856

On this day marking Walt Whitman’s birth date, readers are invited to visit a few of the other articles previously posted at “One Poet’s Notes” concerning Whitman: “Abraham Lincoln, Walt Whitman, and an American Masterpiece,” “Stuart Davis, Walt Whitman, and Jazz,” “Walt Whitman and Harold Bloom,” and “A Vote for Walt Whitman’s ‘Democratic Vistas.’”

Tuesday, May 26, 2009

Top 100 Poetry Blogs

Online University Reviews has issued a list of the Top 100 Poetry Blogs, which it describes as including “sites for every poet, from a seasoned professional to a child reading their first poem.” Admittedly, such rankings can be subjective and incomplete. Nevertheless, I was pleased to be notified that “One Poet’s Notes,” the Valparaiso Poetry Review editor’s blog, has been selected for inclusion among the Top 100 Blogs, Internet locations cited by Online University Reviews as fresh sources for information about poetry and poetics: “No longer relegated to textbooks, libraries, and anthologies, poets now have an array of options for reading poetry, posting, the latest in news, and more, thanks to the Internet.”

In addition, I was impressed by the good company of so many other blogs I regularly visit for enjoyment and enlightenment about poetry or other topics concerning writing and the arts, from well-known sites—like the blogs of the Poetry Foundation, the Academy of American Poets, Poetry Daily, or the New York Times—to the personal blogs of various poets, including Alfred Corn, Mark Doty, Paul Lisicky, Diane Lockward, Greg Rappleye, Nic Sebastian, Ron Silliman, C. Dale Young, and a number of others. I also look forward to exploring some of the sites about which I had not yet been aware, and I recommend readers browse through the list to discover new voices as well.

Sunday, May 24, 2009

Miles Davis



Miles Davis was born on May 26 in 1926. As I mentioned in a previous post (“Bill Evans and Sebastian Matthews”) on “One Poet’s Notes,” this year marks “the 50th anniversary of a monumental moment in jazz history, the production of an album that has stood apart from its contemporaries like no other. For nearly half a century, Kind of Blue, recorded by the Miles Davis Sextet, has maintained its reputation as a groundbreaking achievement and a work that has greatly influenced those generations of jazz musicians who have followed. In Ashley Kahn’s book chronicling the recording, Kind of Blue: The Making of the Miles Davis Masterpiece, the author refers to this release as the ‘premier album of its era, jazz or otherwise. Classical buffs and rage rockers alike praise its subtlety, simplicity and emotional depth. Copies of the albums are passed to friends and given to lovers. The album has sold millions of copies around the world, making it the best-selling recording in Miles Davis’s catalog and the best-selling classic jazz album ever.’”

Kind of Blue was recorded in the spring of 1959 and released that summer. Therefore, as a representative piece from Miles Davis, I have selected one of the songs—“So What,” the opening track from that sensational album—in the magnificent clip above, which also features John Coltrane on sax and Wynton Kelly on piano.

In addition, as I stated in the previous article, Kind of Blue stands “among my most frequent selections for entertainment in evenings when reading and especially at those times when I’m writing new poems. I confess that perhaps I sometimes rely on the distinctive rhythmic pacing and overall tones evident in the music to help guide my own phrasing and creation of mood when placing words or ordering images in my poetry.” Therefore, as a personal nod to the inspiration, I also reprint below a poem of my own, titled “Miles Davis,” which first appeared in American Poetry Review and was included in one of my collections, Words Spoken, Words Unspoken (Chimney Hill Press, 1995):

MILES DAVIS

Etched into this limited vista where luxury apartments appear
like inconsistent clusters of mountains, and the bridges

are only ornaments curiously placed at the edge of an ocean,
the anchored ships shoulder the soft wood of the piers,

and a few purple birds disappear beyond a bland horizon,
where a woolen sky does nothing for the bluing hallucination

that dances with the wind as I listen to Miles Davis,
and tonight Manhattan is a pleated dress lying on a blue lawn.

—Edward Byrne

Memorial Day, Indy 500, and Louis Armstrong



This year marks the 100th anniversary since the construction of the Indianapolis Motor Speedway complex, the site of the famous Indianapolis 500 race every Memorial Day weekend. Occasionally, I have written about my affection for the automobile and racecars, as in a previous post titled “Cars, Culture, and Contemporary Poetry.” Although my wife, my son, and I are avid NASCAR fans who enjoy everything about stock cars, and like most NASCAR fans we are not as interested in open-wheel racing, we make an exception every year for the Indy 500. Indeed, with NASCAR’s Coca-Cola 600 Sunday evening, this year its 50th running (though originally known during the first twenty-five years since its start in 1960 as the World 600), my family and I usually spend the day feasting on barbecue and pizza while the various televisions in the house broadcast 1100 miles of racing for ten hours or more.

Although NASCAR conducts its Brickyard 400 race at the Indianapolis Motor Speedway in the end of July, the magnitude of the Indy 500 event with its attendance exceeding quarter million spectators, as well as millions worldwide viewing on network television, and the numerous traditional elements of the festivities create an atmosphere as extraordinary as any in sports.

I appreciate the many ways Memorial Day is honored during the pre-race ceremonies. Also, as a resident of Indiana, I especially take delight in observing the annual continuation of local touches to the proceedings, such as the rendition of “On the Banks of the Wabash” by the Purdue University All-American Marching Band and their accompaniment to Jim Nabors when he sings “Back Home Again in Indiana.” However, as a great fan of jazz, I have included above Louis Armstrong’s splendid instrumental version of “Back Home Again in Indiana.”

Of course, the central focus of attention on the contest at Indianapolis Speedway reinforces various comments I have previously made about auto racing, including an “admiration for individuals who literally place their lives on the line as the ultimate test of sport” (“Daytona 500, NASCAR, Tom Wolfe, and American Literature”).

Finally, I urge readers to visit previous articles on “One Poet’s Notes” concerning the significance of Memorial Day: “Memorial Day Memories” and “H. Palmer Hall: ‘New Names.’”

