Category Archives: Writing in General

Revision? We Don’t Need No Stinkin’ Revision!

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Actually, that’s not true.

I’ve been writing a bit lately, doing my usual 10 or so drafts before I show the DYPS (our writing group), and then when I show it to them, they offer about 4000 changes I need to make–actually, I think it’s become a kind of game to them–and so I abandon the poem altogether.  Which, it must be said, smacks of “crabby little baby who doesn’t get what she wants.”

I have several that are in this pile, which I haven’t gone back to look at since the sharing of them, and they’re starting to stink, the way all those Thanksgiving leftovers that are still in our fridge are starting to stink.  (I know, TMI–and yes, in case you’re worried, the cleaning the fridge is on my list of things to do ASAP.)

There is one exception–“December in Atlanta.”  This was a poem I wrote a week or so ago that I really liked the way it was.  On Revision 7 I thought, “Hey, that’s a pretty good poem.”  So I showed it to Bob who did not like it.  (You know you didn’t.)  His point, I admit grudgingly, was that the snow fantasy didn’t last the whole poem–and that was true, although that wasn’t exactly the point I was going for.  He suggested that I stick Atlanta landmarks beyond Midtown and Spaghetti Junction in it (which were already in there)–the Fox theater, Grant Field, the zoo, etc.

So I did it to please him–how’s that for being true to one’s art?

What was a short poem morphed into this whole-page-long poem, with lines 3/4 of the way across the page.  It’s really this giant, gangly poem that offends my sense of page aesthetics.  The poem doesn’t seem me-ish at all, and I think that must be why I don’t feel loving toward it.  I liked the compactness of the original, the tercets, and the four main images it contained.  I feel like this poem’s stepmother, as opposed to author–and we all know, if my past experience is anything to go by–that stepmothers hate what they are stepmothers to.

… Except, the revision is not without its charms, which I also grudgingly admit.  It is very Atlanta-y, and there are some fun images in it.  And Bob liked it, and that’s important.  I think I’m just having a hard time letting go of a poem that I really liked, but that maybe didn’t work as well as I wanted it to.   I’m not abandoning the  new version–just  setting it aside, to “age,” and to grow on me.

As for the other poems-in-process (a.k.a. currently abandoned), I’m hoping that I can come back to them over the break, when I’m fresher, and unimpeded by piddly things like work.  At least, that’s the plan.  It’s always astonishing to me how days will go by over winter break, and I’ll have accomplished nothing…

What’s the Point?

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I don’t think anything I’m writing is worthwhile.  I don’t feel like I’m growing as a poet.  I’ve just… had it.

When Good Poems Go Bad

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I’ve been working on this poem that just isn’t going well.   Going well?  Try, not going at all.

Well, let me back up.  As I said in my last post, this poem, called “The Art of Loss,” was to be the bridge poem between the real and the imaginary in this chapbook collection I’m trying to get together for a contest with a deadline on the 15th.  All of the poems in this collection have something to do with animals.

The speaker is addressing an artist whose beautiful, jungle art, populated with jaguars and orangutans, has been replaced with abstract, muddy-colored images that the speaker doesn’t understand.  And the artist herself is mute in the poem, with the exception of producing these images that are so contrary to her earlier works.

What I was trying to do was comment on how the loss of imagination affects artists, how something as personal and communicative as art can suddenly become unknowable, how, as I said in an e-mail to Bob, “the painting of things becomes the painting of no things.”  But in what I’ve written so far, it has become the “poem of no things.”  

It’s just not working.  I’m on revision 12, and I can’t seem to do anything to make it better.  Each time I work on it, it’s gets progressively worse–almost as muddy as the paintings that the artist does.  And it’s a pity, because I really liked the early drafts of the poem–or at least, I thought there was a good kernal of poetry in it.  After I gave it to Bob and he commented on it, I realized that it’s basically crap and I should just abandon it.  Maybe it’s one of those things I’ll come back to in 5 years and have some amazing epiphany about it.  But it’s frustrating because I REALLY needed this poem to work now.

