Bob Dylan’s Draft of Lyrics, Once Tossed in Trash, Sells for $500,000. Typed and hand corrected, these analog artifacts offer an insight into the creative process that digital means cannot. The article says Dylan tossed the lyrics in the trash. Apparently, he must’ve kept a copy.
San Francisco’s Angry Poet
One of my favorite poets, August Kleinzahler, uses a Smith-Corona typewriter exclusively, and sometimes while sitting on the toilet. In the photo, the bad boy of American poetry has a drink at one of his hangouts, the Zam Zam bar in San Francisco’s Haight-Ashbury neighborhood.
If we’re going to assert that poetry is work, we need to go beyond the semantics and difficulty and consider how it’s valued alongside other types of labor. The movie Paterson and Jim Jarmusch give us the opportunity to compare the work of making poetry with material forms of creative work and the waged work of bus driving. By highlighting the contrast between Paterson writing at work and his wife Laura making things at home, we’re immediately confronted with the historically lopsided and gendered division of labor that takes place in the public and private spheres.
Political philosopher Hannah Arendt argued that the division of public and private realms is partially linked to the prioritization of intellectual over manual labor in classical Greek society. Arendt saw poetry, which is made purely of language, as the most human and least worldly of the arts. On the other hand, Richard Sennett saw craft as a merging of mental and manual labor, with the products representing the intimate connection between the hand and head.
However, the American philosopher Richard Sennett acknowledges that not all crafts are seen as equal, with parenting being viewed as different in character than plumbing or programming. Jarmusch defends the character of Laura against accusations of regressive gender roles, pointing out that she lives how she wants and is entrepreneurial, even if it’s in a domestic set-up. Jarmusch sees domesticity as a fact of how social structure works, but he also emphasizes the essential difference between the approaches to their respective crafts of the two main characters.
Caleb Femi’s family lived in a housing estate where the walkways were swabbed down every Monday. His imagination transformed the space into a wonderland. In his debut poetry collection Poor, Femi explores the North Peckham Estate, described as a “paradise of affordable bricks, tucked under / A blanket, shielded from the world.” The poem contrasts the lofty ideals of its architects and the reality of a boy found stabbed to death in a stairwell in November 2000.
The bespectacled 28-year-old from South London is astonished that readers have found the collection dark, and says it’s a celebration of fantasy. The estate he grew up on fed his imagination in unexpected ways; the mural that appeared on the wall was the catalyst for many of the things that happened on the estate. Taylor, the young boy who was stabbed, was a close friend of his, and his death was a source of guilt.
Caleb Femi — poet, filmmaker, and photographer — became London’s first young people’s laureate in 2016. His pictures provide a different perspective of urban youth and challenge the discourse about them shaped by news photography. His poems use street language and imagery to amplify how urban boys are just as delicate as raindrops. In many ways, Femi is still that little boy who found a wonderland in the smell of detergent.
After moving schools for sixth-form, his teachers taught him a love of poetry, sparing him from the fate of many of his peers. Femi studied English literature and teaching at a Tottenham comprehensive school but quit after two years due to the strict “Gove curriculum.” For someone who loved Yeats and Pope, a rigid curriculum in a government school was a bitter disappointment. In 2015, his poetry career took off, and he made film-poems to order. In 2017, he was included on the Dazed 100 list.
A young people’s laureate’s tenure coincided with the Grenfell Tower fire. “In the future,” he wrote in his diary extract from the time, “every time I write grief on my phone its autocorrect asks if I mean Grenfell: have I written Grenfell so many times that it has registered it as a familiar word, or is this how collective mourning works?”
The Covid-19 crisis has yet again drawn attention to the disadvantages of being poor and urban. He lives in a Deptford flat with a cat called Dennis Adeyemi and dreams of making films and writing poetry. Femi, a guy obsessed with laughter, leaves the shop and walks through the rain towards an underpass, with the word “FANTASTIC” printed on the back of his coat.
The Lincoln Journal Star reports that Nebraska poet Matt Mason won national attention for his poem “The Start,” which appeared in the New York Times. He drafted the poem three years ago when he wasn’t comfortable with the political climate, later realizing the poem’s relevance last month as an angry mob swept the Capitol. The phrase “probably started” conveys that small remarks or acts of hatred can lead to violent behavior.
“It’s seemed like we were going more and more with the (hateful) language and never hitting the point of saying, ‘This is too far,’” he told the Lincoln Journal Star. “And if that point never gets hit, the violence is inevitable.”
It probably started
in a whisper, a murmur,
a low tone hardly caught by the papers,
a sticker, a poster,
a brick wall with slogans in fresh black paint
Mason hopes to challenge people’s perception of the partisan environment. As state Poet Laureate, he has organized poetry events in every county.
