A Quote by Rita Dove
I think if you put something in a file that says "war poems" or "love poems" that you already restrict the way in which the poem might move.
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If you want to write poetry, you must have poems that deeply move you. Poems you can't live without. I think of a poem as the blood in a blood transfusion, given from the heart of the poet to the heart of the reader. Seek after poems that live inside you, poems that move through your veins.
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.
The poem in Where Good Swimmers Drown are love poems. But love poems that defy the divisions between emotion and intellect, private and public, life and art, writer and reader. To read Elbe's poems is to discover not only what it means to be in love, but what it means to be alive.
When somebody's in love with you, they think it's amazing you've written them a poem, and when they don't love you anymore, they hate those poems. They wish those poems would go away.
I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.
[My poems] of course, it's symbolic, in the way that things in a poem can be - that is, pointing to something beyond its mere ordinary meaning, while also retaining all the qualities of that ordinary meaning. In other words, it's a bear, but it's also suggesting something else, just by virtue of the attention to it. But it's not "symbolic" in that way we are taught to think about things in poems.
I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.
Sometimes people come up and they get infatuated with some little brief imagistic poem or something, and they say, "Oh, I really like your Zen poems." And I say, "Which ones are not Zen poems?"
Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?
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.
You want a poem to unsettle something. There's a deep and interesting kind of troubling that poems do, which is to say, 'This is what you think you're certain of, and I'm going to show you how that's not enough. There's something more that might be even more rewarding if you're willing to let go of what you already know.'
When I'm assembling a book I concentrate as though I were writing a poem. A truly imagined arrangement will indicate gaps and generate new poems. I re-read the new poems in my folder in the hope that this might happen.
Another way of saying "put it in the Book" would be that each poem we write pops up in the city of poetry, where anyone can visit it. Just as we visit the poems written before us. Go to Dickinson's house, or Li Po's or whomever we think has something to say to us that might help or be beautiful.
When you begin to write poems because you love language, because you love poetry. Something happens that makes you write poems. And the writing of poems is incredibly pleasurable and addictive.
The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.
I would read the Shel Silverstein poems, Dr. Seuss, and I noticed early on that poetry was something that just stuck in my head and I was replaying those rhymes and try to think of my own. In English, the only thing I wanted to do was poetry and all the other kids were like, "Oh, man. We have to write poems again?" and I would have a three-page long poem. I won a national poetry contest when I was in fourth grade for a poem called "Monster In My Closet.
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