Now, I’ll have to choose something else to replace it, which wouldn’t be as big a deal except for the pesky fact that the title of the collection came from a line in “The Art of Loss.”  So now I’m title-less, as well as a poem short.  

Maybe the real problem is that the collection desperately needs focus, and I thought this poem could provide it.   I don’t know.  I’m just really disheartened.

And, while I’m at it, I’m disheartened about the fact that I keep sending these various chapbooks out and no one wants them.  (Got another rejection today.)  Maybe my poems are just bad.  I’ve said to Karen and Bob both that none of my poems go together–they don’t resonate with each other or speak to each other or do any of the things that collections are supposed to do.  

I’m just really, really disheartened today.

CVWC Recap

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Friday afternoon and all day Saturday, I was at the Chattahoochee Valley Writers Conference in Columbus, whose focus is both to celebrate the literary heritage in the area (i.e. Nunnaly Johnson and Carson McCullers), and to engage and develop the literary talent of the future.  I’ve attended all three years, not only because I have several friends who live there, but also because I find workshops to be energizing and creatively rejuvenating.  I long for the days of the Sewanee Writers Conference and the Kenyon Writers Workshop, which were both extended retreats, but these days I have neither the money or the time (off from work) to go to such things, so I have to make do with CVWC and other little minicons when I can.

Jill McCorkle was the keynote speaker on Friday night.  She was just as pleasant and delightful as she was when I met her at Sewanee, but I confess to being disappointed that she read her prepared speech instead of partially extemporizing (because she’s pretty funny), or honestly, just reading her fiction.

It was amazing–sometimes I was really engaged in what she was reading, about memory being fluid and the importance of reconnecting to your emotional core, and then other times her damn monotone zonked me right out.   CVWC was incredibly lucky to get her–she sort of squeezed us in because an old high school friend of hers was on the steering committee, but she was really on her way to some other literary festival to promote her books–and she stayed through the dinner afterwards, although I wasn’t at her table.

Of the dinner at one of Columbus’s “finer dining establishments” (finer my ass), I will say only that it was awful, and that I complained bitterly on the evaluation.  Although, to be fair, the company I was sitting with was great.

Saturday, I attended four workshops:  one of family history and genealogy which really isn’t my thing, but the other things being offered were of even less interest to me; Nick Norwood’s poetry workshop, which was better than his one last year, but again, he really didn’t say anything at all about my poem, and there was hardly any discussion about it at all (less than the one I sent last year, and there was 2 words about it last year), unlike on EVERYONE ELSE’S who got at least several comments both from him and from the class–that kind of pissed me off, but whatever; Clela Reed’s poetry workshop which was nice because for one thing, there weren’t a cast of thousands in it, and for another, she let us do some writing and this morning I turned it into a poem; and last, but not least, Karen McElmurray’s memoir workshop, which was a delight at all points.

I had met Karen the night before when Linda (with whom I was staying) and I picked her up and drove her around Columbus.  I don’t care what anyone (Chris) says, Columbus is not an armpit–it is a lovely town that I wouldn’t mind living in.  We looked around the historic district, Linda stopping at all the historic marker signs so we could read them, and it was just a nice drive.  Afterwards, we attended the keynote address, and then we went to the horrid restaurant, but I got to sit with Karen M.   She seemed like a really open and generous person, and fundamentally positive about things, though hearing her talk about the subject of her memoir Surrendered Child–having to give up her baby that she had at 16 to adoption–you know that she has had a difficult life.  I would have bought it at the book fair at the end of the conference, but she asked me to get her second novel instead, The Motel of the Stars, and write a review of it on Amazon when I’m finished.  I told her I would.

