You can define poetry in many ways. You can focus its form, its content, its language, its purposes or its differences from prose. Or you can define it as John Updike — the poet, novelist and critic — did in Higher Gossip: Essays and Criticism. He said that poetry is “the exercise of language at its highest pitch.”
April 4, 2012
May 23, 2010
David Wojahn’s ‘Pentecost’ – A Poet Honors His Father’s Task of Guarding Ezra Pound in a Wartime Prison in Italy
It’s a brave poet who writes about Pentecost – often called Whitsun in Britain – in the wake of Philip Larkin’s “The Whitsun Weddings,” one of the greatest poems of the middle decades of the 20th century. But David Wojahn succeeds beautifully in his “Pentecost,” which you can listen to in a podcast on the Poetry Foundation site.
“Pentecost” at first appears to be about the human inability to comprehend the divine. An American soldier in Pisa in 1945 sees in a piazza a light “infinitely brighter than the light he woke to” and imagines that he has “the power to speak in Greek, Italian, and Chinese.” But he blames “the oddness of his thoughts” on grappa he’d been drinking. He can attribute his glimpse of transcendence only to the Italian brandy.
But Wojahn says in the Poetry Foundation podcast that some of the inspiration for “Pentecost” came from his father’s wartime task of guarding the poet Ezra Pound, who was imprisoned for treason in a wire cage in an American detention camp near Pisa and had a nervous breakdown there. So “Pentecost” is also about the link between what are perceived as spiritual and mental “derangement” : What is the difference between the speaking in tongues that occurred on the first Pentecost and the strange words that Pound uttered in his cage, or wrote in his Pisan Cantos?
Quotations are from the podcast — I couldn’t find a copy of the poem to read — and line breaks or other elements may differ in the printed version.
May 14, 2010
October 6, 2009
It Ain’t Me, Babe! Bob Dylan and Maya Angelou Lead Among American Poets in the Race for the 2009 Nobel Prize in Literature, London Bookies Say
[Clarification: Adonis leads among writers known primarily for poetry. Herta Müller, also a favorite of bettors, writes poetry in addition to novels and essays.]
Weep for Richard Wilbur and Donald Hall. The London odds-maker Ladbrokes says that in the race for the Nobel Prize in literature that will be announced Thursday, the highest-ranked American poets are Bob Dylan (25-1) and Maya Angelou (100-1). Adonis (8-1), a Lebanese resident of Paris, leads overall among poets.
September 13, 2009
John Ashbery, E.L. Doctorow Help Critics Celebrate Their 35th Anniversary

The winner of the first National Book Critics Circle Award for poetry
Update: 2:25 p.m. Monday: A video of John Ashbery’s entertaining talk has been posted on the NBCC blog.
You might expect an anniversary party for a literary-critics’ organization to resemble a wake now that so many book-review sections have folded or shrunk. But the mood was lively at the festivities that marked the 35th year of the National Book Critics Circle last night at the Jerome L. Greene Performance Space in downtown Manhattan.
I spoke at the event along with the poet John Ashbery, the novelist E. L. Doctorow and dozens of current and former NBCC board members. Ashbery, born nearly a half century before the critics’ organization was founded, received the first NBCC Award for poetry in 1975 for his Self-Portrait in a Convex Mirror, which also won a Pulitzer Prize and National Book Award. And he set the tone of the anniversary celebration when he said: “It’s great to be back here. Actually, it’s great to be anywhere.”
Ashbery praised the Rain Taxi Review of Books and offered it as partial evidence that serious criticism of poetry and other art forms exists amid the meltdown at newspapers. The NBCC has posted a brief news report on his speech on its blog. You’ll find excerpts from other speakers’ comments, including mine, in a separate post there. The full text of all the speeches is scheduled to appear soon the NBCC site.