Wednesday, May 20, 2009

VPR Note on Submissions: An Update

On Monday, May 11, the price for U.S. postal mail increased, as the cost of a first-class stamp rose two cents to 44 cents. I had assumed that everyone now purchases “Forever Stamps,” which continue to be good after any price change. However, as I read through the works submitted during the last month or so that are still on hand for consideration, I notice many return envelopes carry 42-cent stamps. As I did when postal rates were increased a year ago, I remind those submitting work by postal mail to any journals that the enclosed self-addressed stamped envelope now should reflect the new rate.

Moreover, I would like to take this opportunity to point out that Valparaiso Poetry Review has accepted e-mail submissions since its inception in 1999, and I encourage this option to as many writers as possible. Increasingly, a number of literary journals, including some print journals, have discovered the ease, manageability, and savings—for authors and editors—permitted by e-mail submissions.

Indeed, although the vast majority of submissions to Valparaiso Poetry Review in the first few years were sent by postal mail, a bit more than three-fourths of the nearly 7,500 poems received in the last year were sent by e-mail. Curious about the relationship of submissions to acceptances, I have examined the results and discovered that a little more than three-fourths of the works appearing in the most recent issues of VPR were submitted electronically, indicating there is no subconscious editorial bias toward either form of submission. As VPR’s Submissions Guidelines page states:
If possible, please include an e-mail return address with any postal submission. Authors of postal submissions sometimes may be contacted by e-mail for a Word document copy of the work if one can be supplied.

E-mail submissions, inquiries, or correspondence should be sent to the following: VPR@Valpo.Edu

Since typographical characteristics occasionally are lost when a poem is included within the text of e-mail, authors are encouraged to send a Word attachment of the submitted work in electronic submissions or to include a Word attachment in addition to the text of submissions appearing in the body of the e-mail.
Once again, as I have in the past, I wish to express my appreciation to all who have submitted poetry, reviews, essays, or interviews for appearance in Valparaiso Poetry Review this last year, as well as in the past ten years. Furthermore, as VPR has completed its first decade of existence with the current issue, I appreciate the trust, displayed by those who have submitted works during the first twenty issues, that I will exercise editorial judgment reflecting well upon all the contributions included in every volume of Valparaiso Poetry Review.

Tuesday, May 19, 2009

Marianne Poloskey: "Graveyard at Saarbruecken"

The VPR Poem of the Week is Marianne Poloskey’s “Graveyard at Saarbruecken,” which appeared in the Fall/Winter 2001-2002 issue (Volume III, Number 1) of Valparaiso Poetry Review.

Marianne Poloskey was born in Berlin, Germany. Ana Doina’s review of Poloskey’s first collection of poems, Climbing the Shadows (Chi Chi Press, 2000), also appears in the Fall/Winter 2001-2002 issue of VPR. In addition, her poetry has appeared in numerous literary journals, including Christian Science Monitor, Connecticut Review, Louisiana Literature, North American Review, Palo Alto Review, Paterson Literary Review, Spoon River Poetry Review, and War, Literature, & the Arts.

Tuesday of each week “One Poet’s Notes” highlights an excellent work by a poet selected from the archives of Valparaiso Poetry Review, except when other posts with news or updates preempt the usual appearance of this item, with the recommendation that readers revisit it. Please check the sidebar to view the list of poets and works that have been past “Poem of the Week” selections. Additionally, readers are reminded that VPR pages are best read with the browser font preference in which they were set, 12 pt. Times New Roman, in order to guarantee the stanza alignment and the breaks of longer lines are preserved.

Saturday, May 16, 2009

VPR Summer Reading List, 2009


Once again, as the spring semester of classes has now concluded and graduation ceremonies are held this weekend, like the figure above in Pablo Picasso’s Young Girl Reading a Book on the Beach, many soon will be dipping into their summer reading material. Therefore, I thought this might be a good time to remind everyone each issue of Valparaiso Poetry Review contains a “Recent and Recommended Books” page for suggestions of poetry collections and books containing prose about poets or poetics.

Readers will find below those books that were listed with the current Spring/Summer 2009 issue (Volume X, Number 2). Perhaps some of them will provide apt suggestions for summer reading.

