I know you have no use for them, poems with their sly quicksilver words that won’t just speak their minds, but carom through your head like startled birds. Is that despair or longing in their cries? Their dolors make no sense. They’ll never buy you larger-screened TVs or seats at sports events.
But someday, as you watch a pair hold hands and leap from a burning tower, as you wait for test results or hear your phone ring at an unaccustomed hour, what you feel will circle wordlessly— tense, accusing, gaunt. You’ll find that you are tested and found wanting, and these are what you’ll want.
*****
Susan McLean writes: “As a professor myself and a person who once worked on writing standardized tests, I am familiar with the complaint of teachers that they are often forced to “teach to the test,” i.e., teach only the sort of knowledge and skills that students need for passing that sort of test. But as a poet, I know that we are tested in life in all sorts of ways. Most people think that they can get through life just fine without poetry. They tend to find poetry annoying and impenetrable, something that needs to be decoded, that has no practical use. Yet in tragedies, when all hope and comfort are gone, there is some comfort in hearing that others who have been in similar situations were able to put into words the feelings that you can’t. And the most memorable and condensed of those responses are often poems. This poem is rhymed and metrical, but the lines are of different lengths in unpredictable patterns, a form called “heterometric,” and the rhymes occur only every other line. That unpredictability is meant to mirror life, in which the bad news always seems to come out of nowhere. The poem originally appeared in Able Muse and later in my second poetry collection, The Whetstone Misses the Knife.”
Susan McLean has two books of poetry, The Best Disguise and The Whetstone Misses the Knife, and one book of translations of Martial, Selected Epigrams. Her poems have appeared in Light, Lighten Up Online, Measure, Able Muse, and elsewhere. She lives in Iowa City, Iowa. https://www.pw.org/content/susan_mclean
I remember you some mornings in the midst of getting dressed Surprised that I recall exactly when I wore you last
The paisley patterns spilling over sleeves The Nehru collars nobody believes … were popular The turtlenecks no turtle ever wore Those V-neck disco shirts that dance no more … Spectacular!
Are you lurking in the closet among other clothes I own? I gently touch your shoulder—a brief flash, then you’re gone
The concert souvenir shirts we outgrew The obligation gifts we always knew … were wrapped in haste Thick cotton plaids lost lumberjacks would covet That college T tossed out, but how we loved it … still, such a waste
You promised transformation, but what else did you require The full ensemble led us toward transcendence or desire (Attire of another age, accessories all the rage)
Bell-bottom flares that took flight as we walked Embroidered jeans so tight that people talked … of nothing else Those bomber jackets earthbound boomers froze in Those leather wristlets grunge guitar gods posed in … with death’s head belts
You folded in your fabric everyone I used to be Now that you’re gone, I realize I’m left with only me But if I run across you in some thrift shop bargain rack Or rummaging recycling bins, what else would you bring back? Who else will you bring back?
Some nights I see you in my dreams of places far away I’m wearing you as if I haven’t aged a single day Shirts of the distant past, shirts of the distant past
*****
Ned Balbo writes in Rattle #85, Fall 2024 (where you can hear the song performed): “I’ve played guitar since I was 5, keyboards since I was 13, and ukulele since I was 42, but my time as a ‘professional’ musician—someone paid to play—is scattershot and humble. Ice rinks, a Knights of Columbus Hall, a campers’ convention in Yaphank, a crowd of disco-loving retirees at Montauk’s Atlantic Terrace Motel, company picnics, school dances, private parties, and more—these were where I played guitar, sang, and devised versions of the Beatles, Bowie, et al. in two Long Island cover bands. The Crows’ Nest or Tiffany’s Wine-and-Cheese Café hosted noise-filled solo acoustic gigs, with more receptive listeners for original songs and covers of Elvis Costello or Eno at my undergrad college’s coffeehouse. More recently, I’ve written lyrics to Mark Osteen’s preexisting jazz scores (look for the Cold Spring Jazz Quartet on Spotify, Amazon, CDBaby, and elsewhere) and returned to solo songwriting and recording with ‘ned’s demos’ at Bandcamp. As a relic from the age when lyrics were sometimes scrutinized with poetry’s intensity, I listen closely to the sonics of language, whether sung or spoken, and look up to lyricists whose words come alive both aloud and on the page.”
