“What is a poem?” poet Leanne O’Sullivan asks, her soft voice straining to be heard over the rain pelting the conservatory roof. “How do prose and poetry differ?”
“There is more room for the reader in a poem,” I reply. “More room for interpretation and emotion.” I think of Colm Tóibín, one of my prose idols, who states that he writes the silences. I think poetry must be this, an honoring of the silence between the words, between our thoughts.
dot dot dot. question mark. Sitting with a blank notebook, uncertain in my ignorance, rattled by my fears, what the hell do I know?
Before arriving at this poetry workshop in southwest Ireland, I give myself permission not to write a poem. I’m not a poet and have read poetry in a haphazard way, picking up recommendations here and there, from names dropped in books or by friends, looking through slim volumes in a bookstore, from an obituary—for when does the world talk about poets, except when they die? As a writer of prose and essay, I know the value of rhythm and form, of the carefully chosen word, the breath taken, the meaning conferred in a phrase or in the spaces between. These are essential to developing my storytelling and writing art and craft. But to actually write my own poems?
All that I have to learn about poetry, all the poems I have yet to read, poets yet to discover . . . it makes me panicky, really. Yes. I would be the one to panic about poetry.
A creature of process, the kid forever tugging on a sleeve asking, “Why, mommy? WHY?” I pore over The Making of a Poem: A Norton Anthology of Poetic Forms, Eavan Boland and Mark Strand’s lovely, lucid guide to poetry; I’ve got Edward Hirsch’s A Poet’s Glossary on my equivalent of speed-dial (sitting on the end table next to the sofa); I sift through the teaching resources on poets.org
I am searching for a way in.
Yet on this workshop first day, as the storm blows off Slieve Miskish and hurtles toward Coulagh Bay, peace descends. My notes capture Leanne’s sure hand, leading me past my doubts: Poetry is permission to write; it is the places where language cannot go; it is the recognition that there is no language; it is the waiting, the revising; ‘The talent is knowing what’s called for,’ she quotes Seamus Heaney. Poetry is awareness. Awareness of what you are writing. Deliberate. Purposeful. Considered. Waited for. Poetry reveals or tells a truth, not fact.
“What is your way into your poem?” This question Leanne poses to our workshop group is the essential question. It is the one I should be seeking the answer to. For finding my way in will take care of all the rest.
“What is your way into your poem?”
Something vital and tangible. Something real and describable. Leanne tells us, “The real things of the world are the entry point to the imagination. Keep your feet on the ground. Keep your writing grounded by writing from a real place…”
I find my way in on a small road overlooking Coulagh Bay, sitting in the rain, remembering. I find my way in through the memory of a little girl with her arms wrapped around a stereo speaker, trying to draw the music into her body because her ears fail to hear it. I find my way into my first poem.
The moment is so natural and unbidden. I hear Leanne’s voice saying, “Maintain a sense of awe in the initial inspiration. A waiting has to happen for the poem to come.”
What is a poem? is, in its essence, a question that needs no answer. No immediate answer. No complete answer. For an answer excludes the entire process of discovery. Learning what a poem is comes from studying the poetry that has come before, the poetry that is happening now. Experiencing what a poem is happens when awe and meaning embrace, when experience takes over from expression.
“…there’s part of poetry that’s always about what cannot be said.” W.S. Merwin