The older I get the more I look like the poet Robert Lowell. If I could write poetry like Lowell, I’d be set.
This is the only filmed interview I’ve been able to find of the great poet Karl Shapiro. It’s sourced from a 16mm film by Karl Shapiro and Arthur Hoyle, Santa Monica, CA: Pyramid Films, 1976.
Billie Nardozzi writes poems every week for the Pittsburgh Post-Gazette. It’s for love, not money: He pays for the privilege of getting them into print.
Claremont Graduate University is handing out a couple of huge poetry prizes here in Claremont, California.
Earlier this month in a press release, CGU announced Marianne Boruch won the $100,000 Kingsley Tufts Poetry Award for her book The Book of Hours. The prize, given to a mid-career poet, is one of the largest cash prizes a poet can win in the United States. Boruch teaches creative writing at Purdue University and is also involved in the low-residency Program for Writers at Warren Wilson College.
Heidy Steidlmayer of Vacaville, California, won the $10,000 Kate Tufts Discovery Award for her book Fowling Piece. The annual award is given for a first book of poems. Steidlmayer’s poems have appeared in Poetry, TriQuarterly, Ploughshares, and in other prestigious poetry journals.
“We are delighted to honor these poets and celebrate their achievements,” Wendy Martin is quoted as saying. Martin, who is vice provost at Claremont Graduate University and director of the Tufts Poetry Awards program, goes on to say, “These Awards will help them gain wider recognition and will sustain their continuing commitment to writing outstanding poetry.”
The press release describes The Kingsley and Kate Tufts Poetry Awards as having been established in 1993 at Claremont Graduate University by Kate Tufts to memorialize her husband, a Los Angeles shipyard executive who had a passion for writing poetry. The goal of the award is recognize a poet who is no longer a beginner but is very much in mid-career.
A ceremony will be held at Garrison Theater (231 E. 10th Street in Claremont) on Thursday, April 18.
The following poem was delivered by inauguration poet Richard Blanco at President Obama’s second inaugural today. The text of the poem was provided by the Presidential Inaugural Committee.
“One Today”
One sun rose on us today, kindled over our shores,
peeking over the Smokies, greeting the faces
of the Great Lakes, spreading a simple truth
across the Great Plains, then charging across the Rockies.
One light, waking up rooftops, under each one, a story
told by our silent gestures moving behind windows.
My face, your face, millions of faces in morning’s mirrors,
each one yawning to life, crescendoing into our day:
pencil-yellow school buses, the rhythm of traffic lights,
fruit stands: apples, limes, and oranges arrayed like rainbows
begging our praise. Silver trucks heavy with oil or paper — bricks or milk, teeming over highways alongside us,
on our way to clean tables, read ledgers, or save lives — to teach geometry, or ring up groceries as my mother did
for twenty years, so I could write this poem.
All of us as vital as the one light we move through,
the same light on blackboards with lessons for the day:
equations to solve, history to question, or atoms imagined,
the “I have a dream” we keep dreaming,
or the impossible vocabulary of sorrow that won’t explain
the empty desks of twenty children marked absent
today, and forever. Many prayers, but one light
breathing color into stained glass windows,
life into the faces of bronze statues, warmth
onto the steps of our museums and park benches
as mothers watch children slide into the day.
One ground. Our ground, rooting us to every stalk
of corn, every head of wheat sown by sweat
and hands, hands gleaning coal or planting windmills
in deserts and hilltops that keep us warm, hands
digging trenches, routing pipes and cables, hands
as worn as my father’s cutting sugarcane
so my brother and I could have books and shoes.
The dust of farms and deserts, cities and plains
mingled by one wind — our breath. Breathe. Hear it
through the day’s gorgeous din of honking cabs,
buses launching down avenues, the symphony
of footsteps, guitars, and screeching subways,
the unexpected song bird on your clothes line.
Hear: squeaky playground swings, trains whistling,
or whispers across cafe tables, Hear: the doors we open
for each other all day, saying: hello, shalom,
buon giorno, howdy, namaste, or buenos días
in the language my mother taught me — in every language
spoken into one wind carrying our lives
without prejudice, as these words break from my lips.
One sky: since the Appalachians and Sierras claimed
their majesty, and the Mississippi and Colorado worked
their way to the sea. Thank the work of our hands:
weaving steel into bridges, finishing one more report
for the boss on time, stitching another wound
or uniform, the first brush stroke on a portrait,
or the last floor on the Freedom Tower
jutting into a sky that yields to our resilience.
One sky, toward which we sometimes lift our eyes
tired from work: some days guessing at the weather
of our lives, some days giving thanks for a love
that loves you back, sometimes praising a mother
who knew how to give, or forgiving a father
who couldn’t give what you wanted.