LOIS ADAMS:
Body and Soul, Five Spice Press
KIM ADDONIZIO:
Ordinary Genius: A Guide for the Poet Within, W.W. Norton
AGHA SHAHID ALI:
The Veiled Suite: The Collected Poems, W.W. Norton
STEVE ALMOND (Guest Ed.) & NATHAN LESLIE (Series Ed.):
Best of the Web 2008, Dzanc Books
SIMON ARMITAGE (Tr.):
Sir Gawain and the Green Knight, W.W. Norton
RANE ARROYO:
The Roswell Poems, WordFarm
DONALD EVERETT AXINN:
Travel in My Borrowed Lives: New and Selected Poems, Arcade Publishing
LI BAI and DU FU (Tr. Keith Holyoak):
Facing the Moon, Oyster River Press
COLEMAN BARKS:
Winter Sky: New and Selected Poems, 1968-2008, University of Georgia Press
APRIL BERNARD:
Romanticism, W.W. Norton
ERIN M. BERTRAM:
The Urge To Believe Is Stronger Than Belief Itself, Cherry Pie Press
LINDA BIERDS:
Flight: New and Selected Poems, G.P. Putnam's Sons
MICHELLE BITTING:
Good Friday Kiss, C&R Press
MICHAEL BLUMENTHAL:
And, BOA Editions
ROBERT BLY:
Leaping Poetry (reprint), University of Pittsburgh Press
TODD BOSS:
Yellowrocket, W.W. Norton
BRIAN BRODEUR:
Other Latitudes, University of Akron Press
JERICHO BROWN:
Please, New Issues Press
STEPHANIE BROWN:
Domestic Interior, University of Pittsburgh Press
ONI BUCHANAN:
Spring, University of Illinois Press
CHRISTOPHER BUCKLEY:
Flying Backbone: The Georgia O'Keeffe Poems, Blue Light Press
CHRISTOPHER BUCKLEY:
Modern History: Prose Poems 1987-2007, Tupelo Press
MARY BURGER (Ed.):
An Apparent Event: A Second Story Books Anthology, Second Story Books
ALARIC CABILING:
The Darkest Day, Praenomen Press
STACIE CASSARINO:
Zero at the Bone, New Issues Press
NINA CASSIAN:
Continuum, W.W. Norton
ELIZABETH CHAMPNEY, A.M. CHAPLIN, SYLVIA GILLETT, TERRY HILT, and PAMELA DI PESA:
The Physics of Longing, Brick House Books
ALFRED CORN:
Atlas: Selected Essays, 1989-2007, University of Michigan Press
CATHERINE DALY:
Vauxhall, Shearsman Books
PHEBE DAVIDSON:
The Surface of Things, David Robert Books
LUCILLE LANG DAY:
The Curvature of Blue, Cervena Barva Press
HEATHER DERR-SMITH:
The Bride Minaret, University of Akron Press
SHARON DOLIN:
Burn and Dodge, University of Pittsburgh Press
SHARON DOUBIAGO:
Love on the Streets: Selected and New Poems, University of Pittsburgh Press
RITA DOVE:
Sonata Mulattica, W.W. Norton
DENISE DUHAMEL:
Ka-Ching!, University of Pittsburgh Press
RISHMA DUNLOP:
White Album, Inanna Publications
STEPHEN DUNN:
What Goes On: Selected and New Poems 1995-2009, W.W. Norton
RUSSELL EDSON:
See Jack, University of Pittsburgh Press
CLAUDIA EMERSON:
Figure Studies, LSU Press
JOHN ESTES:
Breakfast with Blake at the Lacoön, Finishing Line Press
KATHY FAGAN:
Lip, Eastern Washington University Press
B.H FAIRCHILD:
Usher, W.W. Norton
ANN FISHER-WIRTH:
Carta Marina, Wings Press
CHERRYL FLOYD-MILLER:
Exquisite Heats, Salt Publishing
REBECCA FOUST:
Dark Card, Texas Review Press
REBECCA FOUST:
Mom's Canoe, Texas Review Press
CAROL FRITH:
Looking for Montrose Street, Finishing Line Press
DAVID LEE GARRISON:
Sweeping the Cemetery, Browser Books
BRENT GOODMAN:
The Brother Swimming Beneath Me, Black Lawrence Press
ANNE GORRICK:
Kyotologic, Shearsman Books
SONJA RUTH GRECKOL:
Gravity Matters, Inanna Publications
WILLIAM GREENWAY:
Everywhere at Once, University of Akron Press
CAROLYN GUINZIO:
Quarry, Parlor Press
BARBARA HAMBY:
All-Night Lingo Tango, University of Pittsburgh Press
MICHAEL S. HARPER:
Use Trouble, University of Illinois Press
JOY HARJO:
She Had Some Horses (reprint), W.W. Norton
ELIZABETH HAUKAAS:
Leap, Texas Tech University Press
MIGUEL HERNANDEZ (Translations by Michael Smith):
The Prison Poems, Parlor Press
CRAIG HILL (Tr.):
The Complete Fables of La Fontaine: A New Translation in Verse, Arcade Publishing
MATT HILL:
Parataxis, BlazeVOX Books
JAMES HOCH:
Miscreants, W.W. Norton
CATHY PARK HONG:
Dance Dance Revolution, W.W. Norton
MARK IRWIN:
Tall If, New Issues Press
SUZAN JANTZ (Ed.):
Cadence of Hooves: A Celebration of Horses, Yarroway Mountain Press
MICHAEL JENNINGS:
Silky Thefts, Orchises Press
JOHN KINSELLA:
Divine Comedy: Journeys Through a Regional Geography, W.W. Norton
NORBERT KRAPF:
Bloodroot: Indiana Poems, Indiana University Press
MARI L'ESPERANCE:
The Darkened Temple, University of Nebraska Press
KELLY LYDICK:
Mastering the Dream, Second Story Books
CHARLOTTE MANDEL:
Rock Vein Sky, Middlemarch Arts Press
PATRICIA MARKERT:
Watched You Disappear, Five Spice Press
CHRIS MARKS:
Something of a Creation, White Mountains Publications
JUSTIN MARKS:
A Million in Prizes, New Issues Press
DAVID MASON:
Ludlow, Red Hen Press
JILL MCDONOUGH:
Habeas Corpus, Salt Publishing
MICHAEL MCGRIFF:
Dismantling the Hills, University of Pittsburgh Press
JOHN MCKERNAN:
Resurrection of the Dust, Backwaters Press
WENDY MNOOKIN:
The Moon Makes Its Own Plea, BOA Editions, Ltd.
JENNIE NEIGHBORS:
Between the Twilight and the Sky, Parlor Press
CONSTANCE NORGREN:
Same Boat, Five Spice Press
TED OLSON:
Breathing in Darkness, Wind Publications
PETER ORESICK:
Warhol-O-Rama, Carnegie Mellon University Press
ALICIA SUSKIN OSTRIKER:
The Mother/Child Papers, University of Pittsburgh Press
ELISE PASCHEN:
Bestiary, Red Hen Press
DONALD PLATT:
Dirt Angels, New Issues Press
NATE PRITTS:
Honorary Astronaut, Ghost Road Press
DIANA M. RAAB:
Dear Anais: My Life in Poems for You, Plain View Press
JODY ALLEN RANDOLPH (Ed.):
Eavan Boland: A Critical Companion, W.W. Norton
DAHLIA RAVIKOVITCH (Chana Bloch and Chana Kronfeld, Trs.):
Hovering at a Low Attitude: The Collected Poetry, W.W. Norton
ADRIENNE RICH:
Telephone Ringing in the Labyrinth: Poems 2004-2006, W.W. Norton
BOYER RICKEL:
Remanence, Parlor Press
ANDREW MICHAEL ROBERTS:
Something Has to Happen Next, University of Iowa Press
LEX RUNCIMAN:
Starting from Anywhere, Salmon Poetry
ZACH SAVICH:
Full Catastrophic Living, University of Iowa Press
STEVEN D. SCHROEDER:
Torched Verse Ends, BlazeVOX Books
PATTY SEYBURN:
Hilarity, New Issues Press
CHARLIE SMITH:
Word Comix, W.W. Norton
LYTTON SMITH:
The All-Purpose Magical Tent, Nightboat Books
EDWARD SNOW & MICHAEL WINKLER (Trs.):
Rilke and Andreas-Salomé: A Love Story in Letters, W.W. Norton
ELIZABETH SPIRES:
The Wave-Maker, W.W. Norton
MAURA STANTON:
Immortal Sofa, University of Illinois Press
KEVIN STEIN:
Sufficiency of the Actual, University of Illinois Press
JACK STILLINGER:
Romantic Complexity: Keats, Coleridge, and Wordsworth, University of Illinois Press
JOHN STUBBS:
John Donne: The Reformed Soul, A Biography, W.W. Norton
YERMIYAHU AHRON TAUB:
What Stillness Illuminated, Parlor Press
LARRY D. THOMAS:
New and Selected Poems, TCU Press
PAMELA USHUK:
Crazy Love, Wings Press
LYRAE VAN CLIEF-STEFANON:
Open Interval, University of Pittsburgh Press
DAVID WAGONER:
A Map of the Night, University of Illinois Press
RONALD WALLACE:
For a Limited Time Only, University of Pittsburgh Press
ROSANNA WARREN:
Fables of the Self: Studies in Lyric Poetry, W.W. Norton
EMILY WILSON:
Micrographia, University of Iowa Press
REBECCA WOLFF:
The King, W.W. Norton

