As if one could ever forget the image of a visibly Black woman poised on a brown and white pinto horse in the center of a city street. Tinted dreadlocks under her black fedora/top-hat blend, long feather earring, decorative knee-high boots, long-strands of pearls around her neck, a bow in hand adorned with an Indigenous dream catcher, feathers blowing in the wind: She is jessica Care moore. She is “from an army of glowing yellow / black princesses / some of us indigenous, even if the full blood family don’t claim us” (We Want Our Bodies Back 57-62); this poet, activist, publisher, educator, performer, and mother describes her presence in the womb as “the fire in her mother’s belly” who became “just a little brown girl / in pigtails and poems.” I would know moore and her poems anywhere — on the Showtime at the Apollo and Def Poetry Jam stages, strolling in the lobby of a conference hotel with her son King — especially the way her spoken word resonates in my ears and on the page. moore has trained a generation of witnesses and poets. She started Moore Black Press in 1997, which published four of her poetry collections, The Words Don’t Fit in My Mouth (1997), The Alphabet Verses the Ghetto (2003), God is Not an American (2008), and Sunlight Through Bullet Holes (2014); and recorded an album, Black Tea: The Legend of Jessi James (Javotti Media, 2015). Her fifth collection, We Want Our Bodies Back (Amistad, 2020), begins as an homage to Sandra Annette Bland (1987-2015) and serves as an important cultural, historical, and poetic reckoning in which moore reminds us about the urgency of reclaiming Black bodies. She characterizes the text as an active “call to action, [and] to prayer, for women who’ve lost family members, our children, and even our own lives to unjustified police violence and profiling” (Meridians 2018). moore dedicates the collection to Bland and Ntozake Shange, and throughout the body of the text she constructs a tableau of some of the most important Black poets and musicians in African American letters and cultural production. We Want Our Bodies Back is moore’s cultural and poetic love song to her people, and she implores us to preserve our history, to hold onto our lives and souls, and to fight to breathe.
moore discusses her bodily experiences, how she felt as a curious girlchild who knew things and “was allowed to be a girl” (“Introduction” xv) and she sounds an alarm about how early our bodies are threatened. She addresses that Black women’s bodies “can be in danger in public spaces, let alone private ones,” notes the ways in which Black women artists such as herself and Betty Davis (1970s funk icon) experience “erasure from the male dominated entertainment industry,” and states her intention to combat this erasure by reclaiming and creating “a safe space to speak about the sexism and silencing of Black women’s voices in the arts” (xix) through Black WOMEN Rock! Further, moore indicates her artistic, political, and poetic intentions to situate the experiences of girls’ and women’s bodies by posing questions that she answers throughout the text — “when you decide to give your body to someone, what exactly do you receive in exchange? If we, in fact, do ‘choose’ to ‘give up our bodies,’ when do we get to have our bodies back?” (xviii)
We Want Our Bodies Back calls us to stand at attention; moore frames the collection with the spirit of “artist, musical storyteller, and griot” Nina Simone (1933-2003). The four section titles echo Simone’s song titles: “Wild Is the Wind,” “I Put a Spell On You,” “I Got Life,” and “Black Is the Color of My True Love’s Hair.” Thus, moore places readers under a concrete and symbolic spell marked by ancestry, history, language, memory, music, poetics, voice, and witness. moore takes readers on a journey of existence and subjugation, and she makes Black folks remember the power and significance of our breath and the word.
The poem “She Was.” in the “Wild Is the Wind” section takes up issues of history, language, and voice. The speaker begins with the politics of language for African Americans in the west:
I have convinced myself I speak french Somehow I will find a way to make a Perfect sound
I don’t know What else to do With this language cept Murder it. (9)
moore does several things in this poem: She points to historical and contemporary violence against Black people and their culture, language, and bodies. She plays with the so-called conventions of language as well as poetic form and space on the page; her choice to capitalize some words in the beginning and others in middle of lines, and to make proper nouns (“french” and “english”) lowercase, indicates her intention to create and enforce new language rules (“An: un/english”). The speaker can only “murder” the language, “Dig out its eyes. Every vowel. Till it suffocates” (10), which emphasizes the linguistic and bodily trauma of Black people:
Choke the breath out of this alphabet I need more than 26 letters to articulate How I survived you. How we survived calculated attempts to blow the heads off our sons (lines 11-16)
She illustrates that experience(s) are “marked” by language and “unmarked” by her poetics of meaning and her attention to form. Her clever uses of capitalization, punctuation, line/stanza spacing are clearly at odds with the language itself. She collapses short phrases into one line (“Dig out its eyes. Every vowel. Till it suffocates”), and places one-liner single stanzas throughout: “An: un/English,” “I prefer a sober hallucination” (31); “the editors are resisting my twist in plot” (43); and “is this a poem or a romance?” (46).
moore’s speaker refers to numerous attempts to kill the sons of her people and reminds readers that these poems are narratives of survival. Throughout the collection, moore refers to the horrific murders of Black bodies (Sandra Bland, Michael Brown, Tamir Rice, and Eric Garner), all of which were public lynchings across the United States. It is important to note that moore wrote and performed the poem “We Want Our Bodies Back” as part of fundraising and activist work to support the family of Michael Brown in Ferguson, Missouri. She was one of the few women speakers asked to perform, and it was her intention to situate Bland and to make sure that folks would say and remember her name. moore illustrates that Black women are on the front lines, and she uses and relates her own physical and spiritual fatigue and trauma to others, as a result of “years of activism and the pain of black mothering in a time of war” (Meridians 230). Thus, her tone is unapologetic and her movement across the page in “She was.” skillfully scaffolds the past and the present. She contextualizes history and culture in the midst of our attempt to survive and love ourselves. Her stanzas are a mélange of an African past: “Veil full of cowrie shells”; “The Door of No Return”; a spiritual presence, “plastered afroed yemanja,” “she spoke French / senegalese dialect, “queen kuntas,” “Oya laughed”; layers of romantic love, “jessica is always in love / love is a distraction from love,” “our bodies/fell in love”; and ancestry in “she wears the same petals my grandmother wore,” “figure the ocean is our most authentic / photo album,” “we just know we Moors’ / conquered Spain” (9-17).