We also went to the same sessions while she was waiting for hers, which was the last of the day.  And in her session about memoir, she offered us lots of book titles to check out, opportunities to read aloud some texts she brought with her, and gave us some directed writing to do.  She also said that if we develop what we started in her class, she would be happy to read it.  This is always a generous offer, because as all writers know, if you’re reading someone else’s work, you’re not writing your own.  Maybe she wouldn’t make this offer if she weren’t on leave this year–but I might return to what I started in there.  I’m always interested in memoirs, even if I don’t have the attention span to really write one.  (Hence, maybe this is why many of my poems are narrative, but more on that later.)  Karen was just such a nice person.  I would like to cultivate that acquaintance and make a new friend.

I also bought Clela’s book Dancing on the Rim, which I had been meaning to get since she debuted it at the July GPS meeting.

I was glad I went, although the drive back in torrential rain was at best, annoying, and at worst, terrifying.  And then when I got home, Chris had gone out to a party, and didn’t return until midnight, when I was long asleep.

I Can Has Poem Plz?

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Today has not been successful when it comes to writing–as in, no poem writing has taken place.  Part of the problem was I really couldn’t decide which picture to use–there were two about Orpheus, who, because he was known for his poetry and musical ability, has always interested me.  

The first choice was the Lament of Orpheus, by Alexandre Séon (1855-1917), which I like because he’s destraught on the beach, one arm wrapped over his eyes, the other clutching a lyre made from a turtle shell,  after he’s come back from the Underworld, but lost Eurydice for the second time.   In fact, according to myth, after he lost he again, he was never to love another woman, and chose instead young men.   Something about his grief and love for Eurydice moves me.  

The other Orpheus picture, The Death of Orpheus, by Pascal Adolphe Jean Dagnan-Bouveret (that’s a name for you!) (1852-1929), also shows Orpheus flinging his left arm over his eyes.  In the link I’ve provided, the color is much darker; in the postcard I have, it’s much more mossy-colored, and there is a strange, almost ethereal green hint to his skin tone.  I like this picture because of the forest setting, but I have a hard time thinking he’s dead here because he is, after all, standing up.  And he frankly doesn’t look like he’s been ripped to shreds by the Maenads.  Not to be lurid, but according to myth, his head needs to not be part of his body.

So, herein lies the quandary.  Do I write about Orpheus’ death, in which his head and lyre are carried to the Isle of Lesbos and enshrined, or do I write about his deep, abiding love for his lost wife?  Or, should I pick another picture entirely so I can eliminate having to pick between the two? 

Maybe I’m just not feeling Orpheusy.   There are plenty of other myths in my postcard book to choose from.  Of course, who’s to say that I’ll feel inspired enough by any of the others?

********ADDENDUM*******

Ok, so I wrote a poem based on Séon’s picture, and I like it–I mean, it’s got the usual early draft problems, but the main issue is that it’s 21 lines long (not counting the spaces between each tercet), and there is NO WAY I can handwrite the poem on the back of the post card.   I think even if I typed it up in tiny font, and glued it to the back of the card, I would be hard-pressed to get it to fit.  So I’m thinking I might have to either pare it way down, or just write something else.  Anyway, the title is “You Looked Back.”

Tomorrow, I will try to write another, shorter poem about Orpheus and Eurydice, as well as write on Dagnan-Bouveret’s painting.  I hope.

On Prose Poems

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I was reading Christine Swint’s blog; she had posted her Day 6 Poem of the APPF, and I marvel at how she responds both to a poem she read by Lucia Perillo and takes ideas and creates a wonderful new prose poem about, as she says, “crows, sort of about women and what they wear.”  

In the poem, the blackness of crows comes in “black jeans and a sooty vest” and in “shoe-polish” hued hair.  Black is fashion and danger; crows themselves are often considered harbingers of death in mythology, and they eat carrion.

And twice the word “murder” appears in Christine’s poem,  which is interesting because it highlights the connection between death and crows, but it is also characterized as belonging to “her,” the female “crow” on the poem.  Is this crow a victim, or has she committed murder?   But she is not dead–indeed this crow “dances the Merengue with the others.”  