Balbo: Robin, thanks for posting ‘Shirts from the Distant Past’, my little song-poem hybrid. I’ll be happy to answer any questions you have.
Editor: For myself, I see a continuum from womb heartbeat to dance to music to song to formal verse. I would love to have any additional comments on the subject in general, or on the creation of this poem in particular, related to these elements.
Balbo: I love what you’re saying about womb, heartbeat, and dance. A formative text for me is Donald Hall’s essay on poetic form’s psychic origins, ‘Goatfoot, Milktongue, Twinbird‘. You probably know it. Hall proposes three metaphors for poetry’s deepest sources: Goatfoot, the impulse toward dance, rhythm, movement; Milktongue, the pure pleasure of language, the texture of words when spoken; and Twinbird, our desire for form, symmetry, wholeness, which is complicated and energized by the contradictions it contains and reconciles. To me, Hall’s terms just sound like different ways of envisioning exactly what you’re talking about. They apply as much to song as they do to verse. The meter varies by stanza or section: iambic heptameter (seven iambs) in the couplet verses—not so different, after all, from the tetrameter to trimeter shifts we find in many ballads. The “shirts” title refrain, which doesn’t appear in print till the last line, are two trimeter phrases. It was fun to find surprising rhymes to hold the whole song together.
Editor: Regarding ‘Shirts’, quite apart from the charming idea, I like the work that has gone into the metre, rhyme, idiosyncratic structure.
Balbo: Thank you. I wrote and sung ‘Shirts’ as a poetic song lyric—one that could be read and enjoyed but, ideally, would be heard. I view its structure as that of a call-and-response song in traditional format. (In rock, for example, I think of George Harrison’s ‘Taxman’ with John and Paul harmonizing “Taxman, Mr. Wilson, Taxman, Mr. Heath” in answer George’s lead vocal.) In ‘Shirts’, the call-and-response comes from using the title as a refrain: it explains who the “you” is in each verse (when you hear it, anyway—I cut it from the visual text for fear it would seem repetitious without the music). Sometimes the title refrain answers a statement in the verse: “I gently touch your shoulder—a brief flash, then you’re gone” sounds like I might be talking (or singing) about a person, but it turns out to be those long-lost shirts—a playful fake-out.
Then there are the brief call-and-responses of the bridge sections which comment on the previous line or complete an unfinished thought: “Those V-neck disco shirts that dance no more…spectacular!” or “Embroidered jeans so tight that people talked…of nothing else.” They’re in iambic pentameter, with the second and fourth changing to heptameter if we count the two extra beats (set off on their own line) answering them.
The so-called “middle 8” (usually eight bars used to break up the verse-chorus/verse-chorus model) is delayed till just before the end: “You folded in your fabric everyone I used to be, etc.” That’s meant to set up the payoff: it’s not the shirts but our lost selves— along with loved ones, lost ones, everyone—we’re missing or mourning. But writing or singing about shirts—clothing that shapes and defines us—makes the lyric less depressing, leavens it with wit (I hope) so that what’s more poignant comes at the very end where more dramatic music can counterbalance the mood—the contradictions reconciled, as Donald Hall might have put it.
Of course, the very end is quieter – wistful again.
As I mentioned in Rattle (thanks again to Tim Green for giving both words and music a home), I grew up in the era when lyrics were often analyzed as seriously as poetry (and not just by undergraduates in long-ago dorm rooms under black light posters). Whether I’m writing poetry or songs, I listen closely to the different ways words sound—what works when sung doesn’t always work as well when spoken or encountered on the page—so when I do write lyrics, I try to make them both readable and singable.
Poems and song lyrics operate differently, but there’s lots of overlap between them. I wanted ‘Shirts’ to operate on both levels, even if it tilts more toward song lyric than poem.
