Dear Vera,
In fairness, I think the point he was making that he did not feel he
had to write about the situation immediately, but needed time to assimilate
and reflect.I don't think even a Poet Laureate has the obligation to provide
immediate Outrage therapy for the nation and the world.My own feeling is
that what has been written in the aftermath has been written for the
authors, to help them come to terms with the tragedy, not with the intention
of providing any public therapy.
Wordsworth spoke of poetry being emotion recollected in
tranquillity. Perhaps Billy Collins is waiting for a little tranquillity
before he feels he can do the subject justice, instead of trying, as most
writers have been doing, just to say how terrible it is in myriad ways.
If Billy Collins feels that being Poet Laureate does not stop him being his
own man, and following his heart, I admire him for it. I am sure he could
have sat down and written a poem, but he did not feel that was good enough.
Kind regards,
grasshopper
----- Original Message -----
From: "Vera Rich" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, September 24, 2001 3:23 AM
Subject: Re: Billy Collins and me
> The other point is, surely, that Billy Collins had accepted a post as
> 'Laureate'... which presumably includes the obligation to provide a
'voice'
> on such occasions.
>
> If one accepts, as per Aristotle, the role of the poet as providing a
> catharsis for unbearable emotions, then Collins' current attitude seems
very
> close to shirking his duty.
>
> (What would be said, say, of a psychiatrist who said he could not bear to
> deal with the traumas evoked by the atrocities in the USA?)
>
> There is a phenomenon which - at least in my school-days, used to be known
> as 'grace of state' -- that is, the strength and ability to carry out
one's
> duty, even if it appears to be beyond one's capacity. (All, right, call it
> adrenalin flow if you will - but it is the same phenomenon).
>
>
> Certainly, a lot of what has been being written over the last two weeks
> will, undoubtledly, be 'eminently forgettable'. (Doubtless, my own
> contribution to the situation will be similarly dismissed. ..)
>
> But that does not diminish the poet's duty to write....
>
>
>
> ----- Original Message -----
> From: Steve Rudd <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: 23 September 2001 17:02
> Subject: Re: Billy Collins and me
>
>
> > I have read this debate wit hgreat interest and I have to admit to my
> > undying shame I hadn't actually heard of Billy Collins until all this
> > started. But, Billy Collins or no, it seems to me that a poet can't
ignore
> > something like this happening, and, since a poet or any artist, is
trying
> to
> > make sense of the world and communicate the realities of existence to
> > his/her fellow beings, you can't blame people for trying to make sense
of
> > the terrible events by trying to write about them.
> >
> > The problem is of course that with something like this you also get such
> an
> > emotional overload that it is very difficult to carry out some of the
more
> > impassive tasks of writing poetry, such as tempering the emotion with
some
> > sort of form and content.
> >
> > Personally I hope that people do write and write again about what
happened
> > in NYC on 11 September, because:
> >
> > It should never be forgotten
> > It is part of a grieving process, relating what happened to "normality"
> > It should be explored in an artistic process
> > Out of this might come some fitting requiem for those who died
> >
> > Whether or not any of the poetry produced is "good" in the sense of
> > communicating a new or unfound meaning about the events is up to people
to
> > exercise their critical faculty and find out. I suspect that out of all
> the
> > millions of words probably already written on the tragedy, some will in
> time
> > survive, just in the same way as Tennyson's poem on the Light Brigade or
> > Gerard Manley Hopkins on the Wreck of the Deutschland, or the War Poets
of
> > the Trenches.
> >
> > Personally I don't believe any subject should be forbidden to poetry,
but
> it
> > doesn't automatically follow that all poetry written about controversial
> or
> > difficult subjects is good poetry.
> >
> > Another point to bear in mind about the poetry surrounding the WTC
attacks
> > is the lack of direct personal involvement in the events. Most poeple
> > writing about it are writing about something they saw on the TV, so the
> > experience has already been through one filtering. On a psychological
> level.
> > this needn't necessarily be a bad thing - I can imagine if I had been
> > wandering out to get my morning coffee and bagels and had seen 5,000
> people
> > die in front of my own eyes I might be struck dumb for the rest of my
> life.
> > Some things are too big for the human mind to take in immediately.
> However,
> > if you are going to write a poem about something, you need to reflect on
> it
> > and give it some all round consideration. But on the other hand,
distance
> > does sometimes make analysis easier. It is all a trade-off.
> >
> > Finally, although it may seem superficially a black and white issue, the
> > killings in NYC are in fact a very complex event, full of unanswered
> > questions. It is fairly easy to write a propaganda piece for either
side,
>
> > but not necessarily a poem.
> >
> > Just in case my last comment above is taken as anti-American, I should
add
> > that, again, personally, I hope the Americans find whoever was
responsible
> > and bomb the crap out of them. I would draw a direct parallel with the
> evil
> > fanatics who carried out these atrocities and the Nazi movements of the
> > 1930's. My father's generation learnt to their cost that appeasement
does
> > not work with people who so not share the values of democracy (for all
its
> > faults) and will not negotiate. It cost 5 years of war and millions dead
> to
> > stop them last time, and it's a case of "here they come again". What
else
> > can we do?