[Readers also are invited to visit the archived lists of Recent and Recommended Books from past issues of Valparaiso Poetry Review.]

Publishers or authors are encouraged to send review copies of new poetry collections or volumes on poetics to the address below:
Valparaiso Poetry Review
Edward Byrne, Editor
Department of English
Valparaiso University
Valparaiso, IN 46383
Valparaiso Poetry Review also welcomes for consideration submissions of reviews or essays of critical analysis concerning any of the listed books. Those interested in submitting reviews should examine the VPR submission guidelines page.

Thursday, May 14, 2009

Tuesday, May 12, 2009

Gaylord Brewer: "Apologia to Mars and Moon"

The VPR Poem of the Week is Gaylord Brewer’s “Apologia to Mars and Moon,” which appeared in the Spring/Summer 2005 issue (Volume VI, Number 2) of Valparaiso Poetry Review.

Gaylord Brewer is a professor at Middle Tennessee State University, where he founded and edits the journal Poems & Plays. His seven collections of poetry include The Martini Diet (Dream Horse Press, 2008), Let Me Explain (Iris Press, 2006), Exit Pursued by a Bear (Cherry Grove Press, 2004), and Barbaric Mercies (Red Hen Press, 2003). He also has written books of literary criticism, David Mamet and Film (McFarland Press, 1993) and Charles Bukowski (Twayne/Macmillan Press, 1997), and a novella, Octavius the 1st (Red Hen Press, 2008).

Tuesday of each week “One Poet’s Notes” highlights an excellent work by a poet selected from the archives of Valparaiso Poetry Review, except when other posts with news or updates preempt the usual appearance of this item, with the recommendation that readers revisit it. Please check the sidebar to view the list of poets and works that have been past “Poem of the Week” selections. Additionally, readers are reminded that VPR pages are best read with the browser font preference in which they were set, 12 pt. Times New Roman, in order to guarantee the stanza alignment and the breaks of longer lines are preserved.

Monday, May 11, 2009

Craig Arnold, "Scrubbing Mussels," and David Wojahn

My initial acquaintance with David Wojahn occurred decades ago when we met at a party just before his first book, Icehouse Lights, was published as the Yale Younger Poets Award winner selected by Richard Hugo. BOA Editions had recently published my own first volume of poems, Along the Dark Shore, chosen by John Ashbery. Although we compared notes on our similar situations, I must confess that I don’t recall much of the specifics of the conversation. Over the time since then, I have followed Wojahn’s career, and I have always admired his poems. Additionally, I believe his commentary on poetry and poetics—especially as evidenced in Strange Good Fortune, a collection of essays published by the University of Arkansas Press in 2001—has been enlightening and enjoyable to read. I have appreciated Wojahn’s approach to writing about literature as a poet-critic. I believe his definition of the role, as stated in the preface to Strange Good Fortune, applies nicely to the task: “poet-critics have an odd and somewhat rarefied mission to undertake when they turn to prose: they have to preach what they practice, and this means that each of their forays into criticism is to some extent designed to help them better understand their own poetry and to better understand the forces—both within the tradition and within their own era—that have shaped their personal aesthetics. But personal aesthetics are by their very definition highly eccentric; they cannot be straitjacketed into theory, nor can they be reduced to simplistic bromides.”

I returned to the pages of Strange Good Fortune again this weekend to reexamine one of the collection’s essays that addresses the publication of poets’ first books, “John Flanders on the Anxious Highway: First Books and the Politics of Poetry.” However, in this instance I was revisiting the work not in relation to our own first books, but because of a section relating a conversation Wojahn had with Craig Arnold (pictured above) on an NPR radio program just before Arnold’s initial volume, Shells, was released as the Yale Younger Poets selection of W.S. Merwin in 1999. At the time, like Wojahn, I had not yet met Craig Arnold. I merely knew that following his earlier years as a student at Yale, Craig, like myself, had studied with Mark Strand in the PhD program at the University of Utah, and we had a number of mutual friends. Furthermore, I regarded highly the poems of his I already had seen in literary journals.

When I learned the tragic news about Craig this past week mentioned in my previous post, I quickly recollected the discussion recounted by Wojahn in his essay about first books, and I wanted to reread it. In the article, Wojahn indicates that, although the two had never met, Arnold had requested him, as a former winner of the Yale prize, to be a participant in the conversation. During the program, Wojahn—sitting in a studio in Chicago while Arnold spoke over a shaky connection from Salt Lake City—invited Craig to read a representative piece from Shells, and he responded with his wonderful work titled “Scrubbing Mussels,” one of my favorite pieces in that premiere collection, which Wojahn reports Craig typically delivered well in his long-distance reading over the radio.

