Annie Finch titled her 2013 volume of selected poems Spells for good reason. A Wiccan as well as a poet, she recognizes the power of incantation in creating an altered consciousness, a state in which a strongly held vision can move from the realm of possibility into reality. Not all of Finch’s poems are visionary or transformative in intention, but they do share a powerfully persuasive incantatory quality.
Finch relies on a number of poetic techniques to create these incantations, most notably repetition of words and phrases and the use of iambs—the thump-THUMP of a heartbeat that calls up instinctive memories of the womb. But her repertory far exceeds the basic iamb, as we see in “Elegy for My Father.” While the poem definitely meets the criteria of an elegy – it recounts the vigil at her father’s deathbed – its complex dactylic meter runs counterpoint to the somber subject matter. Lines alternate between pure dactylic tetrameter and dactylic trimeter with a final, stressed syllable at the end, as in this example:
This is part of a series called Dispatches from an MFA, which details my experiences in the low-residency MFA program at Lesley University. In the second semester, I studied with poet Kevin Prufer. We spent the semester looking at narrative versus lyric poetry. This is the cover letter to the first packet.
Thanks for being so generous with your time, both during the residency and via email this month. I’ve been particularly crazed during this first packet. I constantly had the feeling of playing catch-up. Somewhere in there I forgot that I’m doing all of this because I enjoy studying and writing poetry. Last semester, I had a moment sitting under a tree in our back yard reading Sylvia Plath, and I thought, how is this grad school? I’ve had a moment or two like that in the past month, but they’ve mostly been overshadowed by OMGIHAVETODOALLTHETHINGS RIGHTNAOWWWW. Perhaps this is just how it feels to be in one’s second semester. The winter blues don’t help.
Fearless in its lyricism and expansive in its range, Annie Finch’s work spans four decades and encompasses eight books of poetry, a translation, and numerous anthologies, plays, libretti, and books and essays on poetics. The more I researched her, the more I wondered how our paths had never crossed before. Neither the poetry world nor the pagan world is all that large, and the overlap between them—pagans writing poetry with the depth and seriousness she brings to it—is even smaller. “As a Wiccan,” Finch writes in the foreword to Spells: New and Selected Poems, “I write poems as incantations to strengthen our connections to each other, to the passage of time, and to the sacred cycles of nature.” Her celebrations of the turning wheel of the year and her goddess invocations connect us with age-old traditions but root us in the present day with economic and unsentimental language. Consider these lines from “A Seed for Spring Equinox:” Continue reading “Annie Finch, Author of Spells: New and Selected Poems”
Let’s keep the world through its own balanced kiss,
the kiss come from women made of our own blood,
the holder, the cooler (redeeming the earth,
shaping the room where we give you your birth).
Hands born of woman will not stop this flood,
this generous, selfish, long-opening gift