{"id":230722,"date":"2017-04-18T11:44:26","date_gmt":"2017-04-18T15:44:26","guid":{"rendered":"http:\/\/www.rochester.edu\/newscenter\/?p=230722"},"modified":"2017-04-18T11:54:37","modified_gmt":"2017-04-18T15:54:37","slug":"reading-poetry-with-intensity-and-pleasure-230722","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/reading-poetry-with-intensity-and-pleasure-230722\/","title":{"rendered":"Reading poetry, with intensity and pleasure"},"content":{"rendered":"

April is National Poetry Month, created in 1996 by the Academy of American Poets to celebrate\u00a0an ancient literary genre that captures readers’ minds and hearts as powerfully today as ever.<\/p>\n

Rochester has, for generations, taught students the pleasures and possibilities of poetic expression, counted famed poets among its faculty, and hosted an array of writers who have made exceptional contributions to the art of verse.<\/p>\n

James Longenbach’s next books\u2014Earthling\u00a0<\/em>(W.W. Norton, 2017), a collection\u00a0of poetry, and\u00a0Lyric Knowledge<\/em> (W.W. Norton, 2018)\u2014will soon be released. When his most recent critical work,\u00a0The Virtues of Poetry<\/em>, was published, the Joseph Henry Gilmore Professor of English\u00a0called\u00a0the act of writing poetry\u00a0“a very knowable, rational process: shaping the raw material of a language into a set of patterns.”<\/p>\n

This story originally appeared in Rochester Review, May\u2013June, 2013<\/strong><\/a>.<\/em><\/p>\n

\n

\u201cThe best poems ever written constitute our future,\u201d writes James Longenbach, the Joseph Henry Gilmore Professor of English, in opening his new book, The Virtues of Poetry<\/em> (Graywolf Press, 2013). \u201cThey refine our notions of excellence by continuing to elude them.\u201d In interlaced chapters, Longenbach considers the almost magical powers, or virtues, that poems can enact through the most ordinary means: among them, compression, dilation, intimacy, and otherness. He leads readers, with attention to the smallest inflections of language, through works by such poets as Shakespeare, Yeats, Dickinson, Marvell, Whitman, Blake, and Ashbery, and finds within them examples of the endlessly diverse powers of language.<\/p>\n

What prompted you to write the book? <\/strong>
\nA contradiction. I found that when I was thinking about one particular poem, I would be talking about what made it interesting, worthy of attention, and so on; but then I\u2019d be thinking about a different poem, and I\u2019d realize that I would be talking about qualities that were inimical to the qualities that made the other poem interesting. This conflict seemed important and true to me: that you can\u2019t legislate quality, or more perniciously, greatness\u2014that the very quality that makes one poem fascinating and gripping and lasting might be the very thing that ruins another poem. The conflict became the book\u2019s framing notion. It was hard to figure out a structure for the book that would be true to the conflict, for how do you turn this notion of not being able to have a generalizable recipe for excellence into an argument that doesn\u2019t itself seem like a recipe?<\/p>\n

You\u2019re both a literary critic and a poet. How did those roles influence the book? <\/strong>
\nAll poets of any worth are superb critics. They may not necessarily write their criticism down formally, but you have to have read a thousand poems carefully in order to write just one, and you have to have investigated them and felt yourself being fascinated by how their language works. So I don\u2019t feel different from any other poet. Some poets write a lot of criticism and some don\u2019t, but I don\u2019t think their minds work differently. I also think\u2014and this is something I press upon my students\u2014the writing of good prose sentences is a rigor that any poet benefits from, not because of what you\u2019re writing about, but because you\u2019re making shapely sentences into shapely paragraphs. This is something that fuels the writing of poetry.<\/p>\n

You write about \u201cexcellence\u201d as something that takes many forms in poetry. What do you mean by excellence? <\/strong>
\nIt\u2019s not a word I\u2019m really happy with, and it occurs mostly in the preface, when I was forced by the occasion of making a coherent book to write a very pithy account of what the book does. I\u2019m much happier with the more elusive and mysterious word \u201cvirtue,\u201d which carries the connotation of something magical\u2014though I don\u2019t mean to speak about magic. I mean to talk about qualities of language in poems that we can discuss in rational ways. The impetus behind a poem might be very mysterious and strange, but the act of writing a poem is a very knowable, rational process: shaping the raw material of a language into a set of patterns. I hope it\u2019s clear I was at pains to say you can\u2019t ever really know what excellence is going to be, and that every example of excellence you may have accumulated will not ensure that any of those modes of excellence will succeed in the next poem. Neither will they prevent the next poem from exhibiting a kind of charisma that is unprecedented in your experience of poetry.<\/p>\n

In these essays, you give significant attention to the process of reading poems. <\/strong>
\nBecause I\u2019m at pains to get my students to read the language of a poem very closely, I say to them\u2014and I mean this as a challenge; it\u2019s not absolutely true, but it\u2019s almost true\u2014that if we talked about a poem long enough, it would be impossible for us to disagree about it: we would have described the language so carefully, so specifically, that we wouldn\u2019t have anything to argue about. That\u2019s not utterly true, but it\u2019s amazing how true it is. You teach Hamlet<\/em> year after year after year, and what\u2019s remarkable is not that people think different things about it\u2014what\u2019s far more remarkable is that by and large everybody thinks the same things about it. The pressure the object exerts on you is far more mysterious than the fact that we have varying responses to the object. And it\u2019s harder to describe.<\/p>\n

