The Poems of Others

In her essay “The Holograph,” poet Brenda Hillman speaks of handwriting a poem over and over as a method of revision in her own practice:

Emerging signs are very close to the nerves of the hand. Seeing a letter formed in stages… pulled into the thread or wick, to the thing of the word itself, gives a sense of participatory process, that the poem is still unfolding, that all of its unconscious dream nature has not yet been foreclosed upon.…

Hillman writes too about our “atavistic connections to the written expression.” Thinking about that “atavistic” quality, that reversion to the ancestral, Poetry Daily asked each member of its new editorial board to name the poem that first sparked poetry in them—the first poem they read that gave them permission to write poetry or the idea that they might write it—the poem that led them down the path to becoming a poet.

We then asked each editor to write about that special experience and to create a writing prompt for others based on an observation about the poem. We also asked them, finally, to handwrite that poem—as a kind of homage to its maker, the poet who came before—and an homage to the poem itself as a thing that first sparked their writing.

“I also like to recopy poems other than my own onto new pages,” Hillman observes in conclusion to her essay, “because there is an intimacy about that as well.”

We are excited to present to you these sixteen intimate homages to the relationship between poet as reader and poet as writer, and to what sparks poetry.

Brian Teare on Gerard Manley Hopkins’s “As Kingfishers Catch Fire”

I remember the moment I learned words could record the reciprocal press of poet upon the world and the world upon poet. A truant undergraduate student, I had signed up late for a “Modern British Poetry” course, and came to the second class unprepared. The assigned reading was Gerard Manley Hopkins.

Someone read “As Kingfishers Catch Fire” out loud. I had never heard anything like it. I felt a pleasure I can only describe as a swoon. I gripped the edges of the desk to keep myself upright. The sprung rhythm in combination with the alliteration was like having my head inside a ringing bell, like being the swung tongue that, in the poem, allows the hung bell to “fling out broad its name.”

I knew then, as I know now, that the poem elicited an ecstatic physical experience because Hopkins brought what in another poem he calls the “heart in hiding” to the surface of words and let its quick pulse beat there, where it could coax my own into a sympathetic rhythm.

In the second half of this Petrarchan sonnet’s opening octave, Hopkins argues that

Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves — goes itself;
myself it speaks and spells.
Crying Whát I dó is me: for that I came. 

In other words: being is. It’s action that reveals the selves alive inside things. 

Writing Prompt

Write a sonnet that attempts to render in language the self of a nonhuman thing or being you’ve encountered through observation. Keeping in mind Hopkins’s experimental sense of form, retrofit the sonnet to make a unique argument about the intrinsic nature of the nonhuman thing or being that’s claimed your attention; use the prosody of the lines to make it come alive and make the music that’s all its own.    

Share This Post

Share on facebook
Share on twitter
Share on email

Print This Post

Share on print
Brian Teare

Brian Teare

Brian Teare is the author of five critically acclaimed books, most recently Companion Grasses, which was a finalist for the Kingsley Tufts Award, and The Empty Form Goes All the Way to Heaven. His sixth book, Doomstead Days, will be out from Nightboat Books in April 2019. His honors include a Lambda Literary Award and fellowships from the NEA, the Pew Foundation, the American Antiquarian Society, and the MacDowell Colony. An Associate Professor at Temple University, he lives in South Philadelphia, where he makes books by hand for his micropress, Albion Books. More at https://www.brianteare.net/