Leaving Today for Hanoi

Catch the Cape Air commuter this afternoon to Boston, from which I take a Cathy Pacific flight to Hong Kong & then on to Hanoi. The layover in Hong Kong should be just long enough to eat at the airport’s wonderful dim sum restaurant. Of all the intermediate airports I’ve stopped at on previous trips, Hong Kong’s is by far the best. Tokyo & Singapore are all right, Frankfurt by far the worst, largely because of the snarling security functionaries. Rainy evening in Hanoi

Noi Bai, the airport at Hanoi, is improving, but can be chaotic during busy periods. The main lesson I’ve (mostly) learned from the dozen or so trips I’ve made to Vietnam is to travel light. I pack, then try to subtract ten percent of what I’ve packed. Closes are inexpensive in Vietnam, even when custom-made, so I usually anticipate buying shirts once I arrive, trousers, too: the tailors can copy any pair I bring.

Disrupted Diction(s)

It’s a truism in the poetry world that the big New York publishers don’t support poetry. The exception is W.W. Norton. I was thinking about this recently when I noticed that three books of poems stacked together on the corner of my desk were all published by Norton. (It’s oddly lovely the way objects collocate into meaningful constellations.) The books on the desk are: Alice Fulton’s Barely Composed, Kimiko Hahn’s The Narrow Road to the Interior1, and my old grad school friend Marilyn Chin’s Hard Love Province. Another collocation: All women. I don’t tend to read books of poems straight through, so I have been leafing & loafing through these three books from Norton, with great pleasure & enthusiasm. Not only is Norton publishing poetry, it is publishing very good poetry indeed.

I only came to know Hahn’s work recently, while looking at everything I could find by contemporary writers having to do with Basho. The book is in the form of a journal, shifting from prose to poetry. Of the three books, Hahn’s presents me with the most problems, formal & emotional. It’s not easy for me to get a purchase on Hahn’s forms–she seems to bend Basho to the breaking point–nor on the emotional tenor of the work: the writer turns Basho’s subtle monochrome into high-chroma abstractions. Where Basho is personal, Hahn is confessional. (The great American “confessional” poets of the mid-twentieth century were very important to me as both reader & writer.) The voice speaking in Hahn’s Narrow Road is ruthlessly honest & difficult. But not likable. Sometimes hectoring, sometimes confessional, it is also, like Basho’s voice, caught between the extremes of home & travel–both poets ill at ease sitting still while understanding, too, that movement from place to place does not solve the problem of how to live.

Marilyn Chin’s poems are more accessible than Hahn’s, at least in terms of syntax & lexicon, both of which are more stripped down in Hard Love Province than in Chin’s earlier work. (We were both students of Donald Justice, whose insistence on precision & surface clarity influenced a generation of students with widely differing styles.) Chin, like Hahn & Fulton, happily mixes high & low diction, the intellectual & the confessional, the confrontational & a capacious & compassionate generosity. In reading through Hard Love Province (right next door to Hard Luck Province?), what I feel most acutely is a wild & sometimes violent series of mood swings–from tender to angry. The tenderness tends to be directed at particular persons, whereas the anger is more general, more “political.”  Continue reading

Summer Course: Modern American Poetry

I’m getting ready to teach an online course, Modern American Poetry. The course requires junior standing and at least one previous literature class, but it is open to all majors. That is, I think I can expect a certain amount of reading savvy and engagement with the material, but not a lot of background in poetry as such, especially modern poetry. The last time I taught the class, in the flesh, as it were, I used Cary Nelson’s fat and inclusive anthology, which I like — it also has a good web-basedsupplement that includes critical statements about the poets, which I use as a way of getting students to enter into a “conversation” or on-going argument about a particular writer or text. But I had fourteen weeks during the regular semester, with class seventy-five minute class meetingstwice a week. With the summer course, I can go as long as ten weeks, but students usually prefer a more compressed schedule in the summer, so I’m going to schedule eight weeks, with a couple of weeks of non-required start-up time during which the site will be live and I’ll be posting some general thoughts; students can also of course use this time to get going on the reading, which will not bevoluminous, but will require close attention. So I’m going to abandon the Nelson anthology for the two, much more conservative, anthologies edited by Joel Conarroe, Six American Poets and Eight American Poets. Rather than assign a text about poetry — I like Terry Eagleton’s How to Read a Poem — I will link to online resources and create a few pdf files of commentary for students.

Conarroe’s six poets are Whitman, Dickinson, Stevens, Williams, Frost, and Hughes. I will put all six on the syllabus; his eight are Bishop, Merrill, Plath, Ginsberg, Roethke, Berryman, Sexton, and Lowell. Of these, I will drop Sexton, who wrote very few good poems, I think, and Merrill, to whom I’ve never warmed, whatever virtues he possesses. And then I’ll add Eliot’s “Prufrock” and “The Waste Land” — he was born in St. Louis, after all. Along the way, I’ll try to link to less mainstream poets as a supplement. For instance, I’ll use Hughes to link to a bunch of good online material about the HarlemRenaissance. I’ll expect about as much reading and writing from students each week as I would expect in a week & a half (three class meetings) during the regular semester.

Week 1: What is Modernism & what do we mean by “modern”?

Week 2: Dickinson & Whitman as the inventors of American modernism.

Week 3: Stevens & Eliot

Week 4: Williams & Frost

Week 5: Hughes & the Harlem Ren

Week 6: Bishop & Lowell

Week 7: Plath & Berryman

Week 8: Some contemporary poems / the reaction against the personal