SCRUBBING MUSSELS

Easy at first to think they’re all alike.
But in the time it takes your brush to scour
away the cement their beards secrete to stick
to the rock, to one another, you find the lure

of intimacy a temptation. Palm
cupping each shell, you learn a history
from what you scrape off—limpets, worm-
castings, their own brown crust—the company

they’ve kept, how many neighbors, on the fringes
or in the thick. This patriarchal shell
suffered a near-mortal crack—hinges
skewered by a scab, its valves will never seal

perfectly, ever. This one lost a chip
of its carapace—the nacre gleams, steel plate
in a war veteran’s skull. Here’s a couple
tangled by their beards. But do they mate?

You can’t remember how they reproduce.
Now and then you’ll find one open, startle,
fling it aside, your fingers too close
to what you hoped would stay hidden, the veil

lining the shell, flushed pink, not orange,
no, not yet. Once they are cleaned, and more
or less alike, they’re ready to arrange
in the skillet, large enough for a single layer,

with chopped onions and garlic, maybe a pinch
of tarragon—no salt, they will provide
the salt themselves—butter, a half inch
or so of dry white wine. Replace the lid,

turn on and light the gas. Make sure the match
is thoroughly stubbed out. If you’ve been tempted
at any point to see in them an image
of yourself, you must make sure your mind is emptied

of all such madness. Mussels cannot mind
the slowly warming pan, the steam, or feel
real pain, which requires sympathy, a kind
of tenderness. The worst, most capable

monsters admit a feeling for the flesh
they brutalize—the inquisitors who cry
with the heretic they rack for a confes-
sion, the kind cop who stops the third degree

to offer coffee, a smoke, the death camp
doctor who celebrates a patient’s birthday,
slips him an extra piece of bread—all symp-
athetic men. Think how delicious they

will be, the shells relaxing, giving up their humble
secrets, their self-possession. Your demands
are not so cruel. Don’t follow their example.
Slice the lemon. Make sure to wash your hands.

Wojahn’s descriptions of the poem and of Arnold’s talent as a poet seem worth repeating here: “The quatrains are graceful, and the tone strikes exactly the right balance between intimacy and rhetoric. Arnold plays a sly game with our presuppositions, warning us against the dangers of the pathetic fallacy while at the same time embracing them, yet he never allows the poem to grow arch. This casual but fervent control is typical of Arnold’s poetry; he’s a writer with a rock and roll heart, but he’s also been to Yale, where J.D. McClatchy and John Hollander were his teachers and instilled in him a healthy respect for traditional forms.”

When I encountered this poem at the time of its publication, I recognized a voice that emphasized careful attention to detail, which eloquently communicated a connection with nature reminding me of some examples in poetry by Elizabeth Bishop or Theodore Roethke. Moreover, I treasured the surprising twists within the lines of the poem’s final few stanzas. Admittedly, my own evaluation also was influenced by similar past experiences collecting mussels along the shoreline of Long Island, as well as by my ardent interest in the particulars involved with cooking.

In any case, I believed the speaker in the poems of this first book was only beginning to display a special perspective and apparent talent that would become even more significant in the future. In the span of time since then, Craig Arnold did not disappoint. His poetry proved even more stunning and valuable as his craft matured. Certainly, every instance during the past decade in which I came across a new poem by Craig Arnold, I discovered further reasons to marvel at his skill. Indeed, in reading Arnold’s illustrative poetry and considering it with a critical eye, I sometimes found myself rewarded by comprehending the art form better, as Wojahn suggested in his comments about the role of the poet-critic, better understanding my own poetry as well. Now, only ten years after the appearance of Shells, I am saddened by the prospect this engaging and instructive poetic voice, that had introduced itself so magnificently to readers in that initial collection, has been silenced so soon.



Friday, May 8, 2009

Recalling Craig Arnold



Most readers of "One Poet’s Notes" know that the wonderful poet, Craig Arnold, went missing recently while exploring a volcano in Japan. Craig has been an avid adventurer, traveling exotic locations, climbing the sides of volcanoes, and writing of his experiences. Indeed, in a sad irony that Craig would appreciate, he wrote on his Facebook page under “Activities: Writing poems. Walking up & down & sometimes falling off volcanoes.” Craig had been maintaining a blog, “Volcano Pilgrim,” chronicling his travels in Japan that I recommend everyone examine. In addition, Craig was a fellow alum (both of us poets graduating from the PhD program in English at the University of Utah) and a friend. Though, the great number of friends, many who knew him far better than I, and the immense influence he exerted on others have become clearer this week.

The search for Craig has extended more than a week, and on Friday came the kind of news all of us had feared. The following note from his partner, Rebecca Lindenberg, posted at the “Find Craig Arnold” Facebook page that had been created to distribute information and that had gathered more than 3,000 followers in the past week, contains the sorrowful news:

05/08/09 UPDATE FROM Rebecca Lindenberg @ Find Craig Arnold:

THANK YOU.

Our dear friends and family,
Though Craig himself has not been recovered, the amazing expert trackers of 1SRG have been able to make themselves and us certain of what has become of Craig. His trail indicates that after sustaining a leg injury, Craig fell from a very high and very dangerous cliff and there is virtually no possibility that Craig could have survived that fall. Chris will pursue what he can about getting specialists to go down into the place we know Craig is so we can bring him home, but it is very, very dangerous and we are not yet completely certain what that will require. The only relief in this news is that we do know exactly what befell Craig, and we can be fairly certain that it was very quick, and that he did not wait or wonder or suffer.

I cannot express again the profound gratitude I feel to everyone who has loved and honored Craig with their goodwill, their immense efforts and energy, and their overwhelming generosity. I believe that where he is, Craig knows.

There will be further occasion to celebrate Craig, and when I know more I will post it.

For my part, I love Craig beyond the telling of it and will always love him as immeasurably, as enduringly, as steadfastly and as unconditionally as I do now and have done these past six years. In leaving our family Craig, in a manner absolutely characteristic of his own vast generosity and capacity to inspire, brought us all closer together than we perhaps have ever been. I feel his presence, loving and understanding and funny and deeply feeling, at all times. I hope you do, too.

With love,
R.

