5 More Questions for Poets
May 6, 2014
I’m going to continue to answer these questions (this is Part 2 for me, but out of sequence with the original; you can find my answers to Part 1, here). Here’s a link to Jonathan’s original post and the poets’ answers: 5 Questions for Poets, Part 3.
And here are my answers:
- How many of your poems do you throw away?
I believe, as Paul Valery wrote, “A poem is never finished, only abandoned.” I never throw them away. Sometimes I find lines that are useful elsewhere or I work on them and find a way to let them get where they need to go over a period of years.
Of course, there are many, many that will never find their way and will never see the light of day. I want only those poems that I have “finished” or “abandoned” to represent my work in the world. I’ll be lucky if even one or two survive beyond my lifetime.
- Do you still get poems rejected in poetry journals?
All the time. The ones that hurt the most are the seemingly annual rejections from The New Yorker, POETRY, Ploughshares, The Gettysburg Review, all places where I really want to publish someday, but others as well. I try to move on quickly and send them out again. If a poem gets rejected more than a few times, I’ll pull it out of circulation and take another look at it. I’ve been fortunate to be published in some very fine places, in print and online.
- How many poems do you have memorized?
Only one, I think. “One Art” by Elizabeth Bishop. Oh, and parts of others. I was never good at memorization. I have too much poetry working in my head and my filing system is only big enough for what I’m working on. Although, I did recite Whitman’s “O Captain, My Captain,” when I was nine.
- Are creative writing programs good or bad for literature? Why?
Good and bad. At its best, a creative writing program will encourage writers to hone their craft and voice, to improve their work through revision and paying attention to what a poem needs. At worst, it is a breeding ground for poetry careerism and cronyism and mimicry of the worst sort.
Of course, when I asked Robert Hass whether I should get an MFA, he, in turn, asked me, “Do you want to teach?” I cheekily answered, “No, I don’t think you can teach writing poetry.” He told me to go out and get a real job, to experience life and have something to write about other than academic life, and that has made all the difference to me.
- Do you think the Best of American Poetry, or Best Poems of 20__ and the Pushcart annual are useful indices of the best work now being published?
Obviously not, they’ve never included any of mine – not even some of my better efforts, like “Naming” and “Fallow Field.” The latter was nominated for a Pushcart, but as the title poem of my collection published last fall, not in the year it was published in Blueline.
In all seriousness, these lists or time-sensitive anthologies represent the opinion, taste or whims of an individual or a series of individuals; the editor of the anthology, etc, and those who chose the poems for publication in the first place. Nothing more; nothing less.