Some heat, some rain, and the magic is happening—for the rye, if not yet for the writing right now.
The winter rye continues to grow, and I continue to do my (daily-ish) writing practice.
I now have many free writes. They make me think of this patch of green stalks not yet ready to mature. I worry that I’ve forgotten how to take the raw, rough, wild stuff and cultivate it into a poem. This is not a new anxiety. I can keep writing, until the day when that writing compels me to complete it, guide or follow it into a form to be shared. Or I can, in time, turn all that writing over, trust that it’s down in the good ground of my mind and will help the next ideas prosper.
In the meantime, there is much to read between now and my graduation from Rainier Writing Workshop in August. Much to read, and I revel in it.
(If this reading is a procrastination technique, it’s a good one!)
How about you? Do you ever feel lost in an overgrown patch and can’t see your way through to a poem?
Here’s wishing you a happy May Day and hoping that you enjoyed a marvelous Poetry Month.
In the photo, you can make out a couple of stones. Those make the line between the lawn’s lush green abundance and the scraggly patch of winter rye. Okay, some lawn grass is mixed in between the rye and the irises. But it’s had me thinking about what we cut and what we keep, about censoring and not censoring, about how we tend our writing. Even about where I’m putting my energy.
In thinking about writing, I’m seeing the two kinds of grasses not as separate things but as the different attentions required. There’s letting the creative rush run over, there’s perhaps (for me, always) the need to trim, to shape, and there’s the need to tend, to wait patiently.
After three years of writing, trimming, waiting, and tending, I’ve turned in my creative thesis for my MFA. Now, I’m trying to write new work, send some of that MFA work into the world, and maybe turn some of my attention to the many (many!) poems that didn’t fit into the thesis.
How about you? Is spring energizing your writing? Are you waiting? Digging in the dirt? Putting on the final pruning touches?
I left town for a week and came back to these fringes of green.
Not very tall—and at first glance, not very exciting, But looking closer, I see some lovely reddish shades.
Before I could fully appreciate this, I had to ascertain whether indeed the rye had germinated or whether this was just a new crop of the weeds I pull (or don’t). But I think this is the real deal. To be sure, I need to wait a little longer.
I’ve been waiting in my writing, setting poems aside, picking them up again, panicking because I might not have the most recent draft. Sometimes, the poems grow on me, and I see opportunities for nuance, for the subtle shadings. Sometimes, I grow tired of them, convinced that they are terrible. Time for waiting is running out, with just over a month before I turn in my thesis. But I can still get close to the ground of them, inspect their stems and blades, their rhythms and imagery (and I suspect that imagery is at the root of my worries). A garden is always in revision—something for me to keep in mind as I keep working at these poems.
As the calendar cruises toward National Poetry Month, what are you cultivating?
Yes, a rye diary is not a daily effort at this point, as the winter rye is taking its time. I was hoping to show you a picture of new sprouts. Every time I walked past the patch, I’d bend close and examine the seeds left on the surface for signs of change. Saturday, after some rain, I thought I saw progress—miniscule roots venturing out. Maybe by the next day?
The next day brought snow—at first, just a scattering.
In the night, a blanket. Two days later, the rye patch is still covered, and the temperature huddles in the high 20s.
Not ideal for germination.
I love the snow anyway, and I started to think about it in terms of writing.
Snow obscures. I am all for the lyric, the figurative, but I have at times hidden what I’m saying under images or, more often, beguiling sounds. While I’m trying to make something beautiful, I might be freezing out the reader, and myself.
Snow transforms. Now we’re getting somewhere. As snow changes the familiar landscape, it invites me to see those trees, rooftops, and garbage cans differently. A poem can similarly transform my understanding, give me that same “Ah!” feeling of waking up to a world snow-rendered.
Snow disrupts. I have to change my routine, find my heavy boots. Disruption in a poem catches my attention.
Snow on my rye patch makes me wonder what’s going on below the surface. It also makes me wait, which gets me thinking about the advice to put a poem in a drawer for X amount of time. I do not usually do that (what? patience?). During my thesis work this year, I focus on a few poems at a time, while the rest are in a virtual drawer—or under snow. This gives me some distance from them.
When I come back to that temporarily neglected work, I see new gaps, new flaws, new stones to turn over or toss aside. Even my poem that has rye in it, and which I thought was the best poem I have written yet, and which has been rejected multiple times–this morning I found some tricky places where I might not want to be tricky.
How do you get distance from your work? (And if you set poems aside, what’s your magic waiting time?) What are your snowy writing connections?