*****
Ned Balbo’s six books include The Cylburn Touch-Me-Nots (New Criterion Prize), 3 Nights of the Perseids (Richard Wilbur Award), Lives of the Sleepers (Ernest Sandeen Prize), and The Trials of Edgar Poe and Other Poems (Donald Justice Prize and the Poets’ Prize). He’s received grants or fellowships from the National Endowment for the Arts (translation), the Maryland Arts Council, and the Mid Atlantic Arts Foundation. Balbo has taught at Iowa State University’s MFA program in creative writing and environment and, recently, the Frost Farm and West Chester University poetry conferences. His work appears in Contemporary Catholic Poetry (Paraclete Press), with new poems out or forthcoming in Able Muse, The Common, Interim, Notre Dame Review, and elsewhere. He is married to poet and essayist Jane Satterfield.
From under low clouds spreading from the south The red sun drops slow to night’s waiting mouth. Rush lamps are lit; the guards changed on the walls; Supper will not be served in the Great Halls With Arthur still away. Each in their room, The members of the Court leave books or loom To say their Vespers in the encroaching gloom.
Lancelot, up in his tower, Sees the sunset storm clouds glower, Feels his blood’s full tidal power, Knows he has to go. In her bower, Gwenivere Puts a ruby to her ear, Brushes firelight through her hair, Feels her heartbeat grow.
Guard, guard, watch well: For the daylight thickens And the low cloud blackens And the hot heart quickens To rebel.
From his tower, caring not For consequences, Lancelot Crosses courts of Camelot, Pitying his King. In her bower, Gwenivere Feels his presence coming near, Waits for footfalls on the stair, Lets her will take wing.
Guard, guard, watch well: If attention slackens When the deep bond beckons, Evil knows Pendragon’s In its spell.
And as the storm clouds, rubbing out the stars, Deafened the castle and carved lightning scars, Drenched Arthur rode for flash-lit Camelot Where he, by Queen and Knight, was all forgot.
*****
‘Camelot at Dusk’ was originally published by Candelabrum, a now-defunct poetry magazine in the UK which appeared twice-yearly from April 1970 to October 2010. Candelabrum provided what was, in the 1970s, a very rare platform for British poets working in metrical and rhymed verse.
Technically, the poem uses a variety of forms. The opening and closing passages use iambic pentameter with simple sequential rhyme for a level of detachment (and the only times Arthur is mentioned by name). The passages with Lancelot and Gwenivere use shorter trochaic lines with denser rhymes for more intensity. The passages of warnings to the guards… well, they have a shifting but repeating structure all their own.
Because of the bracketing of the more emotional passages by the more detached opening and closing, the piece feels very complete. As a whole, it is a nonce form. Whether I can ever repeat it successfully, I don’t know. I have tried, but not been satisfied with the result.
Victoria Moul writes: When I hear or read people — often though not only American “formalists” — discussing “correct” metre in English, and the supposed dominance of accentual-syllabic forms in general and the iambic pentameter in particular, I often think rather impatiently of poets like Arnold and Yeats. Arnold’s verse is musical, highly memorable and — to my ears at least — mostly very straightforward to speak correctly. But it’s often not very iambic at all and he typically uses lines of very varying syllable length. ‘Rugby Chapel’ is a good example of this — its pattern is, technically speaking, more trochaic (rugby) than iambic (endured), the trochaic pattern is established very clearly at the outset (‘Coldly, sadly descends’) and the lines have between six and nine syllables each. If you (inexplicably) wanted to spend an hour “scanning” it you’d find a complex variety of combinations of stressed and unstressed syllables. But its music is easy to hear and read, and very easy to remember, because regardless of the number of the syllables all the lines have three stresses.
Repeated three-stress lines are relatively unusual in English, especially in longer poems, but the four-stress line is very common, perhaps in fact the most natural English line of all, and indeed a lot of so-called iambic pentameter has a tendency to drift towards four rather than five stresses. ‘The Wild Swans at Coole’ establishes an iambic pattern at the outset (‘The trees are in their autumn beauty / The woodland paths are dry’) but is in stanzas of 4/3/4/3/5/3 stresses, with quite varied syllable length and relatively few perfectly iambic lines. Day-Lewis’ poem, by contrast, looks to the eye like it might be iambic pentameter, since the line-length hovers around 10 syllables (ranging from 9 to 12). But most of the lines are spoken naturally with four stresses, not five (‘A sunny day, with leaves just turning’; ‘Wrenched from its orbit, go drifting away’), and only a handful of lines certainly have five.