In the poem “I am not ready to die,” also in the “Wild Is the Wind” section, moore highlights how Black women are objectified and subjugated:
I wish these new girls would get the fuck off their knees and transform a room With subtle power and grace (lines 8-11)
moore poses questions that challenge readers to think about the problematic messages that flood popular music and culture: “When did it become okay to die in this country / On our knees?” (lines 14-15). She contrasts the valueless messages that inspire folks to be on their knees and points to the importance of self-education to combat digital slavery:
I read books without screens I have sex with men my age whenever i feel like it.
I love my hair, my ass, my breasts. I’m clear that my power is between my ears Inside my chest.
Black girl magic doesn’t grow between our legs (37-43)
This is an important critique about how Black women should value their bodies and not follow “the mythology of men” (line 44). The speaker’s reference to loving the natural contours of her body (her hair, breasts, and ass) situates the contemporary narrative around women’s bodies and a culture that does not honor the nature of Black bodies. Here moore claps back at a culture that pimps implants and unhealthy, problematic constructions of sexuality, and perpetuates women on their knees and on stripper poles. She asks, “how much / ? to get you off your knees? / Sis?” (lines 45-47). This poem also grounds a revolutionary commentary that privileges the stream of self-awareness and change that runs through the collection:
Imma keep living inside poems you didn’t know were left
If you would just get off the got-damn FLOOR you could see. (lines 59-63)
moore admonishes women to get off of their knees and to stand up as Queens. She gestures to a list of women singers and hip-hop artists, “microphones are not stripper poles” (line 83). She follows the philosophy and action of foremother poet Sonia Sanchez. In “The Poet as a Creator of Social Values,” Sanchez states, “the poet then, even though she speaks plainly, is a manipulator of symbols and language-images which have been planted by experience in the collective subconscious of a people. Through this manipulation, she creates new or intensified meaning and experience whether to the benefit or detriment of her audience” (20). moore manipulates symbols and language throughout this collection and illustrates that her work is a call to action and to consciousness.
The section I Put a Spell on You further establishes moore as a cultural historian and poet who passes down memory, music, poetics, and voice. “Because if I don’t write” is a Black girl’s treatise that holds her living memory, experience(s), and voice. moore references Shange and Angelou and her own act of writing and leaving Black girls “a trail of tears” as witnessed by the documentation of their lives, and what they need to know to preserve memory and their souls:
Because if i don’t write You will write for me tell historians black girls were crazy invisible lost in time Wishing to turn our bodies inside out Become unrecognizable to our own mothers Desecrate our faces Because we hated our own mirrors. (lines 27-37)
moore points to a potential failure of collective consciousness and existence if Black girl identity is not passed down by the foremothers, such as the many Black women artists moore names throughout this collection. Who will write to tell the truth of Black bodily experiences if not Black people? While moore’s collection refers to the desecration of the bodies and faces of Black men and women, “Because if I don’t write” emphasizes the need to mark the story of the Black girl, and allows others to say and know her name(s); this story solidifies moore’s writing as political act and intention, “I write to live / to prove to black girls everywhere / we are possible” (lines 55-57). The poem “on memory” in the “I Got Life” section further exemplifies the significance of memory, voice, and writing as a political act; moore’s use of questions is particularly powerful in this section and points to her skill at experimental poetics:
1. Why do you write about the Right now
The right now needed me. (1-4)
The two poems “We Are Born Moving,” dedicated to moore’s city (Detroit) and her daddy (T. D. Moore), and “Where Are the People?” in this same section address forced migrations due to enslavement, Jim Crow segregation, racial terror, and class. These pieces continue moore’s work as cultural historian. She posits, “humanity is not just oil, it is blood” (59), moves through the complexities of her family’s migration from Madison, Alabama to Detroit, and documents the city’s economic and industrial shifts. Both poems indicate the migratory expansion of Black families and communities in urban spaces. moore’s stanzas in “Where Are the People,” constructed as lists, continue to pose questions:
Where are the people? The stepped over, the forgotten holocaust The Fragile, the beautiful, the fast talkers, The backward walkers, the 3am stalkers Where did they take them. When will they return Where is the balance Where is the money Where are the schools? Where are the people? We all got Wi-fi nobody getting high outside (lines 27-38)
moore takes readers from the past to the present of digital slavery and expects them to acknowledge what has occurred and what continues to happen to Black folks. The poet as witness asks that the community process its current semi-fugue state. Where are the people after the crises and decay of urban communities as a result of politics, poverty, drug addiction, and violence? “Who signed the death certificates / Where are the magicians, the madmen, the toothless, the smoothest, the poets” (lines 2-3), and “the traffic stoppers;” “Under which pile of gravel / Where are they buried” (lines 10-11).
We Want Our Bodies Back allows us to retrieve our bodies. moore situates poetry as the ultimate witness and illustrates that art is the vehicle to tell the stories of women. She is a “poet worth her weight in syllables” who presents a clear understanding of what is going on in our world; moore helps us “to make sense of our bodies burnt by cigarettes, and smoked out of our neighborhoods” (Medina 21). She “construct[s] a survival guide, a poem / for our daughters’ bodies” and a hauntingly beautiful blues/love song to her people, to help us to preserve our history, to hold onto our lives and souls, and to continue to fight to breathe:
If black women could Be cut down. No. Removed, gently, from American terrorism/ Who would break our fall? Which direction would we travel To feel safe?
wild is the wind
We want our bodies back
We want our bodies back
We want our bodies back!
Medina, Tony. “Meditations on Moore: One.” The Words Don’t Fit in My Mouth. Moore Black Press, 1997, pp. 12-14.
moore, jessica Care. We Want Our Bodies Back. Amistad, 2020.
