Poem Sampler

Canon Fodder

The editor of Poetry magazine writes about poems that should be famous.

by Christian Wiman

[Note from the editors: Maybe some poems just don’t get the respect they deserve. We've asked nine poets to recommend nine poems that they think should be added to the canon: poems that should be taught, anthologized, revered. We will be adding their recommended poems to our archive as we obtain permissions for them.]

I love anthologies—the absolute emphasis on the individual poem, the way you can jump from century to century, the sense they give of poetry being both continuous and contained. And yet I hate them too—the false impression they give of many poets, the emphasis on “teachable” poems, the train wreck of taste that most of them become when dealing with contemporaries. I’ve focused here on relatively recent poets who seem to me either badly anthologized or shamefully omitted from most major anthologies—and, of course, on poems I’ve long loved.

1. “Old Fisherman with Guitar,” by George Mackay Brown
For contemporary American poets, a poetry of place almost always means a poetry of missing places. The poetry of George Mackay Brown, who died in 1996 after spending his entire life in the Orkney Islands, illustrates some of the possibilities open to a poetry that is free from this anxiety. Vivid and direct, densely physical, crafted in the way of things built for use and not for show, his poems are saturated with actual life, though it sometimes happens to be the life of centuries ago. “Old Fisherman with Guitar” is one of my favorites. The technique is masterful, and inextricable from the sense the poem gives of words emerging out of, and acquiring truth from, deep experience.

2. “Such Is the Sickness of Many a Good Thing” by Robert Duncan
I used to love Robert Duncan, who seemed to me the very ideal of what a poet should be—large-souled, cosmically ambitious, full of feeling and intelligence in equal measure. I can’t read him anymore in his self-consciously “major” moments, when he has fired up the fog machine and swoops around in a cape, but I do still love his minor beauties. Anthologies get some of these (indeed, they ignore the other side of Duncan entirely), but I’ve never seen my favorite Duncan poem anthologized. It seems to me a great example of both his genuine wisdom and his exquisite ear.

3. “The Shadow on the Stone” by Thomas Hardy
Hardy is one of the worst-anthologized poets. “Hap,” “The Convergence of the Twain,” “Channel Firing,” “Nature’s Questioning,” “The Subalterns”—these aren’t terrible poems, I guess, but none of them is Hardy at his best. To be fair, anthologists aren’t completely to blame here: Hardy is one of those rare poets, like James Schuyler, who are actually best in bulk. He didn’t write “masterpieces,” but he wrote more than a hundred poems that are well worth being anthologized. Too often the Hardy we get is the didactic, philosophically simplistic (teachable!) Hardy, when he’s actually at his best in that shadow world between object and idea, phenomena and numina, the living and the dead. And the best example of these poems is “The Shadow on the Stone.”

4. “These Poems, She Said” by Robert Bringhurst
I’ve never seen Bringhurst in any anthology, so it’s probably too much to hope that “These Poems” will be canonized. It’s a terrific poem, though—gripping, funny, moving, subtly complex (in the end, is the speaker indicting or justifying himself?—impossible to say entirely). The poem dramatizes a tension between art and life, or between form and content, that any serious artist will surely have felt. I wish “rightly” weren’t there in that last line, as it gives the poet rather than the woman the last word. She deserves it.

5. “Sonnets from an Ungrafted Tree” by Edna St. Vincent Millay
My favorite Millay is a series of poems that’s never anthologized and rarely even included in selections of her work. “Sonnets to an Ungrafted Tree” is written in the voice of a woman who finds herself taking care of a dying man she’s never truly loved, though it seems she’s spent most of her life with him. In the poem the woman remembers her first meeting with the man. It’s a very Hardyesque moment, though with a lyric, mysterious sense of fatality rather than Hardy’s implacable fatedness. The language is still merely gestural in places (“mystery,” “sweet,” “secret”), and there’s that familiar trope of losing sight of shore, but this is simply how all Millay poems work. She takes the bluntest materials and occasionally makes some cut sharper than you could have expected, uses stock poetic images and ideas, and somehow renders some truth of feeling as stark and unplumbable as this poem’s closing image.

6. “Days” by Janet Lewis
It would be absurd to make large claims for Janet Lewis’s work, but in five or six poems she achieves an anonymous, expository precision reminiscent of Renaissance writers such as George Turberville or Sir Walter Raleigh. There’s little to say critically about “Days.” I admire the way one word has been left without a rhyme, art enacting life, wherein there is always some mistake or failure that no amount of imagination or regret is going to change. That the word is “web” sharpens the effect, because it suggests that such a mistake or failure is not isolated but rather woven into the whole of one’s work, one’s self. Swift and subtle.

7. “Woods Burial” by John Peck
Peck’s poems are always difficult and frequently incomprehensible. He is like a sculptor whose clay keeps hardening faster than he can finish what he has in mind for it. Some pieces he leaves in various states of incompletion; some he touches up with a jackhammer. The result is a lot of strange, misshapen things that seem to be the fruit of some peculiar solitude, a mind often too screwed into itself to make itself known. There is a large gift there, though, a deep formal sense and true ear along the lines of Crane or Bunting. When Peck manages to be clear, as in “Woods Burial,” he’s as good as any poet around.