We head home: through the gloss of rain or weight
of snow, or the plum blush of dusk, but always — home,
always under one sky, our sky. And always one moon
like a silent drum tapping on every rooftop
and every window, of one country — all of us —
facing the stars
hope — a new constellation
waiting for us to map it,
waiting for us to name it — together
The Presidential Inaugural Committee has announced that Richard Blanco has been chosen to read a poem at President Obama’s inauguration ceremony on Jan. 21. The choice marks a couple firsts: Blanco will become the first Hispanic and the first gay poet to read at a presidential inauguration. He will also, at 44, be the youngest poet to do so.
In a recent posting on the NPR website, Blanco said, “Even though it’s been a few weeks since I found out, just thinking about my parents and my grandparents and all the struggles they’ve been through, and how, you know, here I am, first-generation Cuban-American, and this great honor that has just come to me, and just feeling that sense of just incredible gratitude and love.”
The New York Times writes that Blanco, a son of Cuban exiles, has felt “a spiritual connection” with Obama from the moment he burst onto the political scene. Like Mr. Obama, the Times reports, “Blanco has been on a quest for personal identity through the written word. He said his affinity for Mr. Obama springs from his own feeling of straddling different worlds; he is Latino and gay (and worked as a civil engineer while pursuing poetry). His poems are laden with longing for the sights and smells of the land his parents left behind.”
In 1926 a recently opened letterpress shop in New York City named Spiral Press printed a book of poems for Frost. One of the owners of the press, Joseph Blumenthal, printed one of the poems as a Christmas card for his wife. Robert Frost loved the card and thus began a working relationship between Blumenthal and Frost and several woodcut artists and engravers.
Frost sent the cards out annually from 1934 to 1962. The last year they were mailed, the print run was over 17,000. Some of the cards ran up to 20 pages and included such well-known Frost poems as “The Gift Outright” and “The Wood-Pile.”
Examples of the cards from the Rauner Special Collections can be viewed here.
Dartmouth College’s Officce of Alumni Relations recently posted the following notice about the cards on their blog:
Dartmouth’s Rauner Special Collections Library has an extensive collection of the cards, including copies of the first-ever example—“Christmas Trees”—which was produced without Frost’s knowledge in 1929. Later, Frost expressed admiration for the card and he agreed to help produce them on an annual basis in 1934.
Rauner’s collection also includes cards with handwritten notes from Frost to librarians at Baker Library and other friends in Hanover. In 1951, Frost accompanied the “A Cabin in the Clearing” card with this note to Dartmouth bookstore employee Ruby Dagget: “in hopes that you will carry it like a lesson to your schoolhouse in the wilds of Vershire.” Vershire is a nearby town in Vermont.
The first edition of Robert Frost’s third collection of poems, Mountain Interval, was published in 1916 by Henry Holt and Company and was dedicated “To you who least need reminding that before this interval of the South Branch under black mountains, there was another interval, the Upper at Plymouth, where we walked in spring beyond the covered bridge; but that the first interval of all was the old farm, our brook interval, so called by the man we had it from in sale.” The “you” Frost refers to is his wife, Elinore, to whom he dedicated most of his books. The “South Branch” is the Frosts’ farm in Franconia, New Hampshire. The “Upper at Plymouth” is a reference to their time spent together in Plymouth, New Hampshire. “The first interval” is another reference to time spent together, this time in Derry, New Hampshire. And the brook is Hyla Brook, by Frost’s farm in Derry, which provided the title of one of the poems in this volume. According to Jay Parini in his biography of Robert Frost, Robert Frost: A Life (1999), an interval is a “New England dialect term for land in a valley.” Therefore “mountain interval” provides a double meaning, suggesting a “pause in a journey as well as a dip in the landscape” (278). “The Road Not Taken” opens the volume and perhaps makes reference to this “mountain interval.”
Initially the collection did not sell as many copies as Frost’s previous collection, North of Boston, probably because his publisher rushed the book into print. Nevertheless, it contains some of Frost’s best-known and most celebrated poems, such as “The Road Not Taken,” “Birches,” and “Out, Out—.” Frost wrote the majority of the poems during his stay in England; whereas he wrote a few before leaving for Europe and reworked them for book publication, such as “Birches” and “Putting in the Seed.”
Naturally, Frost was disappointed by the book’s lack of sales, but it was to be expected of a third volume following so quickly on the heels of two previous collections, A Boy’s Will and North of Boston. Despite the book’s abysmal sales figures, most scholars agree that it was a seminal book in the history of modern poetry, virtually on the basis of “The Road Not Taken” and “Birches.”
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