Category Archives: Writing

Literary Magazines and Your Ideas – Poll

Hi Beautiful Readers! As writers, literary hangers-on, and readers, we all know that the esteemed literary magazine is the pillar, the bulwark, of the literary scene. We know that there are more literary magazines than there are readers, but not as many as there are writers. We know that literary magazines have problems and solutions in this day and age of digital accessibility.

I want to run a quick poll about your ideas of the current Lit Mag landscape. I have my own opinions, and I will be posting on that when this poll is over in a week.

Thanks for participating!

Cross-Post with Wallace Stevens Encounters

As I previously wrote here, I intend to follow up on the ideas I wrote about in the Introduction to Wallace Stevens Encounters. This is that post.

In that post, I mentioned that Pattiann Rogers expands Stevens’ ideas in her essay “Cosmology and the Soul’s Habitation”; however, although her ideas line up and extend Stevens’, she does not specifically mention his name. Perhaps Stevens’ theory has become so ingrained as to be an accepted part of the modern condition of humanity; in Rogers’ words, a piece of our contemporary cosmology.

To Continue, Read Here

Poetic Idealism and the Search, pt. 1

Many of the readers who end up at this blog do so by searching Google with the phrase “idealism in poetry” or something similar. While I think the overall contents of the blog offer my thoughts on the topic, I am sure that many of these searchers are looking for research for their undergraduate or high school papers. This post will offer some reflection on the concept in general, but I would like to also point them toward the recently updated “plagiarism note” in the right column. Your teacher/professor will recognize a voice other than yours, and drop text into Google to figure out where it came from. Then you will fail the paper, if not the course. Be forewarned.

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June Jordan and the Political

Every poet claims that poetry is political – or at least that the act of writing poetry is a political act – no matter what the poem’s contents are. Jane Hirschfield, Richard Hugo, David Orr, Susan Stewart, and Stephen Dunn are just a few of the poets investigated this semester who wrote or intimated this idea. The statement that poetry is political requires a certain understanding of the “political,” meaning an exercise and projection of the voice in the face of the vast ease of being silent. This idea, that saying what needs to be said – whether about a white spider on a sprig of Queen Anne’s Lace, or about the unequal gender treatment in our current society – is a political act opens more than just poetry to political statement, but all fields of art. As a result, the question of which writing is political, and which is not, becomes very important. To hazard one possible boundary, writing which does not offer some access to Truth, or which deliberately obscures Truth (or truth), falls on the far side of the political; these kinds of writing result in either apathetic consumerism, or worse, outright propaganda. Much popular music falls into these categories. The reader (that’s you) may object that even apathetic consumerism or outright propaganda fall somewhere on the political spectrum, and the author (me) may agree. In that case, let us use “political” – in terms of writing and poetry at least – for the positive – seeking awareness and Truth – end of the spectrum, while the previous terms (apathetic and propagandist) can apply to the other, obstructive end. Continue reading

The Pitfalls of Outright Political Poetry

This post is inspired by an essay I wrote about June Jordan’s Kissing God Goodbye, in which I address some of these issues by looking at how she manages the problems. That essay will soon appear here (as soon as it’s turned in), but in the meantime, and as a way to clarify my own thinking on the subject, I offer the following thoughts on pitfalls facing political poetry.

“Political” requires some definition, for which I’ll steal my own introductory paragraph:

Every poet claims that poetry is political – or at least that the act of writing poetry is a political act – no matter what the poem’s contents are. Jane Hirschfield, Richard Hugo, David Orr, Susan Stewart, and Stephen Dunn are just a few of the poets investigated this semester who wrote or intimated this idea. The statement that poetry is political requires a certain understanding of the “political,” meaning an exercise and projection of the voice in the face of the vast ease of being silent. This idea, that saying what needs to be said – whether about a white spider on a sprig of Queen Anne’s Lace, or about the unequal gender treatment in our current society – is a political act opens more than just poetry to political statement, but all fields of art. As a result, the question of which writing is political, and which is not, becomes very important. To hazard one possible boundary, writing which does not offer some access to Truth, or which deliberately obscures Truth (or truth), falls on the far side of the political; these kinds of writing result in either apathetic consumerism, or worse, outright propaganda. Much popular music falls into these categories. The reader (that’s you) may object that even apathetic consumerism or outright propaganda fall somewhere on the political spectrum, and the author (me) may agree. In that case, let us use “political” – in terms of writing and poetry at least – for the positive – seeking awareness and Truth – end of the spectrum, while the previous terms (apathetic and propagandist) can apply to the other, obstructive end.

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“I Didn’t Know How Good the Poem Would Be” – Hugo and Finding Out

Richard Hugo continues the sentence in one of the most powerful essays of The Triggering Town by writing, “but it would be honest and I would like it because it wouldn’t be any tougher than the human heart needs to be” (96). “Ci Vediamo” barely resembles other essays in the collection, with very little direct advice, but instead reflects on Hugo’s return to the little Italian town where he was stationed in WWII. Despite not directly conveying advice to writers, Hugo imbues the essay with a well-modulated experience which brings the reader to tears with the author at the end. This control of modulation offers enough to study in itself, though this response is not the appropriate place. Instead, this essay will examine the way “Ci Vediamo” and other essays in Hugo’s collection urge the reader toward an honesty and openness which leads to better poems.

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