Wow. I woke up early this morning and found the image for my book cover in my email box. This is going to be one of my all-time favorite days, I think. Just seeing it makes it feel so real!
And I love the cover. The production manager at Salmon is really terrific. We worked together for several months on this back in the fall, and it was really tough to find the right image. I still was a little worried about it until I saw it today, and realized it's exactly right. I posted it on Facebook and a friend asked if it was a mountain range or a whale's tale (it's a boat). That comment made me like it more than ever--that it could encompass all of those things, and be a little bit enigmatic is wonderful.
Seeing this book today really feels like I imagined it would feel, all those years ago, when I decided to try and write. The writing, editing, working with friends, and publishing experience has been so wonderful and rich; I'm so grateful. I've been so lucky to have so many writing friends help with this, and such a good publishing house to work with (Siobhan didn't give me a hard time at all about changing that sestina). I'm one lucky, lucky girl.
Tuesday, January 24, 2012
Thursday, January 19, 2012
In the Midst of Copy Edits, A Minor Miracle
This week, in the midst of the semester starting, I'm doing final galley proofs for Liveaboard. It's been crazy, of course. I love galley proofs though...seeing the layout of the book for the first time is such a thrill. And the production manager at Salmon did a beautiful job with mine.
But we ran into one small snag--a few lines in one of my sestinas were too long to fit on the page. We could always wrap them, of course, which is what Siobhan did, but I just couldn't stomach it for a sestina. Perhaps more than any other poem, those end words matter, so wrapping just wrecks it. On the first round of galley edits I revised each of the lines that wrapped, and then sent it back. For 2 of the 3, that worked. But the final line was just too long.
So this week I sat down again, and tried to mess with it. I soon realized I was going to have to completely rewrite the line--it wasn't going to work any other way. So I did...and on the 3rd or 4th version suddenly a metaphor for the entire poem emerged--one that I think had been there all along, but that I hadn't seen before. In looking at it, I realized one of the 6 end lines had to be changed. This is a pretty major change for a sestina, not to mention one in the 3rd and final stage of galley proofs...but I started working, and realized that the new word fit beautifully. It actually worked!
In a fit of ecstatic joy I zipped the poem off to my good friend and writer buddy Robyn Holloway, who looked it over, and told me one stanza still needed work. And she was right, of course. In order to make the whole metaphor work, I had to completely rewrite that stanza. And as I did so, I realized I had to rewrite the ones before and after.... As any of you writers know, revising a sestina (well, any poem in form) is so painful. But cool, too. I worked on the poem for two days, and like it so much better. I'm not sure if it's perfect, or even better, but I like it better and that's making me happy. I'm pretty nervous about sending it off to Siobhan, though, as a 2-day-old poem. Most of the poems in the book have gone through months of revision, been seen by at least 3 other writers I trust, been copy edited, etc. Can I possibly trust myself enough to give her such a spanking new poem? I guess I will.
The real gift to me, though, was watching this happen. I've worked on this particular poem for about 7 years now, and it's always felt not quite right. And now it feels exactly right. I hope I'm not wrong...I hope others find it exactly right too.
Spinning Belief
- for Terry Tempest Williams
In the mussel-shelled
beach of night
I dream I am a heron,
with her fine, sharp
beak—look how she stalks
and spears faith,
swallows it, rises past
the spinning phalaropes
into the purple shine of
night, the river lost
below her, tidewater
rising, spinning
like cream in my coffee,
as I spin
through my morning, feathered
by last night’s
dreams of this perfect
bird body, never lost
in the high grasses of belief,
always etched sharply
against the river. But I’m
not that bird. I’m a phalarope
stuck in a spinning, frenetic
search for faith.
This morning, sitting on
the river, ancient stories of faith
in my hand, on my
tongue, I watch the silk spinning
of one bird and what I
see is this phalarope’s
wake, morning light on
the waves she creates, the night’s
dark doubts spinning away
as she turns, sharpens,
becomes belly
focused—everything else lost
to the task of consuming
the river, all desires lost
except belly desire—this
bird knows faith.
