By the man-made lake? A hole so shallow and muddy, all the men held hands, formed a human net and walked toward each other to the center to feel for some kid who might have gone under–there,
on its shore, in the Kodak, me, in my little terry cloth bikini, all round as the moon stomach. I’d worn a Batman mask attached
by a thin rubber band all summer, my hands fisted, the nails bit crescents in my palms.
The summer of my menarche? I stood
against the lazy Susan in the kitchen and watched the President resign on the small TV: I cried because of the cramps and blood, the garter belt biting me. My mother said we’d never see this again and she was wrong:
even married to my father, she couldn’t predict the depth of a man’s rage.
A year after my abortion?
The clinic three stops down from my dorm, three quick stops on the Green Line, and no one shot there yet but escorts needed, one pink set of rosaries flung at my face.
That year, the year of Ferraro, my aunt said she wouldn’t vote for anything
that menstruated, could get pregnant, could bear a child.
– Jennifer Martelli, from In the Year of Ferraro, published by Nixes Mate, 2020. Republished with permission of the poet.
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 third semester, I studied with poet Adrian Matejka. We spent the semester working on my craft essay, a long term paper that does a deep dive into a particular craft element–in my case, poetic line and how Adrienne Rich and Gwendolyn Brooks have influenced contemporary intersectional female poets. This is the cover letter to the first packet.
Thanks for taking the time to respond so thoughtfully to my emails this month, as well as for the additional reading suggestions.
It’s funny—my first semester, I did the craft annotations ahead of the poetry revision and writing. This semester, I did my revisions and new writing first, all while stressing out about the craft essay thesis and outline. Either way, the critical work still stresses me out more than the writing and revising. I suppose this is why I’m getting an MFA instead of a PhD in literature.
I was surprised at how quickly I managed to work my way through the stack of poetry books. Some of the collections definitely spoke to me more than others. As you know, I was immediately taken with Morgan Parker’s There Are More Beautiful Things Than Beyoncé. I went ahead and order her first book as well, but I just couldn’t connect to it the same way. Natasha Trethewey’s Bellocq’s Ophelia was a quick read – the language is so beautiful, the narrative so clear and sequential, and the forms of the poems so similar that it reads almost like a novel in verse – in fact, it was an easier read than David Rakoff’s novel in verse.
Reading theory about poetic line was tougher going. I got through the Longenbach in about a day, mostly through extreme effort of will and because it’s a relatively small text. My main takeaway was the notion of the annotating versus the parsing line. He argues that enjambment “annotates,” or calls attention to a word outside of the usual phrasing of a sentence, whereas a parsing line merely ends where there would be a natural pause. I discovered A Broken Thing: Poets on the Line, a treasure trove of many different poets’ theories and opinions about poetic line. I rented it as an ebook for a few months rather than paying three times as much to own it. As a result the reading has been slow going. When I read on screen rather than on paper, I find it harder to absorb the material. I’ve been keeping a Word window screen minimized next to the ebook so that I can take notes while I read. I’m about two-thirds of the way through the thing now. The tone of the essays varies a great deal, some of the poets writing almost entirely from personal experience and others trying to make more general pronouncements about the line and what it means. In the introduction, Anton Vander Zee sums up the Levertov essay on the line better than I could: that the line tracks the stress of inner thought, and that the line is a script for performance. Three other takeaways:
Annie Finch’s comments that lines that resonate the most with readers often have interesting meter, and that it would do well for contemporary writers to steep themselves in the study of meter as previous generations of poets did. She used an example from Audre Lorde’s “Coal.”
Arielle Greenberg’s concept of the hyperextended line, using Rachel Zucker as an example. I did an annotation of Zucker’s The Last Clear Narrative last semester and immediately knew what she was talking about. She points out that the hyperextended line can take many forms, including enjambment or visual use of the whole page, but that “the effect is always once of muchness, of multitude … an anti-stream of consciousness: a careful but cluttered working through of a complex thought.” This is something that I struggle with as a poet: making an idea or a narrative clear to the reader while still working through a complex thought. I can think of at least one poem where I might try the hyperextended line as a way of evoking this complexity.
Camille Dungy’s beautiful metaphor of prose as a vista of the ocean, and poetry as a vista that includes the shore, with line breaks being “the predictable moment of physical return, the abrupt interruption, the edge, the beach, the tide break, the line-break, the shore.”
What my reading of both the Longenbach and A Broken Thing make clear is that the concept of poetic line is slippery. Like so much of poet-craft (and indeed of physics), the closer you look at the thing, the more slippery and ill-defined it becomes. A kind of quantum.