Allia Abdullah-Matta is a poet and teacher-scholar who uses creativity and artistic expression as instruments of social justice activism and transformation. She is an Associate Professor at CUNY LaGuardia, where she teaches composition, literature, and creative writing. She was the co-recipient of the The Jerome Lowell DeJur Prize in Poetry (2018) from The City College of New York (CCNY). Her poetry has been published in Newtown Literary, Promethean, Marsh Hawk Review, Mom Egg Review Vox, Global City Review, and the Jam Journal Issue of Push/Pull.
When I first went down South I heard folks humming “Dixie,” half lost in Tin Pan Alley. Back then I’d tap the root of a feeling, turn it over & jot an X on the devil’s left foot to hoodwink phantoms in cobalt ash.
Yeah, I was only a boy from a company town, one side of my street brown-jug square dance & the other side jitterbug, but as I rocked on my heels a brand new healing song sprung outta night’s clay.
When I came back to town I said to cousin Bright One, Why are these outlaw drugs on every neon corner? With hands on wide hips, she gazed up at noon, grinned, & said, Brother Man, don’t you know who runs the jolly boats & twin-engine planes, who lives in a gated cabal of plush green lawns once big fields of soybean & corn or landing circles for UFOs decades ago? Can’t you taste war in the water, in burning air? Yeah, you must follow me back to what’s rooted in black soil along a creek where you can conjure a cutting hoorah of birds singing baritone.
Yesterday I took an evening walk along the West Highway bike path overlooking the Hudson, as her torch brightened the city’s mood swing, & I said, What’s a damn heel spur anyway? Is it stony, does it work into a man’s brain? I know my feet still remember the weeds & gravel of country roads. My left leg is good, but the spring of others undercut my pace, & I think there should be a real sharp pain in my right foot.
Yeah, I say, “Stars Fell On Alabama” last night & slew the judge who rode his horse Sassy to the poll, & dammit I feel like laughing up a fury, eating a bowl of blackberries.
Poem copyright 2018 by Yusef Komunyakaa. All rights reserved.
See more poems from Yusef Komunyakaa debuted on The Fight & The Fiddle: The Mountain
Komunyakaa ends his book Warhorses with the striking poem Autobiography of My Alter Ego, which provides an account of the speaker’s experience in war and its aftermath. One gets the sense that through the intimate persona of the “alter ego” Komunyakaa is able to access truths unavailable to his own speaking voice. What is the nature of your alter ego? What would it write as its autobiography? Give it the pen and find out!
The Vietnam War poems of Yusef Komunyakaa were born in the shadow of lies under which the war was sheltered: lies that grew down from Washington, D.C. into the brains of soldiers. According to Daniel Ellsberg, who for a time helped shape military strategy but turned against the war and leaked a massive secret study of its unreported expansions, “the system that I had been working for … [was] a system that lies automatically at every level from bottom to top — from sergeant to commander in chief. … I had in my safe … seven thousand pages of documentary evidence of lying, by four presidents … over twenty-three years … ” (289). Those thousands of pages documented a whole zoology of lies, including especially the most intimate and potent of them all: self-deceptions, which year after year prevented Ellsberg and his superiors from seeing that the war was unwinnable and that the increasing numbers of people protesting against it were right.
In 1971 Ellsberg finally leaked the pages, now known as the Pentagon Papers, in an effort to add weight to the protests by widening what war critics called the “credibility gap”: the distance between what the U.S. government said about the war, what the protestors increasingly knew and, most important, what soldiers came to suffer in the form of cognitive dissonance, PTSD, and worse.
The lies of war are at the center of Komunyakaa’s poem “Chair Gallows” (Pleasure Dome 47) about the singer-songwriter and anti-war activist Phil Ochs. Gil Troy of the Daily Beast reports that “Ochs — like many others — crashed from the heights of the 1960s into lows of cynicism and nihilism [reflected in his lyrics, such as] ‘I am the masculine American man, I kill therefore I am.’ ” In 1976, “buffeted by bipolar episodes … [Ochs] made a noose with a belt … stood on a chair … and kicked the chair away” (Troy). Lines in “Chair Gallows” record the moment when Komunyakaa reads the news:
I hope this is just another lie, just another typo in a newspaper headline.
But I know war criminals live longer than men lost between railroad tracks
& crossroad blues, with twelve strings two days out of hock.
Komunyakaa gestures to the shelter, under which the war and the whole American political era that supported it existed, with his hope that “this is just another lie.” But he also acknowledges what the shelter enables: the survival in power of “war criminals / [who] live longer than [relentless truth seekers like Ochs].” Sheltering under their own lies, the war criminals presumably do not undertake the dangerous work of looking into the abyss of self-knowledge, whose dangers Komunyakaa represents with a mirror metaphor in the last two lines of “Chair Gallows”: “I’ve seen in women’s eyes / men who swallow themselves in mirrors.”
His consciousness, in particular, revolves around a question that would have been drilled into him during basic training: “What’s the spirit of the bayonet, soldier?” The answer he would have been taught is “Kill! Kill! Kill!”
The protagonist in Komunyakaa’s “Torsion” (The Emperor of Water Clocks 57-58) comes close to swallowing himself in the mirror of reflection on his participation in the war. His consciousness, in particular, revolves around a question that would have been drilled into him during basic training: “What’s the spirit of the bayonet, soldier?” The answer he would have been taught is “Kill! Kill! Kill!” As military historian Richard Kohn explains, 20th-century bayonet training was “designed to … mitigate or eradicate the reluctance of human beings to kill each other” (Mulrine).
The soldier in “Torsion,” striving to separate his true self from the bayonet’s spirit, reflects ruefully that he
had been tapered, honed, & polished in AIT & then pointed toward grid coordinates on a ragged map, His feelings cauterized.