July 2, 2009
Is the State of Contemporary Poetry Healthy? – Quote of the Day / William Logan
Just picked up Our Savage Art: Poetry and the Civil Tongue (Columbia University Press, 368 pp., $29.50), the new book of poetry criticism by William Logan, who won a National Book Critics Circle Award for The Undiscovered Country. I’d read and enjoyed many of the pieces in Our Savage Art when they appeared in The New Criterion and elsewhere. (Sample opening line: “John Ashbery has long threatened to become a public monument, visited mainly by schoolchildren and pigeons.”) But I’d missed a 2002 Contemporary Poetry Review interview with Logan by the poet and critic Garrick Davis that’s reprinted in the new book.
In the interview, Davis asks, “What do you think of the present situation of poetry? Of its current health as an art?” Logan replies:
“I distrust the motives of the question. Much of what we dislike about the poetry around us won’t bother the readers of the future, because it will have been forgotten. I doubt even the Pulitzer Prize winners of the past two decades will have many poems in anthologies half a century from now. This isn’t simply a problem with the prize, though it’s a scandal that Amy Clampitt never won it and another that Gjertrud Schnackenberg has yet to win it.
“Our poetry is healthy, if the sole measure is that there’s a hell of a lot of it. Much is mediocre, but most poetry in any period is mediocre. What bothers me, as a reader, is how slim current ambitions are – too many contemporary poems start small and end smaller. They don’t bite off more than they can chew – they bite off so little they don’t need to chew.”
May 6, 2009
Late Night With Jan Harayda — Frank Bidart Pulls Further Ahead of Susan Lucci
Back in December, I wrote that Frank Bidart was turning into poetry’s equivalent of Susan Lucci, the soap opera star who lost l8 daytime Emmy awards before winning on her 19th nomination. After decades of work, Bidart is one of America’s most respected poets, but he has never won a National Book Award, a Pulitzer Prize or a National Book Critics Circle Award.
I noted in a review of his latest book that Bidart has written seven poetry collections, and if his publisher nominated each for all three prizes, he passed Lucci in November when he got his 19th snub: He lost the National Book Award for poetry to fellow finalist Mark Doty. He had a chance to win on nominations No. 20 and No. 21 for the most recent NBCC and Pulitzer prizes but didn’t make the shortlist for the critics’ award. And he was a Pulitzer finalist for Watching the Spring Festival (Farrar, Straus & Giroux, 72 pp., $13, paperback). Did Lucci send a sympathy card?
April 28, 2009
Emily Dickinson, War Poet (Quote of the Day / From Drew Gilpin Faust’s Pulitzer Prize Finalist, ‘This Republic of Suffering’)
How did Americans deal with the unprecedented scale of death in the Civil War? Many grappled with the carnage partly by writing about it — in poems, letters, memoirs, sermons, diaries, and more — given a lucid analysis by Drew Gilpin Faust in This Republic of Suffering, a finalist for the most recent National Book Award www.nationalbook.org/nba2008.html and Pulitzer Prize for history www.pulitzer.org/citation/2009-History.
Gilpin Faust writes about Emily Dickinson in this excerpt from a much longer section about Dickinson’s work and that of other writers of the era, including Ambrose Bierce and Herman Melville:
“Emily Dickson is renowned as a poet preoccupied with death. Yet curiously any relationship between her work and the Civil War was long rejected by most literary critics, even though she wrote almost half her oeuvre, at a rate of four poems a week, during those years. Dickinson has been portrayed as a recluse, closeted from the real world and its tribulations. But her work is filled with the language of battle – the very vocabulary of war that she would have encountered in the four newspapers regularly delivered to the Dickinson household. Campaigns, cannons, rifle balls, bullets, artillery, soldiers, ammunition, flags, bayonets, cavalry, drums, and trumpets are recurrent images in her poetry.”
Gilpin Faust adds:
“Like so many reflective Americas of her time, she grappled with the contractions of spirit and matter and with their implications for heaven and for God. Death seemed ‘a Dialogue between the Spirit and the Dust,’ an argument left painfully unresolved. Dickinson wondered where she might find heaven (‘I’m knocking everywhere’) and what an afterlife might be (‘Is Heaven a place—a Sky—a Tree?’) …..