> >
> > I would (finally finally) like to balance all of these comments with a
> > straightforward out and out objection to Blunkett and Blair's latest
> wheeze,
> > to bring in compulsory ID cards for all UK citizens under the cover of a
> > clamp down on terrorism. As a people we are already surveilled and
snooped
> > on by the state at every end and turn. MI5 presumably already know who
> these
> > loony mullahs are in London and Birmingham, inciting people to celebrate
> on
> > the street in a totally unacceptable fashion, and issuing Fatwas. They
> have
> > broken the law, and should all be rounded up, tried, and, if convicted,
> > stuck in a camp on the Isle of Man or somewhere else where they can't
> incite
> > more violence and terrorism. But ID cards for all, I think not.
> > STEVE RUDD
> >
> >
> >
> >
> >
> >
> >
> > ----- Original Message -----
> > From: Lynn Owen <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Saturday, September 22, 2001 5:57 PM
> > Subject: Re: Billy Collins and me
> >
> >
> > > I'm thinking Robert Hass.
> > > 'no odes to trade embargoes' = Poetry Wales.
> > > Nerys Owen Williams: Robert Hass interview.
> > > The task of a poet is to say what they see, not what they are told.
> > > Lynn
> > >
> > > Sent: Saturday, September 22, 2001 1:25 PM
> > > Subject: Re: Billy Collins and me
> > >
> > >
> > > > It is surely the task of the poet to find the image that will
> transmute
> > > the
> > > > 'unbearable' into 'the bearable'. If he/she cannot do that,.. well -
> let
> > > > him/her go dig ditches. ----- Original Message -----
> > > > From: Bob Cooper <[log in to unmask]>
> > > > To: <[log in to unmask]>
> > > > Sent: 22 September 2001 02:47
> > > > Subject: Billy Collins and me
> > > >
> > > >
> > > > > This article's been drifting round the electrickery of a few
> people's
> > > > > e-mails, and a couple of other lists, so I thought I'd post it
here
> > too.
> > > > >
> > > > > A subject too big for poetry
> > > > >
> > > > > Don't ask the U.S. laureate Billy Collins to write about Tuesday's
> > > > disaster.
> > > > > The terror is overwhelming, he tells SANDRA MARTIN
> > > > >
> > > > > By SANDRA MARTIN
> > > > >
> > > > > Saturday, September 15, 2001
> > > > >
> > > > > Like most people, U.S. poet laureate Billy Collins was following
the
> > > sweet
> > > > > banality of routine on Tuesday morning. "I was driving back from
> > taking
> > > > the
> > > > > dog out around the lake we usually walk around," he said in an
> > interview
> > > > > from his home in Westchester County in New York, when he heard on
> the
> > > > radio
> > > > > that there was a fire in the World Trade Center.
> > > > >
> > > > > "I know people don't smoke any more, but I thought somebody had
> thrown
> > a
> > > > > match in a wastebasket," he recalled. When he got home, he turned
on
> > the
> > > > > television as the second plane was plowing into the south tower,
an
> > > image
> > > > > has been crashing into his forehead about every 90 seconds since
> then.
> > > "I
> > > > > think that it has created a kind of burn on people's retinas," he
> > says.
> > > > >
> > > > > "Will you ever write a poem about what happened on Tuesday?"
> > > > >
> > > > > "No," he says in a response that comes quickly and emphatically.
> > > > >
> > > > > "Why not?"
> > > > >
> > > > > "You can't approach something like this frontally in a poem - at
> least
> > I
> > > > > can't. It will knock you over. It is like walking into a big wave.
> You
> > > > will
> > > > > fall on your bathing suit."
> > > > >
> > > > > Isn't it his job to set aside his feelings and write a poem
offering
> > us
> > > > > solace, inspiration and wisdom? No, says Collins. "I am a person
> > before
> > > I
> > > > am
> > > > > the poet laureate."
> > > > >
> > > > > Rather than toiling away in an office in the basement of the White
> > House
> > > > > composing birthday poems, his role is to be a literary ambassador,
> > > > > travelling the country and raising consciousness about the value
of
> > > > poetry.
> > > > >
> > > > > Still, being poet laureate is an odd position for Collins because
he
> > > can't
> > > > > think of any activity that is more private, solitary and deeply
> > > subjective
> > > > > than writing poetry. "Poets, as they become published and go out
and
> > > give
> > > > > readings, move out of that condition of solitude into something
like
> a
> > > > > public life, and the position of poet laureate is the most public
> > > extreme
> > > > > that a poet can achieve. In some unfortunate ways, it pulls you
out
> of
> > > the
> > > > > cell of privacy that you tend to write in."
> > > > >
> > > > > The scale of the devastation has reduced the idea of fame to
> rubble -
> > > for
> > > > > once, the famous are ordinary. That is the way it should be in a
> > tragedy
> > > > of
> > > > > this magnitude, he says.
