Process

Angel of PurityBefore writing, I like to reread something I admire: Claudia Emerson, Robert Hass, and Natasha Trethwey are all in the bookbag right now. Another current turn-to is an old favorite, Elizabeth Bishop’s “The Armadillo,” somehow rereading “the frail illegal fire balloons appear…” works like an incantation for me. My writing usually begins with a rapid freewrite a fueled by a Gryphon cafe latte and the great hum of background noise. I’ll write until I have something, one line which strikes the note, at which point the writing slows down, grows more deliberate and shaped. Some pieces will turn into Field Notes, some into poems, others are merely readying me for the next thing, and quite a few–if they weren’t in the computer–might make fine paper airplanes. The morning writing is akin to schooling a horse; it’s unlikely you’ll go on to great things without the daily, weekly, monthly slog of schooling behind you. Borrowing a technique from Andrew Wyeth, who sometimes tossed quickly composed pencil studies into a drawer, I like to print out a new poem,  make quick revisions in ink, then put it away. I’ll leave it be until time grants the distance that allows me to see what needs revising.

clip_image002Currently, I am working on a sequence of poems that deal with the life and loss of my beloved brother Paul. Form tends to rein in grief so for the moment, I am reading handbooks and experimenting with form. At same time, I am casting about for other narratives and sustaining voices, to set the brother poems within a wider historical or artistic context. One such figure or voice is Henry Beston who was devastated by his experience in the First World War and turned to writing fairy stories for a sort of reprieve and healing in its aftermath. Beston spent a year living on Nauset Beach in Wellfleet on Cape Cod, a remote outpost in those days; the yield of that year on the beach was an extraordinary book, The Outermost House. See my review of Daniel Payne’s wonderful biography: Orion on the Dunes.

I have also turned to fine art for models, Augustus Saint Gaudins’ Admiral Farragut is in Madison Park, NY, around the corner from where my brother worked, and the sculptor’s haunting and beautiful, “Angel of Purity,” is close at hand in the Philadelphia Museum of Art. One Saint Gaudens’ sculpture you are probably familiar with, even if you have never walked the Boston Common, is Robert Gould Shaw and the Fifty-fourth Regiment Memorial because of Robert Lowell’s “For the Union Dead.”

Long ago, Eliot asked us to consider how an individual work fits in with existing traditions. I think it’s still a valid question: where do you fit, within what traditions are you working? I admire the work of many Irish poets–Fallon, Grennan, Heaney, to name the key constellations–their lived in knowledge of the land, the way the family figures in the world of the poems, the richness of the interior life, the way personal and communal history collide in subtle or great ways. My Irish grandmother, Delia Fahey Cronin, sat down at about age sixty and, in lovely freehand, wrote out the story of her mother’s life in the west of Ireland before the turn of the century. I suppose it is no accident that I look to the tradition of Irish poets asking where I fit in.

Writing about the natural world, its particular landscapes and inhabitants, as well as the great wheel of the seasons through well known places comes naturally to me. My brother, sisters, and I grew up riding horses and doing the work ourselves, the mucking, feeding, blanketing & unblanketing, hammering out of icy buckets come winter, the steaming of bran mashes under swathes of burlap in the fall. Our grandfather was our mentor in all of this. The horses gave us a vast network of landscapes and an unprecedented freedom. Dover and Sherborn had so many hidden meadows and ponds. The maps of those places are part of my permanent geography, they lie beneath the surface of the poems.

Next up are three wonderful poets and friends: Catherine Prescott, Dean Rader, and M.B. McLatchey. Their bios, websites, bookcovers, and blogs follow. Please scroll all the way down the page.

Catherine Prescott’s poems have appeared or are forthcoming in The Adirondack Review, American Poetry Journal, Cumberland River Review, Linebreak, Poetry East, Spoon River Poetry Review, Rattle and elsewhere. She’s the author of the chapbook The Living Ruin (Finishing Line Press) and a graduate of NYU’s MFA program in Creative Writing-Poetry. Catherine lives with her husband, two sons and daughter in Miami Beach, Florida. She’s penning a poem a day for NaPoWriMo here on her blog. You can also visit on her website at  www.catherineprescott.net

Dean Rader’s debut collection of poems, Works & Days, won the 2010 T. S. Eliot Poetry Prize. His newest collection, Landscape Portrait Figure Form (Omnidawn) was named by the Barnes & Noble Review as one of the Best Books of Poetry of 2013. Recent poems appear or will appear in Best American Poetry 2012, Boston Review, Kenyon Review, Southern Review, TriQuarterly, Ninth Letter, Colorado Review, and Zyzzyva, which featured of folio of his poems in their fall 2013 issue. He reviews and writes about poetry regularly for The Huffington Post, The Rumpus, and The San Francisco Chronicle. Rader recently edited an anthology entitled 99 Poems for the 99 Percent, forthcoming in 2014. He is chair of the English Department at the University of San Francisco. You can read more of his work at deanrader.com. Link to his writing process here: www.deanrader.com/writingprocessblogtour.html 

M.B. McLatchey’s most recent poetry awards include the May Swenson Award for  her collection of poems titled, The Lame God, published by Utah State University Press; the American Poet Prize; the Annie Finch Prize for Poetry; and the Vachel Lindsay Poetry Award.  A widely published poet and scholar with an extensive background in literature, philosophy, and ancient and modern languages, she has received numerous awards including the Harvard University Danforth Prize, the Harvard/Radcliffe Prize for Literary Scholarship, and the Brown University Elmer Smith Award for Teaching.  She holds degrees in comparative literature and languages, in teaching, and in English literature from Harvard University, Brown University, and Williams College, as well as the MFA from Goddard College. Currently, she is a Professor of Humanities at Embry-Riddle University in Florida. Link to her blog here.