“Ironically, it was death, not life, that seemed eternal, for it ‘perishes—to live anew … Annihilation—plated fresh / With Immortality.’ No territorial justifications, no military or political purposes balance this loss; victory cannot compensate; it ‘comes late’ to those already dead, whose ‘freezing lips’ are ‘too rapt with frost / to take it.’ Dickinson permits herself no relief or escape into either easy transcendence or sentimentality.”
You might also want to read the Oct. 4, 2007, post, “Do Emily Dickinson’s Poems ‘Make a Virtue Out of Collapsing’?” www.oneminutebookreviews.wordpress.com/2007/10/04/.
© 2009 Janice Harayda
February 13, 2009
Valentine’s Day Poems for Straight or Gay Lovers, Including Couples Getting Engaged or Married on Feb.14, With All the Words Online
Two poems that aren’t usually thought of as Valentine’s Day poems contain lines that would suit longtime lovers, including engaged and married couples.
Robert Browning’s classic “Rabbi Ben Ezra” begins:
Grow old along with me!
The best is yet to be,
The last of life, for which the first was made:
“Rabbi Ben Ezra” isn’t a love poem but a meditation in verse on the life of the 12th-century scholar in its title. But countless lovers have inscribed its famous first two lines, both written in iambic trimeter, onto the flyleaves of books or Valentine’s Day notes and cards. And all three would work for straight or gay couples. The full text of the poem appears online at Bartleby.com.
Another classic with lines that would suit gay or straight couples is Henry Wadsworth Longfellow’s translation from the German of Simon Dach’s “Annie of Tharaw.” It includes the rhyming couplets:
Oppression, and sickness, and sorrow, and pain,
Shall be to our true love as links to the chain.
As the palm-tree standeth so straight and so tall,
The more the hail beats, and the more the rains fall, —
So love in our hearts shall grow mighty and strong,
Through crosses, through sorrows, through manifold wrong …
Though forests I’ll follow, and where the sea flows,
Through ice, and through iron, through armies of foes.
“Annie of Tharaw” sounds less sophisticated than many contemporary poems, in part because of its anapestic meter, commonly found in children’s poems such as “A Visit from St. Nicholas.” But Dach’s words may speak more directly than some of their modern counterparts to couples facing serious illnesses such as AIDS. Their sentiments implicitly ratify and amplify the “in sickness and in health” of wedding vows, so they would also suit anniversaries. The full text appears online at Litscape.
© 2009 Janice Harayda. All rights reserved.
www.janiceharayda.com
January 12, 2009
Back to the Diner With Mary Jo Salter — The Unofficial Poet Laureate of Female Baby Boomers Remembers Her Past in ‘A Phone Call to the Future’
This was the Fifties: as far back as I go.
Some of it lasted decades.
That’s why I remember it so clearly.
From the title poem of A Phone Call to the Future
A Phone Call to the Future: New and Selected Poems. Knopf, 222 pp., $26.95.
By Janice Harayda
America is full of women who promised themselves years ago that someday they would read more than The Managerial Woman and the owner’s manual for Aprica strollers — maybe even poetry. Now the great day is at hand as many of these baby boomers approach retirement.
Mary Jo Salter awaits them. It would be patronizing — and misleading — to call Salter a “women’s poet.” She has written six books, coedited the Norton Anthology of Poetry and won praise from both sexes. Salter is no more of a “women’s poet” than was Elizabeth Bishop, with whom she studied. And yet perhaps better than any other poet, she provides a narrative arc for the shared experiences of female baby boomers.
A Phone Call to the Future reads at times like an index to the milestones of a generation of women. Looking for a poem about menopause? Try “Somebody Else’s Baby.” The death of a parent? “Dead Letters.” The long-ago crisis that your marriage mercifully survived? “The Twelfth Year.” The wistful feelings inspired by your teenage daughter’s maturity? “For Emily at Fifteen.” The incomprehension you felt when you went back to your once-favorite diner and found that it had become a Chinese restaurant? “Inside the Midget.”
If these poems sound like articles-in-verse for More or the AARP Bulletin, they are far from it: They tell truths that tend to yield in magazines to chipper advice on how to look younger without surgery or have the best sex of your life after 50. But they stay rooted in everyday life — the daily pleasures and anxieties of activities as ordinary as watching a much younger couple at a train station or visiting a beach house and eating corn on the cob, each one “a little rolling pin.”
