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April 17, 2008 KR Blog Reading

Pick Pocket

National Poetry Month freaks me out. I am just sitting here, quietly drinking my coffee, when Lynn Neary comes on the radio to rhymingly inform listeners about “National Poem in Your Pocket Day.” Damage! Damage! (You should listen to her for full effect.)

I am trying to think of what it is like. It is like watching a child try to show you a cat he loves. A beautiful cat! And the child just happens to hold the cat by his tail. An unhappy cat! Woe!

But I do love pockets. And cats. And poems. And woe. THEREFORE, I am licking my wounds and recommending the following pocketable word-things:

1. One or several of Aram Saroyan’s Minimal Poems. Ugly Duckling Presse sent out word yesterday that Saroyan’s book just won the PSA’s William Carlos Williams Award. (Hooray! No woe at all.) The poems are so small you could fit twenty in your pocket at a time, like confetti. Try this:

an oyster
can’t
read this

or this:

eyeye

or this:

morni,ng

Or, if you want to get very visual, try “Boxing Match,” which I’m not sure how perfectly I can reproduce:

. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .
. . . . . . . . . . .

2. Just as visually pleasing are Giuseppe Steiner’s Drawn States of Mind. The logical consequence of the Futurist’s “words-in-freedom,” Steiner’s poems use language only in their titles, while the images themselves tend toward quickly apprehensible, funny, touching and exciting visual metaphors. (I am using “metaphor” in the most open sense. Think “doorway into new understandings.”) I scoured the internet for a few examples with no luck. Woe! But also hooray, because maybe now you would like to go buy the book?

3. Perhaps you would like to be topical, in which case, I recommend James Tate’s “How the Pope Is Chosen.” (“After a poodle dies / all the cardinals flock to the nearest 7-Eleven. / They drink Slurpies until one of them throws up / and then he’s the new Pope.”)

4. It strikes me that Andy Grace’s Fecund Minimum poems are pocketable. I do not strike back.

5. I am not going to talk about Christopher Smart.

6. The lovely thing about poems is that they are so useful. Keeping one in your pocket just makes sense. For example–you are walking down the street. You see a friend. She hands you a skull ring. You have no idea how to express your gratitude, until you remember you are carrying Chelsea Minnis‘s “Skull Ring” in your pocket:

I am very excited about the skull ring. I didn’t know anyone would think I wanted a silver skull ring. Now, when I am rude to those who oppose me, I can just look down at the skull ring. It has ruby chips in the eyes! Ruby chips like the nasty flame in my own eyes when I am insulted or reviled. No one will dare oppose me now in my hometown…

You are immensely relieved.

7. When you are choosing your poem, you might want to think about the future, as in which poem would work well for “National Poem in Your Washing Machine Day” (April 24th). In this case, Emily Dickinson seems appropriate:

I felt a Cleaving in my Mind –
As if my Brain had split –
I tried to match it – Seam by Seam –
But could not make them fit –

The thought behind, I strove to join
Unto the thought before –
But Sequence ravelled out of Sound –
Like Balls – opon a Floor –

The Kenyon Review was founded in 1939. The resources for the new literary journal were provided by Gordon Keith Chalmers, President of Kenyon College, while the inspiration to establish the journal and raise the national stature of the institution had come from his wife Roberta Teale Swartz, herself a poet and a friend and protege of Robert Frost. Frost encouraged the idea and visited Kenyon more than once. The poet and critic John Crowe Ransom was recruited to Kenyon by Chalmers with the express purpose in mind of his launching a distinguished magazine. During his 21-year tenure, Ransom published such internationally known writers as Allen Tate, Robert Penn Warren, William Empson, Mark Van Doren, Kenneth Burke, and Delmore Schwartz, as well as younger writers: Flannery O'Connor, Robert Lowell, and Peter Taylor, to name a few. It was perhaps the best known and most influential literary magazine in the English-speaking world during the 1940s and '50s. In 1969, discouraged by the quarterly's financial burdens and sagging reputation, Kenyon College ceased publication of The Kenyon Review. The journal was revived in 1979, and in June 1990, internationally acclaimed poet and editor Marilyn Hacker was hired as the Review's first full-time (and first female) editor. She quickly broadened the quarterly's scope to include more minority and marginalized viewpoints. In April 1994, the trustees directed that The Kenyon Review be continued, but with significant cost-reducing and revenue-enhancing initiatives. Hacker left and David Lynn (acting editor in 1989-90), Kenyon English professor, was named editor on a two-thirds time basis. The magazine's financial picture has since stabilized and improved dramatically. The creation of a Kenyon Review Board of Trustees and a renewed commitment by Kenyon College combined to guarantee the financial health of the Review and to free its editors to pursue increased excellence. Such is the status of The Kenyon Review today.