She fills her long wings
with fish, sharp
bones melting into her
own fine skin, as she spins
her body, turning,
turning until the empty night
rolls into memory under
the feet of this phalarope.
I might find, if I could
touch a phalarope,
that the complicated
leaves of belief would lose
hold and helix away into
the consuming night,
until all that remains is
hollow bones, and the faith
that fish will rise if I
ask, if I simply turn, begin to spin
a prayer with my arms, my
feet, my belly sharp
with hunger and need. I
can feel a sharpened
desire rising, as I
remember the phalarope
who lives in my bones,
who just by spinning
through river water,
finds the longing, once lost,
to feed this feathered
heart. I remember the feel of faith,
that fullness in my
belly, in the deepness of night.
I begin to spin, see fish
rise in this phalarope ritual, this faithful
search for solid bodies,
rising in the sharp wake of my night,
and I eat, and I eat,
the belief I once thought was lost.
Tuesday, November 29, 2011
Zazen Poetry & Zen Haiku
Two weeks ago in workshop we started reading The Poetry of Zen (edited by the excellent Sam Hamill). In his intro he talks about the practice of zazen, and that got me thinking about poetry as being an act of meditation--both as we write, and as we read.
In class we talked about the three concepts of zazen: body + mind + breath. And suddenly it seemed so clear how that translates to poetry--those three concepts are so important in poetry too. Body = image, mind = statement, and breath = rhythm. It was really cool to make that discovery and then start explicating zen poems to see how the poems respond to those elements. After our discussion, I asked my students to write zen poems for the following week, and they did an amazing job--some of them really blew us away.
This week we focused on haiku, and on the structural elements of haiku. One that I really got excited about was using the structure of "comparison" where two images come together "to complete each other" (in the words of Jane Reinhold, Haiku-master and scholar). I love the idea of neither image being complete, but in coming together, forming a whole. We talked about "association" haiku too--that two seeminly different things come together because everything is part of the whole. This seems like a very Zen concept too. I talked my students through this structure (and 7 other ones) in class. To prepare, I tried to write in each structure. Here is my haiku using "association":
It's been really nice to return to haiku, and to think about poetry in this pure, simple form. One poem we studied had only one multi-syllable word in it. All had gorgeous rhythm, mostly iambic. And most of them had no adjectives, no embellishment. It was good for all of us, as we get into the final crazy weeks of the semester, to do a little zazen breathing, and meditate on these poems.
In class we talked about the three concepts of zazen: body + mind + breath. And suddenly it seemed so clear how that translates to poetry--those three concepts are so important in poetry too. Body = image, mind = statement, and breath = rhythm. It was really cool to make that discovery and then start explicating zen poems to see how the poems respond to those elements. After our discussion, I asked my students to write zen poems for the following week, and they did an amazing job--some of them really blew us away.
This week we focused on haiku, and on the structural elements of haiku. One that I really got excited about was using the structure of "comparison" where two images come together "to complete each other" (in the words of Jane Reinhold, Haiku-master and scholar). I love the idea of neither image being complete, but in coming together, forming a whole. We talked about "association" haiku too--that two seeminly different things come together because everything is part of the whole. This seems like a very Zen concept too. I talked my students through this structure (and 7 other ones) in class. To prepare, I tried to write in each structure. Here is my haiku using "association":
Breastfeeding in Winter
snow rushing down
milk rising up
release
It's been really nice to return to haiku, and to think about poetry in this pure, simple form. One poem we studied had only one multi-syllable word in it. All had gorgeous rhythm, mostly iambic. And most of them had no adjectives, no embellishment. It was good for all of us, as we get into the final crazy weeks of the semester, to do a little zazen breathing, and meditate on these poems.
Tuesday, October 25, 2011
Persona Poems
This week in my advanced workshop we're reading Luci Tapahonso and talking about persona poems. I've written a few before, and a few Eve poems for the Liveaboard book, but it was interesting this week to really dig in and think about what they can do.
Tapahonso has a persona poem in which she inhabits an entire group of people--it's very moving, very sad. I've never seen a plural first person persona poem before. It made me think about how tough it is to speak for an entire group of people.