At your suggestion I did some more research on Rich and Brooks. There are lots of retrospectives about the arc of Rich’s career in the popular press but fewer about Brooks. I spent some time with the Lesley online library searching for academic journal articles. The last time I remember searching through academic journal databases was at Vassar in the 1990s. It’s odd – I can access some materials directly from my study at home, but if it’s not available online I don’t have the luxury of perusing the stacks for the paper article. My biggest complaint about the low-residency model is the lack of easy access to a library.
As instructed, I’ve included an aesthetic statement for each of the poems in this packet; they are included with the contents page of the main “poetry” document. Because one of the poems includes extremely long lines, I had to save it as a separate document with landscape instead of portrait layout.
While revising “On the Ferry to Spectacle Island,” I decided to use the stepped line as a cue that the narrative is moving back in time, and to signal the return to the present moment with new stanzas. In terms of lineation, I’ve been focusing on ending lines with stronger words and avoiding beginning them with prepositions. As I’ve said – and as you know – the rules of poetic line are slippery. But I feel as if I’m able to intuit more easily what makes a strong line versus a weak one.
I’ve been wrestling with “The Marigolds, the River, the Oaks” for years now. It was in my application sample, and I’ve worked it with both Sharon and Kevin – possibly worked it to death. I finally decided to explode it from a sort of ghost sonnet into this new cross-out form. I’d gone in the direction of saying too much, but the original seemed to say too little. So I figured I’d show my work this time. Let me know what you think.
Originally, I’d included “The Window,” another poem I’ve worked quite a bit, but decided to switch it out with something very raw. I wrote “thirty-five years later..” just a couple of days ago and this is only the second draft. Once I have more distance, it should benefit from the music-oriented revision technique from your seminar. I’m curious to hear what you think of the form. I’d like to experiment more with use of white space – in my teens and 20s I used stepped and triadic lines a great deal more, but moved away from it, mostly because it’s so difficult to get the spacing right with the new web content management tools.
As you can probably tell, “Assembly Square” is my paean to D.A. Powell. I was struck by how Morgan Parker managed to replicate the rhythms of his lines in her latest book, and thought I’d try for a similar cadence. It may or may not become part of my own voice, but I think it’s a worthwhile endeavor regardless. I recently reviewed some of my packet material from first semester and see that Sharon and I agreed that I should focus on line. It was after reading C.K. Williams that I began writing longer, looser lines. D.A. Powell also does such innovative things with it.
When I started this cover letter I feared that I wouldn’t have enough to say, but now I see that I’ve almost written a book. I hope that you find the craft essay outline satisfactory. I’ve revised it a number of times and am simultaneously anxious that it is too granular and that I’m leaving out something important. I look forward to your feedback.
Hopefully we will be able to speak on the phone – or better yet via video chat – in the next couple of weeks. Mark and I are celebrating our 10th anniversary the weekend of Feb. 16th to the 19th, so I will be traveling, however we can still arrange to speak during that window is that is what works best for you. In general, Friday, Saturday, and Sunday are the best times for me to speak in real-time. I can also make a Monday or Wednesday evening work if necessary. Monday is Presidents’ Day, so perhaps we could try speaking that evening?
I hope all is well with you in Indiana (or on the road) and that you are accomplishing what you’d hoped to during your sabbatical.
Reading Amorak Huey’s Boom Box brought me back to my adolescence in the late 1980s, listening to hair metal bands and hanging out in disreputable locations. His experience, which includes an early, traumatic house fire and growing up in rural Alabama, doesn’t mirror mine exactly (which includes an early, traumatic move across the country and growing up in urban Connecticut), but the poems made me feel in touch with a kindred spirit – not just the disaffection and nihilism of the teenage years, but the yearning for something greater.
Huey spent 15 years as a reporter and editor before making the switch to academia – he teaches writing at Grand Valley State University in Michigan now. He’s written three books of poetry and two chapbooks, including one from Porkbelly Press, whose handmade books are works of art in their own right. He is co-author, with W. Todd Kaneko, of the textbook Poetry: A Writer’s Guide and Anthology. His poems have appeared in many prestigious journals, including The Southern Review, Poet Lore, and Crab Orchard Review. In 2017 he received an NEA fellowship in Creative Writing. He was kind enough to speak with me via email about his work and his writing life.
Frances Donovan: What first brought you to poetry?
Amorak Huey: Reading. For sure, reading is what brought me to writing. I was lucky enough to grow up in a house full of books. My parents gave me a love for storytelling and language. I have this vivid sense of the feeling that reading something amazing does in my body: that ache in the back of the throat, the quickening of the pulse. At some point, I decided: I want to be able to do that. To write something that makes someone else feel something. Emily Dickinson’s line about poetry making her feel the top of her head had been taken off — like that.
Donovan: Tell me a little about your development as a poet. Did you pursue formal training or are you self-taught? Do you belong to a workshop or writing community?