As far as I know — do comment if you can think of any counter-examples — there are no really good poems about rugby itself, so the poems I discussed today were just those which came into my mind as I watched the practices. None of these English poems are obscure — all are by poets who were considered major in their own lifetime, and all three have been very well-known at some point even if they are not now — and not one of them is in iambic pentameter. In fact, not one of them is obviously in a ‘syllabic’ metre, strictly speaking, at all (as in the familiar statement that traditional English verse is ‘accentual-syllabic’, i.e. where both the number of stresses and the number of syllables are set by the metrical pattern). These poems, like a great deal of English poetry, establish and follow an accentual pattern — of a certain number of stresses in a line, though this too is open to variation — but not, or only very loosely, a syllabic one. Verse of this kind is very common in the English tradition, and the hundred years of poetry between the mid-19th and mid-20th century, even if you set aside the full-blown “modernists” completely, is particularly rich in metrical variety. It is puzzling that this is not better reflected in most discussions of English metre and form. But the best way to get a feel for the actual — rather than imagined — conventions of a literary tradition is, of course, by reading it.
*****
Editor: The passage above is excerpted with permission from a recent Substack post by Victoria Moul in her ‘Horace & friends’ – the full thing is at https://vamoul.substack.com/p/on-rugby-and-metre. In it, with thoughts inspired by watching her nine-year-old son playing rugby, she discusses Cecil Day-Lewis’ ‘Walking Away’, Yeats’ ‘The Wild Swans at Coole’ and Arnold’s ‘Rugby Chapel’. The piece is engaging in several ways, but the point that stands out the most for me is this: “These poems, like a great deal of English poetry, establish and follow an accentual pattern — of a certain number of stresses in a line, though this too is open to variation — but not, or only very loosely, a syllabic one.”
This is much on my mind when I consider the forms that create formal verse. From my school days on, I have felt that analysing English grammar with Latin rules was wrong, just as straightjacketing English verse into syllabic requirements was not always useful, beautiful or appropriate. English is a Germanic language, and plays effectively by looser accentual rules: perhaps harder to define and analyse, but truer to the work of poetry which is to be word-for-word memorisable. Rhythm is one of the essential tricks of memorisation, along with rhyme, alliteration, assonance and a host of rhetorical tricks; and rhythm plays a variety of casual games. Also, accentual pattern corresponds to the continuum that I see at the root of poetry: from womb heartbeat, to dance, to music, to song, to formal verse. Formal verse is at its best when it is rhythmic and rich in musicality as well as in ideas and images and wordplay. Without the music, without the rhythm, it is prose… no matter how well expressed.
So rap and spoken word are inherently more poetic because more memorisable than 99% of what has been published as ‘poetry’ in the past 50 or 60 years. All songwriters are of course genuine poets – not all are good ones, but Bob Dylan certainly deserves his Nobel Prize (and I wish it could have been shared with Leonard Cohen).
Another point is that French too, and other Romance languages, are more accentual than professors often claim. When Françoise Hardy sang Tous les garçons et les filles de mon âge Se promènent dans la rue deux par deux she was following the accentual beat, not giving every syllable equal weight, and completely skipping a couple of unstressed syllables. (Are French professors still teaching that all syllables have equal weight in French verse? Surely not! I hope that died out some time last century…)
Not all poetry is singable – but at its best it has a musicality that both creates enjoyment and enhances its ease of memorisation.