What points him and draws the grid that guides him is the web of war decisions and lies reaching back to the White House. He comes to feel that not just his decision making but his very self has been compromised by his training. This emerges when he describes his role in a battle where he witnesses a likely war crime as defined by the Geneva Conventions:
After medevac choppers Flew out the badly wounded & the body bags, Three men in his squad became two tigers at sunset & walked through the village. They kicked a pagoda Till it turned into the crumbly dust of cinnabar, & then torched thatched roofs.
Although U.S. forces torched some villages as a matter of policy, such villages were supposed to have been cleared of civilians in order to make the settlement part of a “free-fire zone” inhabited only by enemy combatants. But in “Torsion,” the three soldiers seem to be motivated mainly by rage that causes them to forget the wallet cards troops were supposed to be given upon arrival in Vietnam — cards that advised them to show understanding and generosity toward Vietnamese civilians.
The speaker in “Torsion” receives a medal for his role in winning the battle. But for him the medal is a “scarab / in a pharaoh’s brain.” The pharaoh here is not the soldier but probably the American president at the head of the “Lying Machine” (Ellsberg’s term) that keeps the war going. The actions that earned the medal — actions the soldier did not feel fully in control of — are in a sense the actions of the spirit of the bayonet, which, via the web of decisions and lies descending from the American president, connects the pharaoh’s brain to the soldier’s hands.
In particular, the spirit of the bayonet so tightly bonds the soldier to an M60 machine gun that “his body became part of the metal. … No, he couldn’t stop / firing as he rode the M60 machine gun to a primal grunt / before he buckled & spewed vomit over the barrel.” The spirit of the bayonet, in other words, functions like an automatic nervous system that makes the firing of the gun a reflex action. (One sign of true political power is its ability to take over — or, here, replace — a nervous system.) The soldier’s natural nervous system makes its statement only after the firing has finished, when he vomits.
What all this means is that the spirit of the bayonet effectively divides the soldier from the self that the military honors: The protagonist recalls that
The battalion saluted but he wished to forget his hands, & the thought of metal made him stand up straight. He shipped back to the world only to remember blood on the grass, men dancing on a lit string of bullets, Women and children wailing among the flame trees, & he wished he hadn’t been trained so damn well. )
The self that vomits wants to reclaim the entire soldier, but the training that allowed the spirit of the bayonet to travel through him and out the muzzle of the M60 prevents full self-possession. The self that vomited is the self that believes in and wants to live the commandment thou shall not kill, which the soldier invokes at the end of the poem.
Ironically, even those who ran the Lying Machine that took over nervous systems like the soldier’s were somewhat lost to themselves and their own better angels. Lyndon Johnson, the president who did most to expand the war, is said to have done so (deceiving the public all the while) partly out of fear of being attacked and gored from his political right so severely that he would lose the authority he needed to wage his epic and noble war on poverty and inequality in the United States.
The loss of credibility that finally destroyed his presidency and set the stage for actions like Ellsberg’s can be traced to a scarab of lies, misinterpretations, and self-deceptions that crawled through not only his but also his predecessors’, his successors’, and most of their aides’ brains. The pharaoh’s brain in “Torsion,” then, is a collective brain: the brain of the leadership of a whole society. As an incarnation of the scarab crawling through that brain, the medal the soldier in “Torsion” earns, therefore, pins the whole muddled, lie-riddled justification for the war to his chest. The protagonist of “Torsion” never fully finds a way out of this muddle. But both his story and the stories told in related Komunyakaa poems suggest that the only way out is to expand the mind’s bandwidth beyond the limits imposed upon it by incubi like the spirit of the bayonet.
One sees how this might begin to happen in Komunyakaa’s poem “Prisoners” (Pleasure Dome 214-215), where the protagonist has to fight an urge to bow to Vietnamese captives who, he realizes, cannot be broken by any torture: “When they start talking / with ancestors … you know,” he tells himself, “you’ll have to kill them / to get an answer.” In the last two lines, he mocks the war’s most infamous example of self-deceptive might — the assertion, made by an American after the brutal 1968 bombing the Vietnamese city of Ben Tre, that “it became necessary to destroy the town in order to save it.”
The actions that earned the medal — actions the soldier did not feel fully in control of — are in a sense the actions of the spirit of the bayonet, which, via the web of decisions and lies descending from the American president, connects the pharaoh’s brain to the soldier’s hands.
The prose poem “A Summer Night in Hanoi” (Komunyakaa, Pleasure Dome 399-400) goes in the other direction, celebrating the life-affirming commonalities between the poet’s African American peasant culture and Vietnamese peasant culture. Even as a columnist and editor for a military newspaper where, by definition, he could not deviate too far from the official U.S. line on Vietnam during his 1969 tour, Komunyakaa tried to educate his readers on the need to respect Vietnamese religions and Vietnamese people, and to act in such a way that members of the Viet Cong might defect to the South Vietnamese side without fear of becoming mistreated prisoners of war. But, obviously, even if he knew confirmable details about them at the time, he was not in a position to publish condemnations of the sometimes grotesque mistreatment or murder of North Vietnamese and Viet Cong prisoners who fell into the hands of South Vietnamese forces or vindictive American troops (mistreatment and murder of the sort he writes about in such poems as “Prisoners,” and “Phantasmagoria”. In “Re-creating the Scene,” the Komunyakaa-like speaker’s report of a gang rape does lead to an, alas, abortive trial).
In “A Summer Night in Hanoi,” he takes the step of expressing open admiration for Ho Chi Minh. The occasion of the poem is the watching of a film about Ho during a 1990 Hanoi conference that brought together U.S. and Vietnamese writer-veterans. As the poem begins, the version of Komunyakaa who is speaking says, “When the movie house lights click off … I hear Billie’s whispered lament. [The movie] Ho Chi Minh the Man rolls across the skin of five lynched black men.” Here the sufferings of the young Ho Chi Minh and his country under the vicious brutality of French colonialism call to Komunyakaa’s mind the anti-lynching song “Strange Fruit” as sung by Billie Holiday.