Huey: Formal training is such an official-sounding phrase, but very clearly it applies to me. I was an English major in college; after I graduated I went straight to graduate school in creative writing, but it didn’t take and I dropped out after three semesters. I ended up working as a journalist for many years before going back for an MFA, which I did at Western Michigan University, where I studied with Nancy Eimers, William Olsen, Daneen Wardrop, Bob Hicok, and Mary Ruefle. The MFA took me six years because I was working full-time in Grand Rapids and commuting to Kalamazoo for a class or two a semester. My current writing community consists of my colleagues in the Writing Department at Grand Valley State University, an online poem-writing group of friends assembled by the poet and fiction writer Chris Haven, and the writers I’m connected to via social media, Twitter in particular.
Donovan: What poets do you keep returning to again and again?
Huey: Traci Brimhall, Layli Long Soldier, Catie Rosemurgy, Adrienne Rich, Gwendolyn Brooks, Natalie Diaz, Matthew Olzmann, David Kirby, Emily Dickinson. There are others. It’s a long list.
Donovan: What are you reading right now?
Huey: I recently read Sam Hawke’s City of Lies, and I’m finishing up the novel Seven Blades in Black by Sam Sykes; I’m saving John Sandford’s latest, Masked Prey, to be a reward for the end of the semester. Sandford is my favorite cop/thriller/mystery writer. I admire the impeccable cleanness of his prose, and the pacing of his storytelling. Poetry wise, I am savoring my way through Traci Brimhall’s newest, Come the Slumberless to the Land of Nod; it’s so, so incredibly good. Other recent/current reads include Natalie Diaz’s Postcolonial Love Poem, KC Trommer’s We Call Them Beautiful, and Marianne Chan’s All Heathens. I just finished teaching Franny Choi’s Soft Science and Layli Long Soldier’s Whereas.
Donovan: Very few poets can make their living solely through book sales or reading fees. What’s your day job?
Huey: I teach writing at Grand Valley State University.
Donovan: Tell me about Boom Box.
Huey: Boom Box came into existence as a collection in 2015, when I realized that my current manuscript was really two projects. I took all the poems that were linked by high school, heavy metal, pop culture, and Alabama and created the first draft of the collection. After three-plus years, two significant revisions, an editorial consultation with Maggie Smith, and 20 rejections, Sundress Publications accepted the manuscript. Working with Sundress editor Erin Elizabeth Smith, I revised the collection one more time into the shape it now is, and it was published in March 2019.
Donovan: Your descriptions of adolescence in the age of heavy metal really resonated with me. How did you come to write about this part of your life? Is it something you’ve explored in your previous work, or is this a new topic for you?
Huey: Nostalgia has always been one of the driving forces of my writing, as I assume it probably is for many people. And I’ve definitely always been interested in using the language of pop culture — whether it’s movies, music, literature, television, sports, whatever — in my poetry. My first collection has a lot of that in it. At some point, I realized that I had been mining this territory (high school, hair metal) a lot, and that’s when I assembled this group of poems into Boom Box. I tend to work in poems, not in projects, which causes problems for me when it’s time to shape what I’ve written into a book, so the threads and links between these poems are something that I discovered after I written them.
Donovan: What do you do to be a good literary citizen?
Huey: Oh, man. I fear that anything I say here sounds like bragging. I have no idea if I’m a good literary citizen. I try to be. How about I talk instead about what I see others doing that makes me think of them as valuable members of the community? I appreciate people who celebrate other writers, sharing their poems and successes. I appreciate people who come to the community as readers first. When I give my students advice about navigating the community, I talk about the need to be sincere, to participate in the conversations out of generosity and support and a sincere interest in what others are doing — not because you think you’ll get something out of it. You can’t have this mercenary approach: I’ll follow these writers on Twitter, and post links to these poems and journals, and in return I will gain X amount of social capital, or Y editor will solicit my work. I don’t know. Be a real person. Be kind.
Donovan: What does your writing practice look like now? Has it changed?
Huey: The only thing stable about my writing practice is its inconsistency. I fit my writing around my family and my job, and that looks different every day, every season, every year. I go through long productive periods, but also lots of dry spells. Sometimes I write in front of the television. Sometimes I write after everyone else goes to bed. I think maybe I’ve gotten up early to write once or twice? That sounds so good, but mostly it’s not me. Sometimes I write between loads of laundry, or while dinner simmers on the stove. Often I just don’t write. I’m a mess.
Donovan: How do you make sure that writing-adjacent work doesn’t take the place of actual writing?
Huey: You have to do both. I don’t have a magical answer to how you make room for them both — you just have to decide that they are both important enough to fit into your life. And that it’s okay to have periods where one takes precedence over the other.
Donovan: Artists often talk about the importance of refilling the creative well. What do you do to replenish yourself?