On her way to work one morning Down the path ‘longside the lake A tender-hearted woman saw a poor half-frozen snake His pretty colored skin had been all frosted with the dew “Oh well,” she cried, “I’ll take you in and I’ll take care of you” “Take me in, tender woman Take me in, for heaven’s sake Take me in, tender woman,” sighed the snake
She wrapped him up all cozy in a comforter of silk And laid him by thе fireside with some honеy and some milk She hurried home from work that night, and soon as she arrived She found that pretty snake she’d taken in had been revived “Take me in, tender woman Take me in, for heaven’s sake Take me in, tender woman,” sighed the snake
She clutched him to her bosom, “You’re so beautiful,” she cried “But if I hadn’t brought you in, by now you might have died” She stroked his pretty skin again and kissed and held him tight Instead of saying thanks, that snake gave her a vicious bite “Take me in, tender woman Take me in, for heaven’s sake Take me in, tender woman,” sighed the snake
“I saved you,” cried the woman “And you’ve bitten me, but why? And you know your bite is poisonous and now I’m gonna die” “Oh shut up, silly woman,” said the reptile with a grin “You knew damn well I was a snake before you took me in” “Take me in, tender woman Take me in, for heaven’s sake Take me in, tender woman,” sighed the snake “Take me in, tender woman,” sighed the snake “Take me in, tender woman,” sighed the snake
*****
Donald Trump has repeatedly read this poem in his political rallies as a way of attacking immigrants and the US Government’s immigration policies. The ironies are endless: – that two of Trump’s wives are themselves immigrants (the current one having a very sketchy background as a “model”); – that Trump always fails to credit Oscar Brown Jr as the song’s author, consistently naming Al Wilson instead; – that Oscar Brown was a civil rights activist and for ten years a member of the Communist Party (he left when he decided he was “too black to be red”); – that the song’s message, a variant on one of Aesop’s Fables, is that kindness can be betrayed; – that Oscar Brown’s daughters have sent Trump cease-and-desist letters because Trump’s message is antithetical to all their father stood for; – and as one of the daughters said on CNN, “the elephant in the room is that Trump is the living embodiment of the snake that my father wrote about in that song.“
You’re smiling, nodding, entering some room Where what weight you once swung you swung for years, Acknowledging this or that one, most of whom Are people you politely call your peers.
And like the step you miss that wasn’t there Kaboom: the rush returns. Awareness bursts Enormously inside and out, the where And when, the who and why, the lasts, the firsts.
Then no one listens as you start to speak, And there’s another, higher, step you miss. You squint, and almost hear the leather creak, But readiness is all there is of this.
Your saddlebags and holsters do not rate. There’s nothing to fight out of if you can. The ambush turns, indifferently, to wait For something more than you. Move on, old man.
*****
Editor: I like this poem as it is. However there appears to be more backstory, and Marcus Bales assembles the following: an excerpt from ‘Lonesome Dove’, and Daniel Keys Moran’s comments, and Marcus Bales’ own comments:
After a few minutes the empty feeling passed, but Call didn’t get to his feet. The sense that he needed to hurry, which had been with him most of his life, had disappeared for a space. “We might as well go on to Montana,” he said. “The fun’s over around here.”
Augustus snorted, amused by the way his friend’s mind worked.
“Call, there never was no fun around here,” he said. “And besides, you never had no fun in your life. You wasn’t made for fun. That’s my department.”
“I used the wrong word, I guess,” Call said.
“Yes, but why did you?” Augustus said. “That’s the interesting part.”
Call didn’t feel like getting drawn into an argument, so he kept quiet.
“First you run out of Indians, now you’ve run out of bandits, that’s the pint,” Augustus said. “You’ve got to have somebody to outwit, don’t you?”
“I don’t know why I’d need anybody when I’ve got you,” Call said.
Even though he still came to the river every night, it was obvious to Call that Lonesome Dove had long since ceased to need guarding. The talk about Bolivar calling up bandits was just another of Augustus’s overworked jokes. He came to the river because he liked to be alone for an hour, and not always be crowded. It seemed to him he was pressed from dawn till dark, but for no good reason. As a Ranger captain he was naturally pressed to make decisions—and decisions that might mean life or death to the men under him. That had been a natural pressure—one that went with the job. Men looked to him, and kept looking, wanting to know he was still there, able to bring them through whatever scrape they might be in. Augustus was just as capable, beneath all his rant, and would have got them through the same scrapes if it had been necessary, but Augustus wouldn’t bother rising to an occasion until it became absolutely necessary. He left the worrying to Call—so the men looked to Call for orders, and got drunk with Augustus. It never ceased to gripe him that Augustus could not be made to act like a Ranger except in emergencies. His refusal was so consistent that at times both Call and the men would almost hope for an emergency so that Gus would let up talking and arguing and treat the situation with a little respect.
