A Quote by Michael Collier
The poems in Helena Mesa’s virtuosic first book, Horse Dance Underwater, run with such speed, verve, and alacrity they leave you breathless, exhilarated, and transformed as if the purest kind of song had lifted you into the air. By this quickness of language finding lyric speech, Mesa’s poems remind us of art’s joyous and ecstatic effects.
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'Everything beautiful occurs when the body / is suspended,' Helena Mesa quotes a performance artist who hangs his own pierced body in the air. Mesa's poems are artfully suspended between lyric and narrative, between humans and animals, between Latin America and the U.S., between desire and the difficulty of its fulfillment. Horse Dance Underwater is an inventive, musical, and powerful debut.
When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
My first book of poems was published privately in 1949. That was my mother. The book was '25 Poems.' It cost 200 dollars.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
Emily Kendal Frey's The Grief Performance is a book that condenses a journey of finding and re-finding loss into beautiful packages. The packages are the poems and they sit shiny and new on every page of this fabulous and generous book. I want to go into the world that these poems create, just so that I can be given these terrifying presents again and again. I know you will, too. See you there.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.
I think the first little jolt I got was reading Gerard Manley Hopkins - I liked other poems... but Hopkins was kind of electric for me - he changed the rules with speech, and the whole intensity of the language was there and so on.
I had written here and there about my mother in my poems. There are poems for her in my first and second books.
Poems are a dance of language that comes out when my body taps into the rhythm of language. Rhythm gets us naked and exposes our selves completely.
The first 'Half-Life' movie treatment pitched to us climaxed with a tearful reunion between enslaved Vortigaunts and their Vortiwives and children. The last one I saw had Black Mesa invaded by a cavalry unit, just so as to feature a scene of bullsquids tearing into armored horses.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
It's fun to see someone grow as a writer, moving from their first workshopped poems to publishing their earliest poems to having a book accepted for publication. It's great to see poets with persistence succeed.
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