The fact that, in the 1920s, Ho Chi Minh himself wrote an essay condemning the American habit of lynching African Americans confirms another aspect of the parallel Komunyakaa senses between the Black experience and the Vietnamese experience. True, knowledge of African American suffering was used for psychological warfare purposes by Ho’s broadcasters during the war. Nevertheless, watching the movie, Komunyakaa finds a common denominator between himself and Ho, even as he, Komunyakaa, experiences the discomfort of being surrounded by people on whom his country had rained down destruction. As he puts it in “A Summer Night in Hanoi”: “I’m not myself here, craving a mask of silk elusive as [Ho’s] four aliases.” In Hanoi, Komunyakaa “didn’t feel safe” at first, he told the Kenyon Review: He was mindful of “what had been done to the Vietnamese people. … I felt that if it had happened to me, I’d be very angry. So I was very affected by how forgiving the typical Vietnamese happens to be towards Americans” (Baer 75).
Komunyakaa goes on to meditate on the reason for all those aliases—Ho’s activities as a revolutionary plotting against occupying powers had actually led him to create 20 false identities. This was during World War II, when France’s Vichy government had allowed Japan to occupy Vietnam and Ho was organizing guerilla bands against both. He traveled to China in 1942 to seek help in this mission from Chiang Kai-shek and was arrested on suspicion that “anyone carrying so many false documents must be a Japanese agent,” according to Ho biographer William J. Duiker.
In “A Summer Night in Hanoi,” as Komunyakaa tells it, “On his way to Chung-king to talk with Chang K’ai-shek about fighting the Japanese … he’s arrested and jailed for fourteen months. Sitting here in the prison of my skin, I feel his words grow through my fingertips till I see his southern skies and old friends where mountains are clouds.”
The words from Ho that Komunyakaa feels in his fingertips are probably those of poems Ho wrote in Chinese while incarcerated. The phrase “the prison of my skin” splices the conditions of the segregated South in which Komunyakaa passed his childhood to those faced by Ho as someone caught (long before what Americans call the Vietnam War) in the French and then Japanese domination of Vietnam. “Although they have tightly bound my arms and legs,” Ho writes in his poem “On the Road” (Prison Diary 34),
All over the mountains I hear the song of birds, and the forest is filled with the perfume of spring-flowers. Who can prevent me from freely enjoying these, which take from the long journey a little of its loneliness?
Here Ho quarries out the spark of agency from his double imprisonment the Chinese jail and in the global coils of colonialism. Writing by choice in Chinese and in a traditional Chinese poetic form, Ho cannily chooses a medium for his agency that is congenial to his jailers and intended to at once make the case for his innocence and show his sophistication and worthiness of being freed. This example of quarrying a spark of pure agency out of the despair of imprisonment no doubt strikes a strong chord with Komunyakaa, who through poetry and prose has quarried a pure spark of agency out of confining stereotypes faced by a Black man born in the segregated South.
Komunyakaa has described his life as “a healing process from two places” (Hedges 157) —Louisiana and Vietnam. Never dehumanizing and healing are intimately connected in his work. A key part of both is the refusal to tell the lies (like the ones that justify colonialism and racial segregation) that short-circuit identification and what philosopher Jürgen Habermas has called communication intended to reach understanding: “I never used the word ‘gook’ or ‘dink’ in Vietnam,” Komunyakaa stressed in 2004. “… There is a certain kind of dehumanization that takes place to create an enemy, to call up the passion to kill this person” (Hedges 157). Furthermore, “I myself came from a peasant society. … So I saw the Vietnamese as familiar peasants” (Baer 73), he said in 1998.
This sense of an overlap in Black and Vietnamese life experience had been expressed by Ho decades earlier, not only in his anti-lynching essay, but also an anti-Ku Klux Klan essay published in the 1920s. In such acts of identification by Ho and Komunyakaa, the bandwidth needed for empathy is not expanded (a tall order, given the current limits of human brainpower) but cleansed for a moment of the lies, misrepresentations, self-deceptions, and fallacies that always and forever come to clog it. These lies, misrepresentations, self-deceptions and fallacies are perpetrated sometimes by the spirit of the bayonet, sometimes (as we know so well in the Trump era) by the spirit of chauvinism, sometimes by sheer intellectual exhaustion: They are perpetrated even by the “objective” analyses and calculations that are created to save us from our limitations but that, when relied upon too heavily in either war or peace, deliver us to our limits as surely as the soldier in “Torsion” is delivered over to the “grid coordinates” where the only truth to hold onto is his M60.
Notes:  One regularly encounters such soldiers in Komunyakaa’s works.  More than one article in the Southern Cross, the military newspaper Komunyakaa worked for in Vietnam, reminded American soldiers about their obligations and rights under the Geneva Conventions. Of course, using body count as a measure of success, as the military brass did during the war, tended to undermine that sort of Geneva conditioning.  For more on free fire zones and the cards, see Gutman and Rieff’s Crimes of War (1999).  See Pringle’s 2004 article in the New York Times. For someone of Ochs’ ilk, this statement epitomizes the whole “logic” of America’s intervention in Vietnam. For South Vietnamese, like those who fled to the United States after the U.S. pulled out, however, the real nightmare was the Communist forces America battled.  Writing in 1969 under his birth name (James Brown) and, probably not coincidentally, at a time when he had risen to the editorship of Southern Cross, Komunyakaa warned fellow soldiers that “racial disharmony … can greatly hinder military missions” (Brown 2). The fruits of disharmony are dramatized in Komunyakaa’s poems such as “One-Legged Stool,” where allegations of racism among his fellow soldiers is part of the apparatus built by his Vietnamese captors to break a Black POW. For more on the psychological warfare practiced by the North Vietnamese and their allies, see Collins 137-138 and Salas 70-77.  See Ho’s “Lynching” and “The Ku Klux Klan” in On Revolution.  A good proxy for the “bandwidth” or “power” of a mind is working memory. As Cowan explains, “working memory and its limits [are] a key part of the human condition. …We need working memory in language comprehension, to retain earlier parts of a spoken message until it can be integrated with the later parts … in reasoning, to retain the premises while working with them; and in most other types of cognitive tasks. … Because working memory is limited, there is sometimes important work that fails to get done”(Cowan 1-2).  The most self-deceptive and destructive misapprehension of the war may be the “McNamara Fallacy,” named in mockery of Secretary of Defense Robert McNamara’s devotion to statistical analyses of the situation in Indochina: One wag summarized the fallacy as “Measure what can easily be measured” and presume that what “cannot easily be measured does not exist.” In his later years, McNamara confessed that he and others had been infected by delusions of omniscience.
