On Becoming the Subject: When Someone Writes About Your Work
January 10, 2016
“I never read my reviews,” the novelist Pat Conroy once said. “Not even the good ones. Barbra Streisand once told me, if just one person in the audience doesn’t applaud, it bothers her. I’m the same way. I’d be devastated to read that someone didn’t like my work.”
Back in 2001, a young woman named Veronika Linhartova Morley, then a student at De Anza College in Cupertino, California, contacted me by email. She wanted to write about my poetry for a class assignment on contemporary American poets.
She told me she’d read a poem of mine called “Carpentry” in the Boston Review and had found a number of other poems on line. I was flattered. Only, I never wrote a poem with that title and I’ve not yet published in the Boston Review. I looked up the poem, which was written by a Scott Anderson (see the link above) and thought, I could have written it, but I didn’t.
I hated to disappoint Ms. Morley, but broke the news to her by reply email. She was embarrassed; however, it turned out that all the other poems she’d found were indeed mine, and she still wanted to write about my work. We had a nice correspondence and she wrote a delightful little essay about my poetry and the influence of Elizabeth Bishop and Donald Hall on my work.
Her essay begins with a lengthy quote from a lecture I gave at the University of Alaska some years before:
“The contemporary poet of my choice, Scott Edward Anderson, once wrote in his essay ‘Making Poems Better: The Process of Revision’: ‘…writing poems is a lot like cooking. We bring everything we know about cooking and about what foods go well together to preparing a meal, just as we bring all we’ve learned or read or practiced to writing a poem. Sometimes, it’s just luck that we get the right combination of ingredients, but much of the time a fine meal is made from good ingredients being put together by a well-practiced chef.'”
She went on to make some good observations about my work and points about what I learned from both Bishop and Hall. She also identified a spiritual note in my work and my conflicting feelings about “the way we treat our world.”
In all, it’s a pretty accurate picture of my work, its process and two of my biggest influences. And the last line of her essay would make any poet proud. She writes that through her assignment and correspondence with me, she “not only learned about the process of writing poetry, but also learned to appreciate poetry even more.”
I don’t know how the essay was graded. I still have a copy. Veronika came to this country from Czechoslovakia in the late 1990s, as she told me, to get the kind of education unavailable in her own country. Some time ago, she gave me permission to reprint the essay, which you can read in full here.