> > > > >
> > > > > "Maybe some people can say things better or differently than
others,
> > but
> > > > > there are no experts here. My reactions are not aesthetic or
poetic
> or
> > > > > professional. They are simply human."
> > > > >
> > > > > Tuesday made Collins realize how very different this tragedy was
> from
> > > the
> > > > > Oklahoma bombing. "That was one horrible moment," he says. "This
> seems
> > > to
> > > > be
> > > > > the beginning of many horrible moments, and I think it makes the
> > future
> > > so
> > > > > unsettled and so strange that it is impossible to walk into this
> > ongoing
> > > > > storm of uncertainty and find a position to speak from, let alone
to
> > > write
> > > > > something."
> > > > >
> > > > > Poems -- at least good ones -- do not spring forth fully formed on
> > > > command.
> > > > > The creative imagination works away in private, digesting direct
and
> > > > > vicarious experience. For Collins, a poem takes place in "an Emily
> > > > Dickinson
> > > > > backyard." It is not a "directly reactive performance to public
> > events,"
> > > > he
> > > > > says, adding that he doesn't "write a poem with a gun to my head"
or
> > > rush
> > > > > things into print.
> > > > >
> > > > > Besides, he feels you can't "really get your arms around"
something
> > this
> > > > > big, that a poem could get crushed by the sheer weight of the
event.
> > > > "There
> > > > > is a tremendous lot of bad poetry that has been written about
> subjects
> > > > that
> > > > > are too big for the poem," he says. Poetry has always been a
vehicle
> > to
> > > > > contain and express grief, but that doesn't mean you need a new
poem
> > > every
> > > > > time there is a public or private tragedy. People take solace from
> > > > rereading
> > > > > old and familiar ones.
> > > > >
> > > > > "Poetry is one of the original grief counselling centres," Collins
> > says.
> > > > "It
> > > > > has always been a way of giving form to wailing and to the
> convulsions
> > > of
> > > > > grief and in that sense, it is always relevant because it gives
form
> > to
> > > > > emotions that are flying out of control."
> > > > >
> > > > > Collins has been writing poetry long enough and well enough - he
has
> a
> > > > stack
> > > > > of collections including Sailing Alone Around the Room: New and
> > Selected
> > > > > Poems, which is being published by Random House this autumn - to
> know
> > > that
> > > > > poetry flourishes in private moments of reflection. Making poetry
> too
> > > > > specific is the best way to give it a limited shelf life, he says.
> > > > >
> > > > > "There is something basic about any human experience, including
this
> > > one,
> > > > > but the specifics of this terror are overwhelming. Poetry always
has
> > to
> > > > find
> > > > > the private scope, and the events that are being played out this
> week
> > > are
> > > > on
> > > > > too cosmic and shocking a scale," he says. "You don't read poetry
to
> > > find
> > > > > out about the poet, you read poetry to find out about yourself."
> > > > >
> > > > > Before he retreated to the private spaces that poets inhabit,
> Collins
> > > > > reminded me that the late American poet Richard Hugo said, "Never
> > write
> > > a
> > > > > poem about anything that ought to have a poem written about it;"
> > > Dickinson
> > > > > said, "Tell the truth but tell it slant;" and W. B. Yeats wrote
the
> > > > > definitive comment about poetry on demand in On being asked for a
> War
> > > > Poem.
> > > > >
> > > > > I think it better that in times like these
> > > > > A poet keep his mouth shut, for in truth
> > > > > We have no gift to set a statesman right;
> > > > > He has had enough of meddling who can please
> > > > > A young girl in the indolence of her youth,
> > > > > Or an old man upon a winter's night.
> > > > >
> > > > > Billy Collins will be appearing at the International Festival of
> > Authors
> > > > in
> > > > > Toronto in October...
> > > > >
> > > > >
> > > > > Any comments?
> > > > >
> > > > > It seems to say things I feel are true for me right now. I haven't
> yet
> > > the
> > > > > inkling, though it may be the only way I will discover I'm writing
> > about
> > > > it,
> > > > > will be if I am following Emily Dickinson's advice where I "tell
the
> > > > truth,
> > > > > but tell it slant."
> > > > >
> > > > > (True art, I guess, needs anger. So will I feel the same when Wild
> > West
> > > > Bush
> > > > > sticks on his sheriff's badge and goes to get the baddie, Dead Or
> > Alive?
> > > I
> > > > > remember the silence and the subsequent guilt I felt when the Gulf
> War
> > > > > happened, and, before that, the Falklands war.)
> > > > >
> > > > > Bob
> > > > >
> > > > >
> > > > >
> > > > > From: Bob Cooper
> > > > > [log in to unmask]
> > > > >
> > > > > _________________________________________________________________
> > > > > Get your FREE download of MSN Explorer at
> > > http://explorer.msn.com/intl.asp
> > > > >
> > > > >
> > >
> >
> >
>
|