Baer, William. “Still Negotiating with the Images: An Interview with Yusef Komunyakaa.” Hanshaw, pp. 70-83.
Brown, James. “The Army Attitude and Racial Discrimination.” Southern Cross, vol. 2, no. 32, 7 November 1969, p. 2.
Collins, Michael. “Staying Human.” Parnassus: Poetry in Review, vol. 18, no. 2/vol. 19, no. 1, 1993, pp. 126-150.
Cowan, Nelson. Working Memory Capacity: Essays in Cognitive Psychology. Psychology Press, 2005.
Duiker, William J. Ho Chi Minh: A Life. Hachette Books, 2001.
Ellsberg, Daniel. Secrets: A Memoir of the Pentagon Papers. Penguin, 2002.
Gutman, Roy, and David Rieff. Crimes of War: What the Public Should Know. W. W. Norton and Company, 1999.
Hedges, Chris. “A Poet of Suffering, Endurance and Healing.” Hanshaw, pp. 156-158.
Ho Chi Minh. The Prison Diary of Ho Chi Minh, translated by Aileen Parker. Bantam Books, 1971.
—. On Revolution, edited by Bernard B. Fall, Frederick A. Praeger Publishers, 1967.
Without question, Yusef Komunyakaa is one of the luminaries of contemporary American poetry. His impressive career spans well over 40 years, during which he has deeply affected the literary landscape. Komunyakaa’s work is musical, muscular, and finely crafted. His is a poetics of witness — of clear-sighted, unflinching seeing — that compels readers to locate themselves solidly in the moment of the poem, whether it is detailing the ordinary movements of daily life, reentering the otherworld of mythology, or recounting the harrowing details of life in combat. In “Seeing and Re-seeing,” published in the 2005 special issue of Callaloo, poet Toi Derricotte writes of Komunyakaa’s work, “The most permanent thing about the voice is the language it leaves behind—images so real they are like ripe fruit in the mouth” (513).
The confluence of rhythm, form, and sensory detail in Komunyakaa’s poems works to pull the reader along a journey from which she returns transformed. Consider Komunyakaa’s most famous poem, “Facing It,” which opens thus:
My black face fades, hiding inside the black granite. I said I wouldn’t dammit: No tears. I’m stone. I’m flesh.
The consonance, assonance, and alliteration of the poem’s first line begin its music — the reader fading into the sonic allure of the poem, as squarely inside it as the speaker is inside the monument. The poem’s sounds pull us even deeper in, even as it expresses resistance; the subtle rhymes of “granite,” “wouldn’t,” and “dammit,” and the domino of “t” sounds end abruptly in the word “stone,” at which point the poem surrenders — “I’m flesh.” The poem’s formal and sonic maneuvers work to completely immerse the reader into its world of doubling: we, too, are both “stone” and “flesh”; we are both the “I” and ourselves.
Komunyakaa’s “Heavy Metal Soliloquy” begins with a rapid sequence of images, the poem quickly overwhelming the reader with visual, tactile, and sonic sensations, which work in a similar fashion:
After a nightlong white-hot hellfire Of blue steel, we rolled into Baghdad, Plugged into government-issued earphones Hearing hard rock. The drum machines & revved-up guitars roared in our heads. All their gods were crawling on all fours.
Here, we see another key characteristic of Komunyakaa’s — the poem’s turn from one reality and way of seeing to another. The first five lines of this excerpt work within the register of the literal, even in their more poetic moments (e.g., “white-hot hellfire”) but the use of the word “gods” in the sixth line changes the scope and reach of those previous lines, hinging the immediate to the eternal, the mortal to the divine. It is in moments like these that Komunyakaa’s writing brings to light myriad possibilities, offering us new ways of seeing and being ourselves in the order of things.
Yusef Komunyakaa was the subject of Furious Flower’s 2017 Summer Legacy Seminar. He spent a week among the participants — scholars, poets, educators — as they engaged with his work in a variety of ways. What follows is a transcript of the public conversation we had at that event, which has been organized and edited for clarity.
I’m very excited to be having this conversation with you, Yusef. I wanted to do it publicly because we all are scholars, we’re fans, we’re all very excited to be here [at Furious Flower’s 2017 Summer Legacy Seminar], but tell me about your experience here this week: What’s it been like to be the subject instead of the writer?
Especially the shy poet! (Laughs.) It has been really informative because one sits in a place doing what one has to do, but at the same time it’s interesting to see all these in- depth analyses, hear these in-depth analyses and realize what one does is also public. So it’s been great.
We’ve been talking a lot about your form and taking apart really meticulously form in books like Taboo and Talking Dirty to the Gods. But I’ve also read places where you say you write on fragments of envelopes and snatches of things — small spaces. Walk us through that making that you do, which comes from these snatches to the worlds within those poems. What’s that movement like from the fragment to the completed, formal, structured whole?
Well, usually the fragment is really a distilled moment, and it has to do with the music in the phrase or an image — usually image, because I think I probably wanted to be a painter earlier on. The image works for me in a unique way because the mind functions almost as if a hidden camera is in the psyche. What I mean by that is that I want to be able to almost dance to the images I create, because languages are the first music, and the body is a great amplifier: I feel the poem. And these moments, these fragments, when I actually sit down, those pieces converge and flow together to make or create a more complete, whole reality. So it’s not like painting with numbers or anything like that, you know. (Laughs.) But the poem is a symbol; it’s “a made thing,” to go back to Williams. But also going back even farther in my own time or reality, because my father was a carpenter — a finishing carpenter — and I’d be really excited early on when he would cut a board and it would just slide into place. It was perfect symmetry: it made perfect sense even though he had to measure it a number of times. So that’s been my process.