But somehow, despite the dangers, Call had never felt pressed in quite the way he had lately, bound in by the small but constant needs of others. The physical work didn’t matter: Call was not one to sit on a porch all day, playing cards or gossiping. He intended to work; he had just grown tired of always providing the example. He was still the captain, but no one had seemed to notice that there was no troop and no war. He had been in charge so long that everyone assumed all thoughts, questions, needs and wants had to be referred to him, however simple these might be. The men couldn’t stop expecting him to captain, and he couldn’t stop thinking he had to. It was ingrained in him, he had done it so long, but he was aware that it wasn’t appropriate anymore. They weren’t even peace officers: they just ran a livery stable, trading horses and cattle when they could find a buyer. The work they did was mostly work he could do in his sleep, and yet, though his day-to-day responsibilities had constantly shrunk over the last ten years, life did not seem easier. It just seemed smaller and a good deal more dull. Call was not a man to daydream—that was Gus’s department—but then it wasn’t really daydreaming he did, alone on the little bluff at night. It was just thinking back to the years when a man who presumed to stake out a Comanche trail would do well to keep his rifle cocked. Yet the fact that he had taken to thinking back annoyed him, too: he didn’t want to start working over his memories, like an old man. Sometimes he would force himself to get up and walk two or three more miles up the river and back, just to get the memories out of his head. Not until he felt alert again—felt that he could still captain if the need arose—would he return to Lonesome Dove.
“Ambush” developed out of following Daniel Keys Moran on F*c*book. For some time now he has been posting about coming changes in his life, one of which is retirement from the work-force. My poem actually has no connection to his situation at all, apart from my also having retired. He was a much bigger deal, in charge of a lot more than I ever was, in any of my endeavors, but within my limits I was usually in charge of whatever small enterprises I participated in. I imagine the experience of going from being in charge to being supernumary is about the same, internally, for everyone.
Moran posted the excerpt from McMurtry’s “Lonesome Dove” just recently, as, I inferred, a comment and possibly a reflection on his situation. It certainly resonated with me. Of course Call, the Captain in “Lonesome Dove”, and Moran, and the narrator of “Ambush” all have different situations and different reactions. But there is, I think a family resemblance.
*****
Not much is known about Marcus Bales except that he lives and works in Cleveland, Ohio, and that his work has not been published in Poetry or The New Yorker. However his ‘51 Poems‘ is available from Amazon. He has been published in several of the Potcake Chapbooks (‘Form in Formless Times’).
Perhaps it’s true, as Twain implies, statistics are the greatest lies but point for point and size for size, I think they tie for major prize with poets’ modest little ‘i’s.
*****
Margaret Ann Griffiths, aka Maz, aka Grasshopper, was a British poet known almost exclusively for her online work. In his Preface and Personal Recollection, editor Alan Wickes speaks of her “belligerent modesty” and her lack of interest in the preservation of her verse. In 2008, after winning Eratosphere‘s annual Sonnet Bake-off with “Opening a Jar of Dead Sea Mud” and being praised by Richard Wilbur, she was a Guest Poet on the Academy of American Poets website, where she was hailed as “one of the up-and-coming poets of our time”.
Her poem ‘Lies’ speaks volumes (in a brief space) about the different types of modesty available to creative figures. Her reputation for wit, intelligence, astute criticism and kind-heartedness goes well with her wide-ranging subjects and diverse styles of verse. She was the preeminent English-language online poet of the early 21st century.
Her work was posthumously collected by fans and fellow poets in the 2011 ‘Grasshopper‘ from Arrowhead Press and Able Muse Press.
The fig leaf symbol’s one of History’s greats As, inter alia, It hides, discloses and exaggerates Male genitalia. The fruit itself suggests the female form — Dripping with honey The little hole breaks open, pink and warm… The Bible’s funny.