Craig Arnold received his BA in English from Yale University and his PhD in creative writing from the University of Utah. Arnold’s two collections of poems are Shells (1999), selected by W.S. Merwin as the winner of the Yale Younger Poets Award, and Made Flesh (2008), published by Ausable Press.

He received various honors and awards, including the Anthony Hecht Poetry Prize, the Amy Lowell Traveling Poetry Scholarship, the Joseph Brodsky Rome Prize Fellowship from the American Academy of Arts and Letters, the US-Japan Creative Artists Exchange Fellowship, the Alfred Hodder Fellowship from Princeton University, a Dobie Paisano Residency, a Fulbright Scholarship, and a National Endowment for the Arts Fellowship.

As I stated last month upon learning about the death of Deborah Digges, I believe listening once again to the poet read may be the best way to remember. Consequently, I recommend readers recall and celebrate Craig Arnold’s life and work by watching the above video of Craig offering some of his poetry.

Reading Philip Levine at Mother's Day

As the Mother’s Day weekend is upon us, I’d like to suggest readers revisit Philip Levine’s title poem, “The Mercy,” from a collection published in 1999. Levine includes a dedication to his mother at the beginning of the book, and the poem chosen for the volume’s title recounts his mother’s arrival in the United States on a ship carrying the same name. In an interview with Levine by Edward Hirsch, the poet was asked about his choice of a dedication to his mother, and Levine replied:

“I was very lucky to have a mother who encouraged me to become a poet. As a fourteen-year-old I fell in love with horse racing, and she hated that. I think she was so glad I quit the track and went to college when I turned eighteen that I could have studied lion taming, and she would have said, That’s an old and honorable profession. But she loved poetry, fiction, music; that a son of hers would devote himself to this art thrilled her. Only the final poem in the book was written after her death, which was in the spring of last year just after she turned ninety-four. I did not see her death coming. The last time I spoke with her she sounded very snappy and was looking forward to my new book. I hope the book contains some of her zest for life, some of her belief in the power of beauty, some of her great humor. As a teacher you too must have known many young people who wanted to pursue poetry but were discouraged by their families. I’m one lucky guy to have had Esther Levine for my mother.”

The entire interview, “The Unwritten Biography: Edward Hirsch and Philip Levine in Conversation,” is available at the Academy of American Poets web site.

THE MERCY

The ship that took my mother to Ellis Island
Eighty-three years ago was named “The Mercy.”
She remembers trying to eat a banana
without first peeling it and seeing her first orange
in the hands of a young Scot, a seaman
who gave her a bite and wiped her mouth for her
with a red bandana and taught her the word,
“orange,” saying it patiently over and over.
A long autumn voyage, the days darkening
with the black waters calming as night came on,
then nothing as far as her eyes could see and space
without limit rushing off to the corners
of creation. She prayed in Russian and Yiddish
to find her family in New York, prayers
unheard or misunderstood or perhaps ignored
by all the powers that swept the waves of darkness
before she woke, that kept “The Mercy” afloat
while smallpox raged among the passengers
and crew until the dead were buried at sea
with strange prayers in a tongue she could not fathom.
“The Mercy,” I read on the yellowing pages of a book
I located in a windowless room of the library
on 42nd Street, sat thirty-one days
offshore in quarantine before the passengers
disembarked. There a story ends. Other ships
arrived, “Tancred” out of Glasgow, “The Neptune”
registered as Danish, “Umberto IV,”
the list goes on for pages, November gives
way to winter, the sea pounds this alien shore.
Italian miners from Piemonte dig
under towns in western Pennsylvania
only to rediscover the same nightmare
they left at home. A nine-year-old girl travels
all night by train with one suitcase and an orange.
She learns that mercy is something you can eat
again and again while the juice spills over
your chin, you can wipe it away with the back
of your hands and you can never get enough.

Philip Levine

My review of The Mercy appeared in the initial issue of Valparaiso Poetry Review, in the fall of 1999. As encouragement for visitors to read the whole collection of poems, I reprint my commentary below.


THE QUALITY OF MERCY: PHILIP LEVINE’S THE MERCY

For a number of years now, Philip Levine has held a secure position among the handful of American poets who have written substantial bodies of distinctive and influential poetry during the closing decades of the twentieth century. Since the 1963 publication of his first book, On the Edge, Levine has produced a steady accumulation of powerful poems whose thematic and stylistic characteristics are as identifiable and revealing as the "auras of smoke and grease" or the "eyes swollen with sleeplessness" that mark those urban blue-collar workers in "Salt and Oil"—one of the remarkable poems from his latest collection, The Mercy—as well as many other individuals enduring difficult lives whom Levine has "frozen in the fine print of our eyes."

Anyone who had been harboring doubt about Levine’s stature as one of our significant poets ought to have been convinced by the works in his two previous books, each of which went on to win a prestigious award: What Work Is (1991) won the National Book Award for Poetry and The Simple Truth (1994) won the Pulitzer Prize in Poetry. Indeed, after the laurels and attention showered upon that pair of poetry collections, many readers might expect to be let down or at least inoculated against the repeated charms and recognizable characters who again appear, like old photos drawn once more from a family album, throughout the poems in this new volume.

The Mercy, like most of Levine's seventeen earlier books of poetry, displays an elegance and effectiveness surprisingly evident in such deceptively plain-spoken poems, especially in the many elegies written in memory of people and places of importance in his past, that appear throughout his works. In fact, this new volume by Levine derives its title from a poem depicting his mother's migration passage to America as a nine-year-old girl aboard a ship aptly named "The Mercy," and the book begins with a dedication—In Memory of My Mother Esther Levine, 1904-1998—acknowledging his mother's departure from this life and her influence upon his.

In between the dedication and the title poem, the penultimate piece in the volume (a final poem, "The Secret," written upon the death of his mother, appears almost as a coda to close the collection), Levine offers an assortment of elegies and fond memories of family members (mother, unknown father, brother, aunts and uncles), friends, factory co-workers, and favorite artists, writers, or musicians (Charles Scheeler, Federico Garcia Lorca, César Vallejo, Juan Ramon Jimenez, Cesare Pavese, Sonny Rollins, Charlie Parker, Clifford Brown) who have informed and influenced his own passage through this life.