There are other poems, though, that are complete when I start writing them, especially in Talking Dirty to the Gods. I think it had a lot to do with the form, the illusion of symmetry, the four quatrains. Sometimes I would walk to work and assemble the poem in my head — with the line breaks and all of that — and when I got to the office I just wrote it down. But I think it had something to do with the form. Other poems that that are longer, more … not fragmented, but … Hmm, let’s say this: it’s almost like the musician assembling a song. I would like to think of it that way; perhaps it’s an illusion on my part (laughs), but I would like to think of it that way.
What I mean by that is that I want to be able to almost dance to the images I create, because languages are the first music, and the body is a great amplifier: I feel the poem.
You’ve talked a lot about the image, and you’ve written a lot about the image: it’s really essential and it’s central. You’ve also given us, over the years, amazing images of war and some really difficult and violent moments. I’m curious: Can the image do violence? Is there a line or a negotiation you have to wrestle with as a writer who’s creating a precise image of violence? Is there a risk of also enacting that violence or is that the goal? Is there a struggle of the ethics and the aesthetics of that?
The poet is not a journalist, a reporter. What has penetrated one’s psyche one delivers to the page. It’s a process, a negotiation, and if it’s a violent image, it’s a violent image. What’s interesting as I go through the poems and look at the poems is this: since I’ve internalized elements of violence (let’s face it we all do), there’s also the other side of that. There’s the opposite of that [violence] and those things can live side by side. I think that’s what’s happening. If I look at the poems, there are images of nature, there are images that come out of the composite of what one has taken in, and some of those things are beautiful and some of those things are outrageously violent. But I think it has a lot to do with where I grew up and how I grew up. I was very close to nature from the onset. It’s interesting to look at, say for instance, a jewel wasp. Just the idea of the jewel wasp: how it can sting a cockroach and plant an egg, and the roach is eaten from inside? There’s something very violent about that. Nature is that way, isn’t it? It’s not just the human. Nature itself is violent, so it’s not that we celebrate that, but that we respect it.
You wrote, too, that the making of art changes the creator, and I love that. How has writing and art-making changed you? What have you seen in yourself differently?
I suppose growing up in Louisiana, going out into the environment when I [was] six, you know, discovering things I didn’t know, that in a way was a rehearsal for becoming a poet. I think that’s what’s happening. I didn’t know it at the time, you know, looking at things, discovering things, what have you. I realize that in doing that — this is much later — in retrospect, I realized that in taking this venture out into nature, trying to understand things, not purposely but just accidentally, perhaps I was being changed. And much later writing on the page — I write everything in long hand — just the motion of the pen across the paper, that is an action, and it has everything to do with the whole evolution of the human brain, and the dexterity of the hand and what have you. So in doing that I realize that, yes, I’m being changed by the motion of the instrument. We are very complex organisms and we are changed by stimuli: what we come in contact with, what we do, how we see, the spirit of the moment, but also something deeper than that — the complexity of being human.
And that comes a little bit more alive in the act of writing.
I’m curious now about the poem as a finished thing. You’ve talked about the making, the inspiration, the changing. But as one changes and goes back to the poem, it’s a different interaction: how do you know when a poem is done?
It’s a rather intense negotiation. One reason I say this is I haven’t always been totally aware of this. (Laughs.) But, when I was in graduate school I took a class with Howard Moss, who was editor of TheNew Yorker at the time. And I said, “How many poems do you receive?” He said, “Oh, maybe, oh, 2,000 a week.” And I said, “How do you get through all of those?” and he said, “Oh, well, we don’t.” So I said, “What do you mean?” He said, “Well, sometimes it’s just reading the first few lines.” So the entry of the poem is important. But I took one step farther; I said, how does a poem end? And that is also a process of negotiation. Initially, I write everything down. In revising, I never add, okay? Sometimes, I edit from the bottom of the poem. And the reason for that is that often we have just who we are; we want to make sure the reader receives everything, gets the poem, when in fact the most provocative, truest essence of the poem, we have written past. So that’s what happening — it’s that process of negotiation. But even I’ve written poems that have been published, and I’ve gone back and circled phrases, words, you know? It’s an ongoing process.
We are very complex organisms, and we are changed by stimuli: what we come in contact with, what we do, how we see, the spirit of the moment, but also something deeper than that — the complexity of being human.
You mentioned your teacher, and you’ve written and talked about [Robert] Hayden, [James] Baldwin, [Gwendolyn] Brooks — lots of masters who have really influenced you. Are younger and contemporary writers influencing your work? Are they changing or influencing how you see poetry or write poetry? Who’s exciting you?
Well, I think that’s always present, being in the world. Just being in the world — who we are — we’re taking everything in. And yes, there are voices out there: some of my students, you know, some of their images, they’re rather instructive. The musicality of certain poets doing something different than I’m doing: that is instructive as well. It’s how we live in the world. The spirit of living is important. I’ve been teaching for a very long time now, and there are people doing all kinds of things out there; there are some examples right here, right? Right, Ed? (Laughs, gesturing to poet and former student Ed Pavlic.)
What’s your favorite way or what’s a favorite entry for teaching poetry, and who are some poets you find yourself teaching often?
I try to go across the map. Okay, there are certain writers who seem to always be there. I’m just listing off a couple of those: Robert Hayden is usually there. A poet such as Elizabeth Bishop, she’s usually there. Muriel Rukeyser — and that’s a voice lots of us may not even be aware of, but she is always there, I think. We can go on and on talking about her, really, because I think she’s such an instrumental voice for American poetry. Gwendolyn Brooks is there, especially the first poems. [Amiri] Baraka, especially the first poems. And we can go across the map: translations. [Czeslaw] Milosz is so important. [George] Herbert is so important to me.