Huey: Reading. Listening to music. Taking care of my body. Actually that last one is a problem. Writing and running sort of occupy the same space in my life, and so I’m not very good at making time for both of them. I’ve been running regularly this spring (I’m ridiculously slow, but at least I’m out there moving), which means I’m writing less than I’d like to be. I remain a work in progress. Anyway, reading is the real answer to this question.
Donovan: What do you wish someone had told you when you were just starting out in your poetry career?
Huey: That it’s okay to be ambitious. That no one knows what they’re doing; we are all just doing the best we can to figure this stuff out. That impostor syndrome never goes away. That the “career” of a writer is a continual push and pull between nothing ever being enough and being entirely fulfilled when one reader is moved by one thing you have written.
Donovan: What’s next for you?
Huey: My next poetry collection, Dad Jokes from Late in the Patriarchy, comes out in 2021, again from Sundress. I’m working on my second, or second and a half, draft of a novel: historical fiction, set in Grand Rapids, Michigan.
Roslindale just welcomed a new creative space called Create Art in Community, and I’m excited to be offering a generative writing workshop there this April. Please join me for some exercises designed to get the creative juices flowing and encourage play with words. Both new and experienced writers should enjoy the class. All forms of writing welcome: poetry, fiction, memoir, or any combination.
Wednesday evenings, 7:00 p.m. – 9:00 p.m.
Four dates in April 2020: April 1, 8, 15, 29
Create Art in Community, 11A Corinth Street, Roslindale MA
In the heart of Rozzie Square. Roslindale Village stop on the Needham Line Commuter Rail, multiple bus lines from Forest Hills. Municipal parking lot close by and free on-street parking.
Eileen Cleary seems to have found a way to clone herself. In addition to holding two MFAs from two different Boston institutions, she manages the Lily Poetry Salon and publishes the Lily Poetry Review. Her Lily Poetry Review Press will be publishing its first titles soon. She has studied with teachers near and far and seems to know everyone in the Boston poetry scene — and many on the national scene as well.
Eileen is a nurse and poet who earned an MFA at Lesley University and second at Solstice of Pine Manor College. She is twice a Pushcart nominee and has work published or upcoming in journals such as Naugatuck River Review, J Journal, The American Journal of Poetry, Solstice, and Sugar House Review. Her work has appeared as a Rainworks Installation in Newton, Massachusetts.
Frances Donovan: What first brought you to poetry?
Eileen Cleary: I’ve always loved to read poetry. I had a sense that I could write it from an early age. But, I never wrote it seriously until I wrote a poem in response to unethical research on human subjects. I was a different person when I reached the end of that poem, and I could never go back to being a person who didn’t write poetry.
Sarah Dickenson Snyder has written poetry since she knew there was a form with conscious line breaks. She has three poetry collections: The Human Contract, Notes from a Nomad (nominated for the Massachusetts Book Awards 2018), and With a Polaroid Camera (2019). Recently, poems have appeared in Artemis, The Sewanee Review, and RHINO. She has been a 30/30 Poet for Tupelo Press and was accepted both times she applied to the Bread Loaf Writers’ Conference. One poem was selected by Mass Poetry Festival Migration Contest to be stenciled on the sidewalk in Salem, MA. Another was nominated for Best of Net 2017.
Sarah took some time to speak with me via email.
Frances Donovan: What first brought you to poetry?
Sarah Dickenson Snyder: The first time I saw a poem in a book and its intentional line breaks, I was hooked—I just loved how it looked. I was probably in 1st grade. I wrote and wrote even more when I realized that poems didn’t have to rhyme and that I could pour out a seemingly endless fountain of thoughts and memories. I ended up sending a stack of twenty poems to Bowdoin College as my college essay.
Donovan: Did you study poetry at Bowdoin?
Dickenson Snyder: I took a few classes—there were only just a few in the English Department, certainly no writing classes at that time; I was a Religion major.
Erica Charis-Molling at Mass Poetry has published a wonderful series of interviews with local small presses that publish poetry. Small presses are the lifeblood of the poetry world, and poets who publish with them often receive more support and creative control than with nationally known publishing houses. Also, buying local is good for so many reasons. Follow the links below to read about these vibrant, innovative organizations.
In The Flexible Lyric, Ellen Bryant Voigt calls out compression and song as two characteristics of lyric poetry. Emily Dickinson’s poems feature both of these qualities prominently. Her poems have a basic pattern: quatrains with alternating iambic tetrameter and iambic trimeter lines. But the thing that set her apart from the dominant aesthetic of her time was the way she broke from the pattern. What her contemporaries might have called spasmodic, imperfectly rhymed, and lacking in form, we today consider a masterful interplay of meaning and music. Some of her poems adhered more closely to convention than others. Consider “Because I could not stop for Death” (poem 712): Continue reading “Song and Compression in Emily Dickinson’s Poetry”