A Quote by David Lehman
I am completing a book I began back in 2002 called 'Poems in the Manner of.' 'The Matador of Metaphor' is from this manuscript. It is an homage to Wallace Stevens that appropriates certain of his techniques.
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I was influenced by the Beats because I actually just began to commit adolescence around 1955, when "Howl" and Rebel Without a Cause and a lot of other new things were popping up. (Again I'm trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens. I thought I would be completely content if I was recognized at some later point in my life as a third-rate Wallace Stevens.
I admire the poetic relationship to place as enacted in Wallace Stevens' poems; his poetics strikes me as an argument against the restraints of realism.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
I write to get myself writing. That and read Wallace Stevens' "An Ordinary Evening in New Haven" for the umpteenth time. Certain authors for me, certain books, just by reading a phrase I feel I can write.
It was in a stonecutter's house where I went to have a headstone made for Raftery's grave that I found a manuscript book of his poems, written out in the clear beautiful Irish characters.
In bullfighting there is an interesting parallel to the pause as a place of refuge and renewal. It is believed that in the midst of a fight, a bull can find his own particular area of safety in the arena. There he can reclaim his strength and power. This place and inner state are called his querencia. As long as the bull remains enraged and reactive, the matador is in charge. Yet when he finds his querencia, he gathers his strength and loses his fear. From the matador's perspective, at this point the bull is truly dangerous, for he has tapped into his power.
I remember going over proofs of this book - my first book - back in 2001, in a bar in Toronto called the 'Victory Cafe', and thinking sadly to myself, 'This is a very good manuscript but not a very good book.' I don't know what I meant by that, but I was pretty heartbroken and sure it was true.
I turn now
not to the Bible
but to Wallace Stevens.
Wallace Stevens: the Platonist celebrates endless change, but with regret.
Wallace Stevens had more time to write as an insurance agent. He was a bond lawyer and I know that insurance company lawyers don't have to do nearly as much as we had to do. We were out more in the production area. I'm not condemning Stevens for having had a better job than I did, but that's one of the many places where I differ from him.
Everyone enjoys stories of double lives and secret identities. Children have Superman; intellectuals have Wallace Stevens.
My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.
I was eighteen when I wrote my first book, and I can't remember what it was called. I have no idea where the manuscript is - I lost it when I was twenty-one.
When I first heard Wallace Stevens' voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.
When I first heard Wallace Stevens voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.
I remember I was very taken with a book called DreamTigers by [Jorge Luis] Borges. He was at the University of Texas, Austin, and they collected some of his writings and put them in a little collection. It's called DreamTigers in English, but it doesn't exist in Spanish. It's a little sampler. But that collection in English is what struck me, because in there he has his poems, and I was a poet as well as a fiction writer.
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