In "Flowering Midnight," Levine speaks about a scene he remembers from nearly fifty years ago and of a co-worker at "Chevy Gear & Axle":
My friend Marion,
the ex-junkie and novice drop-forge worker,
off by himself humming "Body and Soul,"
stares wide-eyed straight up letting the flakes
fill his mouth. He played with Hawkins before
his troubles and now has four ten-inch Bluebirds
left to prove it. Now even these trees hunger
for the music, three black trees filling with winter.
"And That Night Clifford Died" presents lines like so many in Levine's work that convincingly persuade readers we are often able to chronicle our lives most effectively through associations with memories of those who affected us so deeply, even those artists we knew only through their work. After hearing trumpeter Clifford Brown on "an FM station fading in / and out on the car's radio," Levine recounts the night in June of 1956 after coming home late from work at the factory when he heard news of Brown's death. He recalls,
. . . the music
I lived for, created by men
becoming myths. Twenty-five years
would pass before Brownie's pure voice
would find me again . . . .
A quarter century after the event, Levine is able to associate his reminiscence about that night of Brown's death in an automobile accident at the age of twenty-five with the condition of his own life, tying together memory and memoir, cultural or political history with personal reflections and emotions:
I sat
alone and silent. The open
window gave me a dark wind
freighted with late September
and the smell of burning fuel
stinging my eyes unless I
was crying for the joy of being
whole in a country at war.
Over the years, there have been accusations that Levine's poems often offer easily apparent situations evoking false sentimentality. One of his harshest critics has been Helen Vendler who once commented in The Music of What Happens (Harvard University Press, 1988), "I am not convinced that Levine's observations and reminiscences belong in lyric poems, since he seems so inept at what he thinks of as the obligatory hearts-and-flowers endings of 'poems.'" As much as there may be a few individual endings of poems in past works where this kind of complaint is justified, any general statement suggesting this as a continuous problem in Levine's poetry is exaggeration, or any comment such as Vendler's assertion Levine's poetry "is only one step away from Lois Wyse or Rod McKuen" is clearly overblown. In fact, in poem after poem the language filling Levine's lines takes the risk of being seen as simply sentimental, but instead offers the reader the greater rewards of genuine sentiment, emotions earned through scenes rendered in simple language.

In "Joe Gould's Pen," Levine even speaks of the "earned word":
Perhaps he knew that when
he gave back the last hard breath
each earned word would disappear
the way the golden halo
goes when the dawn shreds the rose
into dust, the way a voice fades
in an empty room, the way
the pomegranate fallen from
the tree scatters the seeds of
its resurrection, the way
these lines are vanishing now.
The Mercy, with the personal allusions or the private attachments present in its title poem and its dedication, a book full of rear-view mirror reflections published by Levine as he enters his seventies, probably risks criticism of sentimentality and nostalgia even more than any previous work. Nevertheless, the poems gathered in this volume defy such easy terms of dismissal. Rather, studying these poems one discovers lingering lines, evocative images, and powerful portraits arising out of Levine's memory that will remain now in the reader's consciousness and cannot easily be dismissed in any sense of the word—lines, images, and portraits that will remain like those scattered seeds of the pomegranate.

On occasion, Philip Levine also has been legitimately faulted for the seeming arbitrariness in line breaks and too-frequent examples of weaker words at line breaks in his poems. Although there are still a number of lines (as seen in the excerpt from "Joe Gould's Pen")—none of which can be excused as syllabic or metered lines—in this book that would be enhanced by rearrangement and removal of prepositions, conjunctions, or other ineffective words from line endings, far fewer examples occur here than in his earlier books. Levine has apparently been more conscientious about creating effective line breaks in his recent collections, and such criticism now may only amount to quibbling about a minor irritation.

Levine often wonders about the usefulness of words, especially in poetry, to adequately convey meaning and emotion. In "These Words," he describes trying to read "scraps of old letters / damp ragged stories" ruined by rain:
"Door," she has written, "leaf," on the page's
other side, "stone," words out of poetry,
the words my mother read to Aunt Pearl
forty-nine years ago to comfort her
in her loss. How innocent we were then,
how much we believed in the comfort words
could bring, how much we thought they would explain . . . .
He questions and criticizes the effect of words against silence in "'He Would Never Use One Word Where None Would Do":
Fact is silence is the perfect water:
unlike rain it falls from no clouds
to wash our minds, to ease our tired eyes,
to give heart to the thin blades of grass
fighting through the concrete for even air
dirtied by our endless stream of words.
Other times, as in "Sundays with Lungo" where he regards with wonder the way his friend's words "came sideways out of his mouth / so the wind would blow it to tatters, words / that became nothing," words assume "pure sounds / thrust back into the wind's face." In one of the poems about searching for knowledge of his father, "The Return," he quotes a note from a journal left by his father and inherited by Levine when he "was almost seventy." It reads simply enough, "He who looks for answers finds questions." Now in his seventies, still looking for answers, Levine asks in "Sunday with Lungo,"
Do you know how to read the wind? Do you?
It's easy. Just close your eyes and listen.
Of course, you have to be old, broken
in body and spirit, brought down so low—
as Lungo was—that even words make sense.
Indeed, it is fascinating to read the two poems ("The Return" and "The Mercy") in this collection that most reflect Philip Levine's attempts to fully understand the lives, and the deaths, of his parents—the father he didn't know and the mother who influenced him greatly. This is territory Levine also has explored with prose in his autobiographical memoir, The Bread of Time, published in 1993, where he includes a conversation with his mother:
"You want to know who your father was?"

