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.

Eric Pankey on W.S. Merwin’s “When You Go Away”

How, I had wondered—an undergraduate led to W. S. Merwin’s The Lice by my teachers Marcia Southwick and Larry Levis at the University of Missouri (it must have been 1979)—does one redeem a tired, conventional lyric subject like longing?  The premise of “When You Go Away,” is familiar: when the lover is separated from the beloved, the order of the world changes. Given the limits of this conventional subject, how did Merwin make a thing both faithful to its convention and new? I found an answer to my question in the complexity of the poem’s final lines: “my words are the garment of what I shall never be / Like the tucked sleeve of a one-armed boy.”

In the line preceding those last two, the lover recalls that he is “the reason,” but the reason for what? The beloved’s departure and present absence? The lover addresses the absent beloved, but absent, how can he be heard? His words are a “garment,” but what is their function? Do they shelter the body? Do they ornament the body? Do they cloak and conceal the body? Do they wrap and reveal the body?

Then, in the second half of that penultimate line, the garment metaphor is modified, and while the metaphor becomes more specified by that modification, it becomes more various and tangled as well: “my words are the garment of what I shall never be.” The speaker’s words clothe a future negation, not so much of the beloved’s absence, which thus far has been the subject of the poem, but of what the self—the lover—will not achieve. What is that? I do not know, and when I think the next and final line will answer all the above questions, it instead adds to them. The metaphor of the word-garment is further modified by a simile: “my words are the garment of what I shall never be / Like the tucked sleeve of a one-armed boy.”

In what way are his words, which are garments, like the garment that is “the tucked sleeve of a one-armed boy”? Are his words meant to expose or hide a lack? Is the tucked sleeve an image of what fails to fill it—the boy’s missing arm? Or is the sleeve, tucked, not dangling, an attempt not to call attention to that which is missing—the phantom limb that feels but is not there? These are the sorts of questions I was asking myself when I first came upon the poem and the intricacy of this image. I am still asking them. But I realized then that it is the marriage of convention with the particular and peculiar vision of an individual poet that can redeem the conventional from all its previous iterations, that one must not avoid the conventional, but play one’s individual changes upon it.

Writing Prompt

Pick one of the lyric sub-genres below:

The love poem
The aubade
The nocturne
The pastoral
The elegy

Using you own particular and peculiar lexicon and sense of metaphor and line, make a version of one of these poems that we recognize both as participating in the conventions of the sub-genre and pushing toward something only you could write.

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Eric Pankey

Eric Pankey

Eric Pankey is the author of many collections of poetry. A new book, THE OWL OF MINERVA, is forthcoming from Milkweed Editions in 2019. His work has been support by The National Endowment for the Arts, The Ingram Merrill Foundation, The Brown Foundation, and the John Simon Guggenheim Memorial Foundation. He is Professor of English and Heritage Chair in Writing at George Mason University, where he teaches in the BFA and MFA programs. More at