We also talked a lot about how first person gives us so many "rights" that 3rd person doesn't. If I'm writing in 3rd person, I can't "pretend" to know the details of someone's story, but if I write in 1st person, I can. It's such an odd thing--because of course it's all invented. But somehow writing in the first person gives us permission to inhabit someone and to invent details.
I've been working on a poem about Mary giving birth to Jesus and it's written in the 3rd person. After this week's class I'm wondering if it should be a persona poem. Would 1st person give me more authority? More permission? Would it make it more "believable" and intimate? Things to think about, I guess.
Tapahonso has a persona poem in which she inhabits an entire group of people--it's very moving, very sad. I've never seen a plural first person persona poem before. It made me think about how tough it is to speak for an entire group of people.
We also talked a lot about how first person gives us so many "rights" that 3rd person doesn't. If I'm writing in 3rd person, I can't "pretend" to know the details of someone's story, but if I write in 1st person, I can. It's such an odd thing--because of course it's all invented. But somehow writing in the first person gives us permission to inhabit someone and to invent details.
I've been working on a poem about Mary giving birth to Jesus and it's written in the 3rd person. After this week's class I'm wondering if it should be a persona poem. Would 1st person give me more authority? More permission? Would it make it more "believable" and intimate? Things to think about, I guess.
Tuesday, October 18, 2011
Risking Offending
So I wrote a surprising poem this week. It's a poem about a really personal, physical thing and it definitely risks offending a number of people (my mom is probably first on that list). And this of course has made me return to that age-old workshop question: how do we handle this?
A few weeks ago when Peggy Shumaker was in my class a student asked her this. She answered it well, like many other writers have, which is that each of us individually has to decide how to handle it. For her, the risk was worth it. She told the class her memoir had in fact offended a family member, but she wasn't sorry she had written it the way she had. And of course we are all grateful she did--it's such an honest portrayal of family life.
Generally, I've tried to avoid this in my work. There are stories I'm not yet ready to tell. But reading Tender Hooks gave me this big push this week. Fennelly's so brutally honest in her poems. I don't want to write like her, but somehow I stepped through that door a little bit. And I have to confess, I love the poem. I may not like it in a month, but I'm in love now (don't you love that initial crush we get on our new poems?). One thing that surprised me was how much it affected me. It's been rare that one of my own poems has changed the way I see the world--often I feel like I'm just trying to explain how I already feel. (This has made me stop and think about what I'm actually doing with poems, since I do believe they should change us as we write. But that's another topic.) I feel really invigorated this week by this poem, and by the whole process of writing. And surprisingly empowered.
I'm not yet feeling too nervous or apologetic about it. The poem is about breastfeeding and talks a lot about the shape of my body, and the way we view women's bodies. I do believe honesty is important in these poems--as a mother I've gained incredible strength from reading Fennelly's poems, and from talking honestly to my mom friends. So I have to believe if I can make this poem work, it'll be worth it to other moms. Now I just have to think about whether or not I'm ready to risk offending my own mom.
Tuesday, October 11, 2011
Writing into Scaryiness
For the first time this week I wrote a poem that felt really a bit scary--not something I normally do. I've been reading Tender Hooks by Beth Ann Fennelly and loving it. I've read it before, but it's such an amazing book and teaching me so much again. She's incredibly open and brave in that book, and it's pushing me to be too, I think. I've been writing poems about various biblical women and about really personal aspects of my body--both subjects I've avoided in the past. But I sort of feel exhilarated, too, so I keep writing.
But this week a kind of odd thing happened. A friend from college asked to see what I was working on, so I sent her a new poem. Her response was positive but really guarded--almost as if the poem had frightened or offended her. This made me sort of freak out too. I haven't been reading any of the poems I'm writing because I feel like I'm surfing the wave a little bit, and I don't want to fall off. Sometimes reading new material makes me stop writing, as I begin to see the mistakes in it. But after her comments, I started reading...but actually like a lot of what I'm doing. So I sent a couple of the poems off to a writer friend whom I really trust, and she loved them, so that was a huge relief. She's typically really honest with me, so I trust her when she tells me to just keep going.
It's getting to be midterm, which is usually when I get too buried in papers to grade. This semester I've really promised myself it wouldn't happen. Fingers crossed! I want to keep surfing!