I could tell by the way she was looking at me that she expected a serious answer. Here I was, a man in his sixtieth year, and I had to ask the old Dr. Prescott question: Was I searching for the father. I knew without the least doubt that if I simply asked, Who was my father? She would answer me without the least temporizing. As it was, in my ignorance, he could have been anyone old enough but not too old in 1927: Jack Dempsey, the Prince of Wales (who had yet to give himself body and soul to Wally Simpson), Henry Ford, Herbert Hoover, Thomas Mann, Picasso, Charlie Chaplin, Hart Crane, Babe Ruth, Walt Disney, Bertolt Brecht, Benny Goodman, Moishe Oysher, Gabriele D'Annunzio, Joe Blow. The list was finite but enormous, and by a simple question I could reduce it to one. You don't need a key that says "Mosler" on one side and opens a long-forgotten door to know what I did.
It is instructive to view the closing lines of these two poems. "The Return" describes Levine's visit to a grove of apple trees resembling a pencil drawing in his father's journal. He concludes the poem with lines that recall scenes or comments about "words" in the poems mentioned earlier:
The wind hummed in my good ear, not words exactly,
not nonsense either, for what I spoke to myself,
just the language creation once wakened to.
I took off my hat, a mistake in the presence
of my father's God, wiped my brow with what I had,
the back of my hand, and marveled at what was here,
nothing at all except the stubbornness of things.
These lines also foreshadow an image in the last lines of "The Mercy," describing Levine's mother after she had disembarked from that ship bearing the name of the poem's title:
. . . A nine-year-old girl travels
all night by train with one suitcase and an orange.
She learns that mercy is something you can eat
again and again while the juice spills over
your chin, you can wipe it away with the back
of your hands and you can never get enough.
The author's notes accompanying Levine's poetry have been fairly consistent throughout the four decades of his publishing career—with one exception. Detailing his move from Detroit as a young man, Levine's earliest notes read, "after a succession of stupid jobs, he left . . . ." However, the biographical information in recent books reads, "after a succession of industrial jobs, he left . . . ." Early in his career, Levine's poetry was often characterized as very angry, and that anger provided much of the energy fueling many of his best poems. But that rage evident at an earlier age and in a large share of his poetry, although not gone altogether, has given way to some extent in recent years, especially in his three latest collections, to an even more thoughtful and reflective poetry exhibiting an even greater generosity of spirit.

Perhaps the closing pair of stanzas from another fine poem in The Mercy—"The Knowable," Levine's tribute to jazz saxophonist Sonny Rollins—would also prove a fitting closing comment on Philip Levine:
The years pass, and like the rest of us
he ages, his hair and beard whiten, the great
shoulders narrow. He is merely a man—

after all—a man who stared for years
into the breathy, unknowable voice
of silence and captured the music.


Levine, Philip. The Mercy. New York City, New York: Knopf, 1999. ISBN: 0-375-40138-5



Wednesday, May 6, 2009

BEST OF THE WEB 2009: Contents and Ordering Info

Executive Editor Dan Wickett of Dzanc Books has announced “the list of authors, titles and journals involved for the 59 stories, flashes, poems and essays that will be in Best of the Web 2009” anthology in bookstores next month. In addition, the publisher has made available a web page for pre-orders of the book, as well as a special 25% discount when also ordering the Best of the Web 2008 edition. Additionally, the web page includes a wonderful graphic with a sampling of the new anthology.

Once more, I am pleased to report that a poem from Valparaiso Poetry Review has been chosen to be included in this year’s anthology (guest editor: Lee K. Abbott, series editor: Nathan Leslie). Elise Paschen’s “Hive,” which appeared in the Fall/Winter 2008-2009 issue (Volume X, Number 1), was selected from among many hundreds of nominations across the entire spectrum of online magazines eligible for consideration.

The Best of the Web anthology series was started last year in an effort to spotlight excellent literature published in online journals. The publisher describes the collection: “this print anthology compiles the best fiction, poetry, and non-fiction that online literary journals have to offer in an eclectic collection in the manner of other broad-ranging anthologies such as Pushcart and Best American Non-Required Reading. This is the first substantial attempt at creating an annual print compilation of the best of material published online.”

Contributors to Best of the Web 2009 include the following: Waqar Ahmed, Arlene Ang, Michael Baker, Marcelo Ballve, Marge Barrett, Carmelinda Blagg, Benjamin Buchholz, Blake Butler, Jimmy Chen, Amy L. Clark, Amber Cook, Bill Cook, Michael Czyzniejewski, Darlin’ Neal, Matthew Derby, Ryan Dilbert, Stephen Dixon, Alex Dumont, Claudia Emerson, D.A. Feinfeld, Marcela Fuentes, M. Thomas Gammarino, Cassandra Garbus, Molly Gaudry, Anne Germanacos, Matt Getty, Todd Hasak-Lowy, Karen Heuler, Ash Hibbert, Philip Holden, Roy Kesey, Hari Bhajan Khalsa, Tricia Louvar, Peter Markus, Michael Martone, Heather Killelea McEntarfer, Lindsay Merbaum, Corey Mesler, Laura Mullen, Joseph Olschner, Jeff Parker, Elise Paschen, Elizabeth Penrose, Kate Petersen, Glen Pourciau, Sam Rasnake, Jonathan Rice, Tom Sheehan, Claudia Smith, Lynn Strongin, Terese Svoboda, Jon Thompson, Davide Trame, Donna D. Vitucci, Helen Wickes, Kathrine Leone Wright, Jordan Zinovich.

I was happy last year to report two poems that first appeared in Valparaiso Poetry Review“Prophet Township” by Jared Carter and “Walking an Old Woman into the Sea” by Frannie Lindsay—were honored by being chosen for publication alongside nearly sixty other works in that initial anthology of the series. I also was grateful to be able to add that one of my poems, “Island Fever,” which first appeared in Apple Valley Review, received a nomination from that journal’s editor, Leah Browning, and it also was selected for inclusion in the 2008 anthology.

As I have mentioned previously, I value all the poems and depend on all the poets in Valparaiso Poetry Review. Yet, I welcome the admirable efforts of the anthology’s editors to bring attention to the growing number of fine works being published in online journals. Indeed, as I observed in a recent post, “Online Literary Journals: Coming of Age,” I believe such attention informs readers and encourages writers to view online journals with increasing respect. Also, I am pleased when an opportunity arises for one of VPR’s splendid poets to reach a larger audience and find the greater recognition she deserves through inclusion in the anthology. Again, I congratulate Elise Paschen on the selection of her wonderful poem for this honor.