I like to write along with my students during our writing exercises. In class last night, our last exercise was a list poem created by imagining ourselves into a familiar room, and writing down details about the room, each detail making up a new line in the poem. The order was simply the order in which the detail occurred to us; we did not rearrange lines for this exercise. I’m breaking one of the class rules by re-reading the piece just one day after writing it; but I’m keeping the most important rule, which is not to edit or attempt revision for at least five days after writing it. This is as it was.
Here is my poem, for the record.
bathroom downstairs at our house
my face in the mirror
CJ’s face in the mirror, jumping and jumping and jumping but not seeing himself
my face with blemishes, frown lines of bafflement or pain stuck there now, un-erasable
the window out of which we cannot see
the blue stool that CJ is jumping from, jumping from
the window open and a light breeze, hot not cool
“what do you think of yourself? do you like it? can you see?”
the shower with the faint blue mould in the corners, faint grey scum on the tiles, a bar of soap melting in the corner
the towels hanging from a hook, one striped, one white and slightly mottled from years of use
the cupboard, paint peeling at the edges
the red door, open
debris in the corners, fuzz on the floor, fragments of hair and nails and dust and us
the toilet and the painting above it of a marketplace in Nicaragua, stick people almost, pinks & purples yellows & blues powder & light oxen & people churches & horses
and my face in the mirror
In other, but perhaps related news: I gave CJ a hair cut on Saturday. He spent a lot of time staring at himself in various mirrors, saying “Who is this strange guy in the mirror?” in a faux-shocked voice. He seems to like the change, very much. (While I miss the crazy curls more than I thought I would, somehow.)
Want to write your own list poem? Choose the first room that pops to mind, set a timer for seven minutes, and get writing (use paper and a pen or pencil; do not type).
PS My siblings (aka Kidstreet) have just released a new single. It’s called Daydream. Listen here!
For our final “fun” event of March break, we rented a third of an indoor soccer field, and played soccer together as a family. My brother Karl joined us, too. It was a fun event, not merely a “fun” event, so much so that we’ve booked more family field time, and are going to play hooky this afternoon — hooky, and soccer. My brother Christian is planning to come along too this time. I predict a decimation of the oldsters by the fit and skilled youngsters.
In honour of the occasion, here is a poem I wrote while watching my 12-year-old at a soccer practice this winter.
Girl at soccer practice
I only ask to be more or less still as I fall under the spell of a girl lifting into flight a ball with knee, foot, foot, knee, body, foot, foot, the ball never striking the ground, air-bound circle, and I only ask to fall to watching, to trust the meaning of what is here and shows itself and asks only to be seen, to be watched
I only ask for a moment and another, air-bound circle, to restore what seems lost from me; what there is no need to find when I focus on such focus that it seems it might never
Soccer, soccer, and more soccer. It’s a theme!
Right now, I’m debating whether to play soccer again this summer. I’ve signed up to coach or assistant coach the two younger kids’ teams. And my #FridayReads is Fever Pitch by Nick Hornby, an odd little memoir (and quite possibly his first published book), in which he details his soccer/football obsession as an Arsenal fan through the 1970s and 1980s. He paints a disturbing picture of the dark underbelly of football culture in the UK (has it changed? I’m not sure), with its tribalism and violence, misogyny, and racism. Hornby looks around the stadium and observes that he and his fellow fans are utterly outraged at almost all times, filled with fury and disappointment as they watch their team play; and it seems such a strange misery to devote oneself to so fully, like one’s ordinary life can’t bear the burden of strangled rage, and so one becomes a football fan in order to let loose, in the company of others, this vast current of dissatisfied energy. Of course, there are the communal highs, too, when one’s team wins. Culturally, we devote a vast amount of news coverage and personal energy to sports, particularly professional sports, and that interests me. Why? What need is it filling?
Although I enjoy sports, I read Hornby’s memoir with the detached curiosity of someone who is not involved and cannot fully understand. I like to play more than I like to watch, in all honesty. (Unless I’m watching my kids play. See poem above).
〉 A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry, by Mary Oliver
bought on impulse from Amazon when shopping for photo albums for Christmas gifts
* Mostly, I just want to give you quotes from this book, which is wonderful. It’s slim, precise, measured, and deeply practical: a book about the poetic craft, with useful examples to illustrate the vocabulary necessary to discuss a poem. If I teach again, I will have my students buy and read this book. I am only sorry I’m so late in finding it. Here is a taste.
I was drawn to this section because she speaks of meditation. It is a different way of looking at the practice:
“We experience the physical world around us through our five senses. Through our imagination and our intelligence, we recall, organize, conceptualize, and meditate. What we meditate upon is never shapeless or filled with alien emotion—it is filled with all the precise earthly things we have ever encountered and all of our responses to them. The task of meditation is to put disorder into order.”
Oliver is a believer in patience and will, time spent in honest labour. She quotes Flaubert: “Talent is a long patience, and originality an effort of will and of intense observation.” She says:
“What a hopeful statement! For who needs to be shy of any of these? No one! How patient are you, and what is the steel of your will, and how well do you look and see the things of this world? If your honest answers are shabby, you can change them. … You can attend to them, you can do better … When people ask me if I do not take pleasure in the poems I have written, I am astonished. What I think of all the time is how to have more patience, and a wilder will—how to see better, and write better.”
How to have more patience, and a wilder will….
A friend asked if I’m writing a poem every day, as intended. And no, I’m not. Mostly, right now, I’m journalling in a more traditional sense. But every once in awhile, yes, a poem comes along when it might not have before, had I not been considering the possibility of writing a poem every day. Here’s one I like. I wrote it on the bench outside my kids’ piano lessons, with two of them clamouring for snacks. So note to self — there’s no excuse, no reason not to try to write or to create absolutely anywhere.
Note to self
To write is to fear
Is to write against the fear, into it
Is to let the fear hover, to hold it while it vibrates
Like a trapped bird
To write is to be spurred by fear
Sent by fear, pressed by fear deeper into the woods
Not to go into hiding, but to seek what you’re tracking
To write is to track, not to hunt
Is to follow your quarry through dangerous terrain
Is to be wrong, dying on the wrong path
Thirsty and hungry and tired and wrong
To write is to meet your imperfect self
In an argument about annihilation, uselessness
To write is to find
In the woods on the wrong path
Your self crouched in the thicket
Watching this strange animal move
Like nothing you’ve ever seen before
Nothing you could have imagined
And you are trying to write its name
You are trying to send news of this animal home