Salter sets the tone of A Phone Call to the Future in the haunting first poem, “Wake-up Call,” about the yearnings and self-delusions of middle age and beyond. Her nominal subject is leaving Venice, that sinking city – first by boat, then by plane. But the visit that has just ended is a metaphor for the “essence / of what must end because it is beautiful,” including life. The speaker in the poem tries to find solace in the possibility of returning to the city
but you’re not going back to so much, and more and more,
the longer you live there’s more not to go back to …
In the end, the possibility of a return provides false comfort, and not just because the next trip inevitably will be different. What you really want, the speaker knows
is more life in which to get so attached to something,
someone or someplace, you’re sure you’ll die right then
when you can’t have it back …
Salter’s rhymes have grown looser over the years, and some of her poems are much slighter than “Wake-up Call” – little more than vignettes in verse. But A Phone Call to the Future shows a remarkably consistent mastery of varied forms and styles. It has a lament (“Lament”), an aubade (“Aubade for Brad”), and a pattern poem with lines that curve in and out like a slalom course (“Poetry Slalom”). It has several villanelles (“Refrain,” the blues-y “Video Blues,” and part of “Elegies” for Etsuko”) that may nod to Bishop’s “One Art” www.poets.org/viewmedia.php/prmMID/15212. And it has so many other familiar and not-so-familiar forms that poetry classes might use the book with profit.
One of the most appealing qualities of A Phone Call to the Future is that Salter has a gift for storytelling, a trait many poets lack. Classic forms like the sonnet can be a narrative straightjacket. Salter knows how to use them to drive a story forward. In a wonderful sequence of 10 sonnets, she remembers her former therapist, who died when his bicycle struck a barrier and hurtled into a truck during a race. She begins by recalling their first session: The therapist said that what she told him would stay in the room unless, in his judgment, she posed a danger to herself or others:
… It was like being read
my rights in some film noir – but I was glad
already I’d at last turned myself in,
guilty of anxiety and depression.
How many poets could pull off the black humor of that film noir simile in an elegy? In her title poem Salter tells us: “This was the Fifties: as far back as I go. / Some of it lasted decades. / That’s why I remember it so clearly.” How nice for us that Salter, unlike so many baby boomers, hasn’t started forgetting.
Best line: Salter’s description of her mother during cancer treatments in “Dead Letters”: “Injected, radiated, / bloated, balded, nauseated.” And all of the title poem, which begins: “Who says science fiction / is only set in the future? / After a while, the story that looks least / believable is the past.” A Phone Call to the Future also has a memorable narrative poem about the adulthood of the third president, “The Hand of Thomas Jefferson.”
Worst line: Three phrases: “your low, confiding chuckle” from “Dead Letters.” “Munching peanuts, bored” from “Please Forward.” And “a comfy sofa” from “A Leak Somewhere.” “Chuckle,” “munching” and “comfy” are cute words that don’t work in most serious poetry unless it’s satirizing them. And why give a poem as good as “Wake-up Call” such a clichéd title?
Published: March 2008
Recommendation? This is one of the best collections of 2008 for book clubs that don’t normally read poetry but would like to do it occasionally. The poems are of high quality but no so high that they’ll sail over the heads of everybody who doesn’t have a graduate degree in English. Instead of assigning the entire collection, consider asking members to read the sonnet sequence and a half dozen others.
About the author: Salter teaches at Johns Hopkins University. Read “Somebody Else’s Baby” at
www.poetryfoundation.org/archive/poem.html?id=179004. Read another poem from the book, “Trompe L’Oeil,” www.blueflowerarts.com/mjsalter.html.
You might also want to read: Claudia Emerson’s Late Wife www.oneminutebookreviews.wordpress.com/2006/12/03/. Two villanelles appear in All the Poems of Muriel Spark (New Directions, 2004): “Edinburgh Villanelle” (first published in The New Yorker) and “Verlaine Villanelle.”
© 2008 Janice Harayda. All rights reserved.
www.janiceharayda.com