Who\u2019s the reader you\u2019re addressing in this book? Are you writing for people who\u2019d like to be poets? <\/strong>
\nIn a sense, you could say that the book is written for people who want to write poems; however, that\u2019s a subset of people who want to read poems. The act of writing and the act of reading are almost impossible to separate from each other, and you simply cannot be a writer without being a voraciously scrupulous reader. Throughout the book, I\u2019m speaking to someone who wants to write only inasmuch as I mean to be speaking to someone who really, really loves\u2014or wants to learn how it feels to love\u2014the act of reading a poem with intensity and, therefore, pleasure. That pleasure often makes one feel creative, and maybe it will make one write a poem\u2014or not. It almost doesn\u2019t matter.<\/p>\n

You mention in the book that Andrew Marvell\u2019s poem \u201cThe Garden\u201d is a special one for you, that \u201ceverything I love about poetry is epitomized by this poem. It is as if the poem were a house I\u2019d lived in all my life without knowing it.\u201d What makes a particular poem especially meaningful for a particular reader? <\/strong>
\nI may be speaking productively with a forked tongue, because I always want to insist to myself, and insist to a reader, and insist to any student that one must try to be available to every kind of poem that you could possibly avail yourself of, especially the ones that you think you don\u2019t like. Those are the ones that you have to return to, because if you don\u2019t like a poem, that probably means there\u2019s something wrong with you, something limited about you. Ideally, if we were the best possible readers, we would find everything inspiring. But because we are inadequate readers, we don\u2019t like certain things. Of course there are going to be times when we don\u2019t like something or can\u2019t figure out how to enter it, but as much as possible, you want to try to keep that thing on the table. The fact that you don\u2019t like it ought to keep bugging you\u2014especially if somebody else who\u2019s smart and interesting does like it. So given this goal of radical openness, then inevitably there are going to be some works of art that for some reason appeal to you more deeply, more intrinsically. It\u2019s hard to say why. Perhaps even more mysterious and more wonderful is when one feels one\u2019s deepest inclinations changing, when a poem\u2014or an anything\u2014that one has not found inspiring for years suddenly rears up its head, and you say, \u201cOh, my God. I require<\/em> this. Where has this thing been all my life?\u201d Well, it\u2019s been right in front of me. Where have I been all my life?<\/p>\n

Do your students come prepared to do close reading? It doesn\u2019t seem there\u2019s a lot in the contemporary world to encourage that skill of careful attention. <\/strong>
\nThey do come prepared to do it, and then they do it, because in my classroom they\u2019ve got to do it. And students don\u2019t have trouble with that. Students in my experience are attracted to difficulty. When I teach my course on James Joyce\u2019s Ulysses<\/em>, that\u2019s generally the biggest enrollment I get, usually 60 or 70 kids, and it\u2019s not because the course fulfills requirements or anything. I think the human brain craves difficulty. Reading poems is a very good way to improve the mind, because, especially if you\u2019re dealing with lyric poems, you\u2019re sitting there looking very closely at this little patterned collection of, what, 43 words? And you have a lot of time really to focus in on those words and not let yourself go somewhere else. Often\u2014usually\u2014in a typical hour and 15 minute class, I\u2019ll never cover more than two or three poems. Sometimes, only one. The literary critic Richard Poirier always spoke of how he preferred the phrase \u201cslow reading\u201d to \u201cclose reading,\u201d and I like that, too. I think \u201cslow reading\u201d seems like a better metaphor\u2014it\u2019s what poems demand, and it\u2019s why people who don\u2019t generally read them sometimes feel kind of mystified by them: poems ask for a slowness of attention that, if you\u2019re just used to reading language as a disposable vessel for information, you\u2019re not used to exercising. Students learn how to be unintimidated by that slowness, how to inhabit it, how to glean things from it, how to enjoy it: that\u2019s the extremely useful, universally applicable skill that comes out of reading poems. So finally, I think it\u2019s most important simply to learn how to like poems, how to be devoted to poems, and if I have one overriding pedagogical goal, it would be no bigger than that.<\/p>\n

What gives a poem lasting influence? <\/strong>
\nWe think of 400 or even of 50 years as being a long time. But in the history of art, that\u2019s nothing. Most of the art that\u2019s produced in any 100-year period is totally forgotten. And none of us will live long enough to know what art will last from the moment in which we live. We generally read, if we\u2019re well read, maybe eight or nine poets from the 19th century, which ended only 113 years ago. And so which eight or nine are going to last from the 20th century? I can think easily of 30 that seem really, really good. That\u2019s scary. But while only a little bit lasts, it takes a great many people to produce that little bit, and the minor figures who may be forgotten are important. They may not end up being an important part of the story, but they\u2019re an important part of the event. It takes a lot of people being interested in the production and reception of art\u2014or of anything\u2014to make that little bit of lasting achievement. So in that sense we\u2019re all really noble participants in this ongoing enterprise. It all sounds so high-minded, doesn\u2019t it?<\/p>\n","protected":false},"excerpt":{"rendered":"

Professor James Longenbach’s next books\u2014Earthling\u00a0<\/em> and\u00a0Lyric Knowledge<\/em>\u2014will soon be released. This National Poetry Month, Longenbach reminds us, \u201cthe best poems ever written constitute our future.\u201d <\/p>\n","protected":false},"author":752,"featured_media":236912,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13092],"tags":[20542,32092,1636,16072],"class_list":["post-230722","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-arts","tag-department-of-english","tag-james-longenbach","tag-poetry","tag-school-of-arts-and-sciences"],"acf":[],"yoast_head":"\nReading poetry, with intensity and pleasure<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rochester.edu\/newscenter\/reading-poetry-with-intensity-and-pleasure-230722\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reading poetry, with intensity and pleasure\" \/>\n<meta property=\"og:description\" content=\"Professor James Longenbach's next books\u2014Earthling\u00a0 and\u00a0Lyric Knowledge\u2014will soon be released. 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