8. “Hymn to Life” by James Schuyler
Schuyler is one of those poets who make poetry seem so easy, and whose gifts are so original, that he’s usually ruinous as a model for younger poets. I love the way contingency and finish seem coextensive in his work, the way the poems manage to be at the same time elaborately crafted (it takes a while to see this) and improvisational. He’s tough to anthologize, as I’ve said, so I thought I’d go ahead and pick a poem of his that’s impossible to anthologize (except online!). “Hymn to Life” seems to me a great poem by one of the greatest poets of the second half of the twentieth century.

9. “To Alexander Graham” by W. S. Graham
Graham is anthologized in English and Scottish anthologies (he was Scottish), and perhaps “To Alexander Graham” has made it into one of those. But he’s still largely unknown in this country, which is a shame, as his work combines radical syntactical experiments and stylistic self-consciousness with disarming clarity of feeling. “To Alexander Graham” is somewhat anomalous in his work in that the syntactical distortions are very minor, really just in one line (“in you you give me always”). I find the effect of that line, and indeed this entire poem, wrenching.

Originally Published: July 14, 2006

COMMENTS (10)

On February 6, 2007 at 8:53pm Lee Walmsley wrote:
Peculiar, yes. Screwed into itself? Hardly. This is quiet poetry that asks you sit with it for a time; that you remain outside some of these poems forever is your own failing, not Peck's. I began by being intimidated by his work; he was my teacher and I wanted to understand him. I wanted to have a mind equal to the poems. This poet is one of our best. His reticences are an invitation to the splendors of the cave.

On April 4, 2007 at 3:21pm Lois Mintahc wrote:
Dear Mr. Wiman,

How do I submit my original poetry for your consideration for Poetry Magazine? Your reply would be much appreciated.

Sincerely,

Lois Mintah

On December 5, 2007 at 7:51pm Matthew Underwood Thompson wrote:

How do I submit a poem?

On January 27, 2008 at 7:47pm BNguyen wrote:
The dudes/dudettes asking about how to submit a poem to POETRY clearly do not read an issue of POETRY. On the back of the Contents pages, in very fine print, it tells you how. Get a copy of POETRY to see if your writing "fits" the mag before asking this silly question.

On February 21, 2008 at 11:28am G. Tod Slone wrote:
“Comments that contain offensive or abusive language will be edited or deleted,? you note. But what precisely constitutes "offensive and abusive language"? Will you ever provide a precise list of prohibited terms? Why the need for such restrictions in the realm of poetry? Poetry must be open and free, open and FREE. It should never be forced to abide by religious and/or bourgeois propriety and “good taste.? How do you justify publishing some of those Bukowski poems on this very website? Ah, are only famous poets permitted to use “offensive and abusive language?? Is that it, Christian?

Restricting language, as you evidently seek to do, serves only to stifle free speech and especially vigorous debate, cornerstone of democracy. Orwell warned that restricting language ends up restricting thought. Why don’t you know that? Poetry Foundation should be open. Instead, it is closed. It won’t even list the poetry journal I publish, let alone respond to my requests.

Now, I suspect you will deem this very missive “offensive and abusive? and justify killing it. One thing you need to know, Christian. Poetry is not a bourgeois-only domain. Your millions of dollars will never ever succeed in stifling truth.

Sincerely,

G. Tod Slone, Ed.

The American Dissident, a Journal of Literature, Democracy, and Dissidence

A 501 c3 nonprofit organization providing a forum for vigorous debate, cornerstone of democracy www.theamericandissident.org

1837 Main St.

Concord, MA 01742

On April 25, 2008 at 7:18am Bob Tegner wrote:
Somewhere in the chards of my nonsense reside a polished stone or two.

I feel it best not to prompt you, but let you rummage freely.

http://www.geocities.com/rltegner/

My sincere thanks, Bob

On December 10, 2008 at 12:40am Morgan Points wrote:
Mr. Wiman,

I was A New Saint Andrews' student last year when you read some of your poems for our Disputatio. You read one which I believe was titled "What I Know". I've been looking for it everywhere and was wondering if you could direct me to where I could find it.

Thanks,

M. Points

On December 15, 2008 at 9:22pm Emily wrote:
Maid of Heaven, an epic poem about Joan of Arc, will eventually become as famous as anything ever written. Mark my words.

On June 28, 2009 at 8:03am Tom Ross wrote:
Dear Mr. Wiman,

When I really like a N Yorker poem
(seldom) I'll read it aloud. Such with
"Houses Down." I don't understand the
rhythm yet, although it's certainly
cooking at "whipsnake . . . mud." And I
had to look up 'sapper' and still don't
get it.

I'm a composer (or closer to the Tamil
*vagayakar*, since I write the words to
my songs), and regularly troll for lines
and ideas.

best

Tom R

On June 16, 2010 at 12:22pm ellen sue spicer-jacobson wrote:
AS a subscriber, I was sad to read about Ruth Lilly and would like to post her poem in the March issue on my website; www.menupause.info. May was National Mental Health Month so I would also like to include some of your comments about her illness to show that mental illness need not keep you from contributing to the world. It would be a followup to my article on severe depression which I have also experienced more than once.
thanx, ellensue

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Biography

Poet, translator, editor, and essayist Christian Wiman was raised in West Texas and earned a BA at Washington and Lee University. He received an honorary doctorate from North Central College.
 
Making use of—and at times gently disassembling—musical and metrical structures, Wiman often explores themes of spiritual faith and doubt in his spare, precise poems. Praising Wiman’s “ear for silence” in a review of Every Riven Thing for . . .

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Originally appeared in Poetry magazine.

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