But this week a kind of odd thing happened. A friend from college asked to see what I was working on, so I sent her a new poem. Her response was positive but really guarded--almost as if the poem had frightened or offended her. This made me sort of freak out too. I haven't been reading any of the poems I'm writing because I feel like I'm surfing the wave a little bit, and I don't want to fall off. Sometimes reading new material makes me stop writing, as I begin to see the mistakes in it. But after her comments, I started reading...but actually like a lot of what I'm doing. So I sent a couple of the poems off to a writer friend whom I really trust, and she loved them, so that was a huge relief. She's typically really honest with me, so I trust her when she tells me to just keep going.
It's getting to be midterm, which is usually when I get too buried in papers to grade. This semester I've really promised myself it wouldn't happen. Fingers crossed! I want to keep surfing!
Tuesday, October 4, 2011
Printing Old Poems
Lately I've gotten nervous about losing poems, so over this past week I've been running through my folders and printing out old poems and throwing them in a notebook. I've been in a rush so I haven't been reading more than a line or two of each, as they print...but that's been enough to surprise me.
I've been writing Lucy poems like mad--afraid that if I don't get some poetry down about having a baby (birth, babyhood, nursing, etc.) I'll forget it and I'd really like to work with this material. But as I've printed, I've realized how much I've actually managed to write over the past few years, and most of that has been about babies. I've actually got several hundred poems.
I think I may have forgotten (or blocked) the idea of writing about babies, because for so long I felt like it wasn't going to be something I could do much with--I just needed to write it, and I never direct my subject matter, so I wrote--but it seemed like it would be for just me. Then I went to AWP in Denver two years ago and attended a panel with Beth Ann Fennelly and she blew that idea right out of the water. Her book Tender Hooks is an incredible "mama book"--rich, articulate, funny, smart--all the things we'd want in a good book of poetry. And she was published by Norton!
Seeing her book, and listening to her talk, gave me two wake-up calls. First, writing about birth and children is not off the page. Of course we've seen so many terrible "baby poems" out there, but nothing is off limits when it comes to writing. And giving birth--being present at one of the two most fundamental moments of human existence--is a heavy weight poetry topic. Amen! And second, it taught me to stop doubting myself. I learned this lesson once before (actually, at the AWP conference in Vancouver)--to not doubt subject matter (then it was writing about faith) and this was a good reminder again, to simply trust my instincts. That doesn't mean any of this will get published, or turn into a book, but that doesn't mean I shouldn't do it.
And right now, a ratty white notebook is sitting in my desk drawer with the very first outlines of a book in it. Feels pretty great.
I've been writing Lucy poems like mad--afraid that if I don't get some poetry down about having a baby (birth, babyhood, nursing, etc.) I'll forget it and I'd really like to work with this material. But as I've printed, I've realized how much I've actually managed to write over the past few years, and most of that has been about babies. I've actually got several hundred poems.
I think I may have forgotten (or blocked) the idea of writing about babies, because for so long I felt like it wasn't going to be something I could do much with--I just needed to write it, and I never direct my subject matter, so I wrote--but it seemed like it would be for just me. Then I went to AWP in Denver two years ago and attended a panel with Beth Ann Fennelly and she blew that idea right out of the water. Her book Tender Hooks is an incredible "mama book"--rich, articulate, funny, smart--all the things we'd want in a good book of poetry. And she was published by Norton!
Seeing her book, and listening to her talk, gave me two wake-up calls. First, writing about birth and children is not off the page. Of course we've seen so many terrible "baby poems" out there, but nothing is off limits when it comes to writing. And giving birth--being present at one of the two most fundamental moments of human existence--is a heavy weight poetry topic. Amen! And second, it taught me to stop doubting myself. I learned this lesson once before (actually, at the AWP conference in Vancouver)--to not doubt subject matter (then it was writing about faith) and this was a good reminder again, to simply trust my instincts. That doesn't mean any of this will get published, or turn into a book, but that doesn't mean I shouldn't do it.
And right now, a ratty white notebook is sitting in my desk drawer with the very first outlines of a book in it. Feels pretty great.
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