First published in The Asses of Parnassus, this poem was republished in Better Than Starbucks, which earned a “Kudos on your brilliant ‘The Fig Tree'” from Melissa Balmain, editor of Light. And it has now been added by Michael R. Burch to my page in The HyperTexts. That’s a wonderful set of editorial acceptances – it makes me proud, and I have to erase my lingering suspicion that the poem would be thought too rude for publication. Now I rate the poem more highly, as being not just a personal favourite but also acceptable to a wider audience.
It sometimes feels that all I write is iambic pentameter. It is always reassuring when a poem presents itself with half the lines being something else, and the result is a lighter, less sonorous verse. The rhymes are good; the poem’s succinct and easy to memorise. I’m happy with it.
“poetry makes nothing happen . . . .” —W. H. Auden, “In Memory of W. B. Yeats”
Poetrymakes nothing happen. Song lyrics, on the other hand, Wedge into people’s hearts When sung by a heartthrob band.
Poetry makes nothing happen. It doesn’t enforce a cause. That’s the way of propaganda, With all its fixed applause.
Poetry makes nothinghappen. But I’ve seen something sublime In the eyes of a student reading Eliot’s Prufrock the first time.
Poetry makes nothing happen. But must events take place For poems to be eventful— To make a normal pulse race?
*****
David Galef writes: “This poem was inspired by the memory of a graduate seminar taught by Edward Mendelson, a professor at Columbia University and the executor of the Auden estate. What Mendelson doesn’t know about Auden probably isn’t worth knowing, and what he brought to the study of Auden’s poetry was a deep knowledge of technique, context, and Auden’s modus cogitandi. Tired of those who quoted Auden’s famous line from “In Memory of W. B. Yeats” to indicate the inutility of poetry, Mendelson pointed out that the significance of “For poetry makes nothing happen” is more a point about art versus propaganda. The emphasis shouldn’t be on “nothing” but on “makes.” The aim of agitprop is to make all minds bend in one direction. True art, on the other hand, doesn’t force one meaning on the audience, though it may be powerfully suggestive. As Auden continues (and people who quote often omit surrounding words), “it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth.” Poetry does indeed enjoy a special, immortal status, but those who want it to be a crowd-controlling megaphone will probably be disappointed. What I wanted to accomplish in ‘A Question of Emphasis’ is just what stressing the right word can do, and how poetry can change lives, in its own way.”
David Galef has published over two hundred poems in magazines ranging from Light and Measure to The Yale Review. He’s also published two poetry volumes, Flaws and Kanji Poems, as well as two chapbooks, Lists and Apocalypses. In real life, he directs the creative writing program at Montclair State University. www.davidgalef.com
Editor: I can’t help adding this 6-minute exposition of emphasis from Hamlet: https://vk.com/video17165_456239062 with its star-studded cast… Enjoy!
Tradwife? No, thanks. I’m not the type you’ll find exclaiming “Yippee!” “Yesiree!” or “YOLO!” at thoughts of chores I might be doing solo – especially the old-school kitchen kind. Churn butter? Grow a sill of herbs? You’re kidding. Give me boxed broth and Hellman’s mayonnaise and sourdough I didn’t have to raise. Give me technology that does my bidding.
Yet how I love to cook up verse from scratch: to handpick thoughts I planted as a kernel within the fertile pages of a journal, add rhymes (a meaty or a salty batch), then whip them into something that – although it may stink at times – tastes vastly fresher than the glop inside an algorithmic can because you know it comes from me, Tradpoet.
*****
This poem was the lead poem in the latest Lighten Up Online (“LUPO”). Melissa Balmain writes: “Ironically, in the weeks since I wrote this poem, a health condition has forced me to do a lot more tradwifely stuff in the kitchen–making low-acid salad dressing, say. But I still refuse to churn butter.”
Melissa Balmain’s third poetry collection, Satan Talks to His Therapist, is available from Paul Dry Books (and from all the usual retail empires). Balmain is the editor-in-chief of Light, America’s longest-running journal of light verse, and has been a member of the University of Rochester’s English Department since 2010. She is a recovering mime.
Form in Formless Times 