Christine’s poem is wonderful and strange, which to me is always the hallmark of a strong prose poem–a form that is completely mysterious to me.   I’ve tried writing prose poems.  They are, like my attempts at fiction, not to be borne.  And yet I am drawn to them–prose poems will usually quickly find a home in Chickenpinata (although we haven’t received many of them).  I probably ought to read some books about them as a form and educate myself. 

I’m not really sure why I like them–except, I wonder if it has to do with the fact that they are generally chock full of things–it’s a little bit harder to be abstract, I think, when you are writing a kind of paragraph of words that all have to be poetic.  I really admire those, like Christine, who can write them well.  You should all check her blog and read “This Crow is Not a Fashion Model.”

Speaking of the APPF, I sent off my Day 3.  I realize, when I mentioned in an early blog post about a “starter poem,” that was really Day 1.  So instead of having written 4 poems by today, I’ve only written 3.  That’s ok, as long as I come up with something for tomorrow.

I bought this postcard book called Hidden Love:  Art and Homosexuality, which has some really amazing art prints in it, and which I’ve decided will comprise the majority of the postcards I send.  (Some pictures are basically crotch shots of male genitalia, which is less impressive, and actually I worry that I could even send them in the mail–with my luck, they’d be flagged for pornography.)

But the poem I want to write for tomorrow is based on the painting Apollo and Cyparissus by Claude -Marie Dubufe (1790-1864).  If I’d been thinking, I would have written down the titles of the art on the two other postcards I’ve already sent, but alas and alack.  Anyway, I’ll keep up with it now.

I still haven’t received any postcards yet, but then when it comes to the USPS, I am cursed, so I won’t start worrying that I’ve been forgotten by other Poetry Postcard people until Friday.

So far, here are the titles of the poems I’ve sent:

8/1  “Folk Tale”

8/2  “Garden Variety”

8/3  “Competition”

Writing with a Weak Will

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I needed to write a poem today for the APPF, but I didn’t.  I had a migraine for most of the day, and when I didn’t have a migraine, I didn’t feel like writing a poem.  And now it’s 20 after 11 and I don’t feel remotely like doing anything poetic.  Not that it matters, because the little book of postcards and the stamps for them are sitting in my office.  I’ll have to write a couple of poems to make up for it tomorrow, and then get them all in the mail on Monday.

It’s kind of bad that it’s only the first of August and I’m already behind with the postcard poems though.  The postcard that was for today I put in the mail yesterday or Thursday.  It’s going to Ottawa, but of course it won’t arrive there till probably sometime next week.  It costs 79 cents to mail a postcard to Canada.  That seems awfully pricey, when it’s only about $1 to send a card-card to England.  Oh well.  I hope the person I sent it to likes it.  The poem I sent was “Garden Variety,” the same one that Karen read yesterday on the Plinth.  Which, while I’m thinking of it, I need to send to Christine Swint, because she wanted to read it.

I’m really amazed at people who can write in multiple genres.  Right now I’m thinking of Collin Kelley, whose novel Conquering Venus, is coming out a little later in August, I think.  He writes in all kinds of genres–poetry, fiction, news.  Probably other genres I don’t know about.  How do people do that?  How do they have so much to say that they can say it in multiple genres?

I can’t write fiction.  I’ve tried.  It comes out dreadful.  And it’s too bad too, because clearly I have a narrative strain in my poetry, and I have the desire to write fiction (and memoir, for that matter), and flesh out characters who do interesting things.  Oh, maybe I don’t have The Great American Novel in me, but I might have an Entertaining Bit of Fluff in me.  Or I would if I had an attention span longer than a gnat’s.  

I suppose, like any writing, you have to work at it.  But poetry is hard enough for me as it is, and I’m not nearly as dedicated to it as I ought to be.  Can you imagine me trying to write a novel?  I’d probably write 20 pages, get bored, and tack on a “The End” before my main character even finished her Cheerios.