I teach a craft course, and it’s really a literature course, and throughout the semester we cover between 12 and 15 substantial books. I’m talking about books, like (gestures to imply thickness), okay? A good example is the last craft course I taught — spring — where the sacred and the profane converge, that was the idea of the course. Starting off with [Gaston] Bachelard’s Poetics of Space and The Psychoanalysis of Fire, coming up to contemporary voices. (I like to surprise myself. I don’t like teaching over and over again the same books, okay? That’s one thing. I don’t like teaching from yellow notepads, you know?) I used to teach the history of African American poetry; we start in 1746 — “Bars Fight” up to contemporary; usually in two semesters from 1746 up to the Harlem Renaissance, then the Harlem Renaissance up to contemporary, so two segments.
Speaking of the sacred and the profane, I know you were raised in a Christian household and have said the music of the South, the rhythms of that upbringing, affected you. God, or at least the idea of God, appears often in your work — overtly, elusively, indirectly, and so I’m really interested in what role the sacred/the divine/the holy — i.e., the idea of God — plays in your writing. How does God feature in your poetics?
God? Okay, okay, I suppose God does appear … (Laughs.) Well there’s a moment when I read as a teenager … I read the Bible through, came back to it again and read it through
Hold on. What version?
Yes, King James! So I came back to it and since then I’ve read various translations. One of my close friends, Willis Barnstone, has translated the Bible a number of ways, even located the poetry within the context of the Bible. After reading the Bible the second time, I realized I had great questions. I had great questions, okay? (Laughs.) And those questions are still alive in my psyche. Because what was happening around me in the segregated South: it wasn’t lining up, you know? It didn’t make any sense, because I felt like, okay, if one risked walking into a certain kind of church on Sunday morning, there would have been great violence delivered. Okay? That did not work in my psyche. And the other thing I began to look at: wherever Christ appeared in the context of the Bible became an emotional and psychological equation for the socialism. So I saw Christ as a socialist. And that is something I held onto.
I want you to talk a little bit about your relationship to translations: You’ve been translated. Do you translate, and what value do you find in that process? Who are your favorite poets in translation?
One of the favorite poets for me of course is [Pablo] Neruda. Neruda is so important as a world poet. [Federico] Lorca is important. A poet such as Milosz is important. And it’s interesting with Milosz, because I’d come across an image — I think it’s “A Poor Christian [Looks at] the Ghetto,” that particular poem — and there’s an image of a mole with a lantern underground. I had never come across an image quite like that, so that was a very informative image for me. I think it colored a lot of … not necessarily images in my work, but permission — permission to let the brain do what it does best, and that is imagination, going back to Phillis Wheatley’s idea of — her poem “On Imagination” — mental optics. So a poet such as Herbert is so important because of his facility with philosophy. And there are other voices out there, of course, [François] Villon. In Galway Kinnell’s translation of Villon, there’s a line: “I will my bones to the dice-maker.” I said, “Where did that come from?” (Laughs.) So all these things become a composite within one’s psyche, and it is something to not work against but to beckon to. And it gave me permission not to over question the images that came out of my psyche, to embrace them.
It also makes me think of that phrase you say, “Language is first music,” because the music that will arise in another language is different than our music, but then it can influence our music and our images, as you say. Absolutely.
Yes. I was working with a young Vietnamese poet, and he’s a very interesting poet for a simple reason. This was in 1990, that I came in direct contact with him, in Hanoi. He had gone to school in Cuba, and my question to him was Who are the poets there who informed your work? And of course, you know, the first person he said actually wasn’t a Cuban poet: Neruda! And looking at his work — I began to work with him to translate passages of his work — he’s different from any of the other Vietnamese poets and I think it had to do with him spending time in Cuba. Vietnamese have rather interesting relationship to poetry and translation when I think about it because early on there were poetry battles between Chinese and Vietnamese poets! Duels going on with verse, which is a very informed way of dealing with chaos.
We’re informed by what we take in, and we’re also informed by what we push against. And I’m not about going out and using one’s body as a weapon; I’m talking about pushing against that which I think humans have always possessed, that question about mystery.
Speaking of chaos, we are in very chaotic times — nationally and globally, certainly — and we’re wrestling with the complexity of language in a time of language reduction. How can language function? What’s its role? And what’s a poet’s role in times such as these?
It’s interesting because I don’t think of the poem as an emotional ad. What I mean by that is I don’t think the poet can fear the complexity of the language — that’s what he or she is working with. So the poem is not an emotional ad for a moment: going back to something that Gwendolyn Brooks had said, “Art is that which endures.” The poet who’s writing the poem has to be surprised, and that individual is surprised through language, and sometimes it’s the density of the language; it becomes an experience. I don’t think the poet should write down to the reader. There’s a place where they meet. I know for myself, reading poetry, there weren’t really the simple poems, because I like going back to a poem again and again. And sometimes even in writing a poem, I like to be able to say, “Damn, where’d that come from?” I already know; that’s a problem.
So is there a tension between art being the thing that “endures” and art being able to speak to present moment?
The poet isn’t a journalist. In speaking to the present moment, sometimes we speak to the present but we also speak to history and the future. I would like to think of it that way, where it’s not just written in a single moment, dealing with that moment as if I’m a journalist.
I saw a video clip of you saying racism is a land of mental illness. Can you talk a little bit more about that? And do you think there’s a treatment or cure?
Okay, I know the clip you’re talking about. Have I revised that? No. I still believe, yes, it’s a mental illness. And the reason is that you need one factor that can change the personality — I’m talking about on, not just an emotional level, but on a biological level of an individual. That is a mental, I don’t want to say illness; I want to say mental deficiency. That’s what I believe.
Bowen talks about fear, says it’s fear that drives the lynch mob out into the streets. We may be talking about the same thing in different degrees. I think it’s a dialogue — well it’s more than just a dialogue, but — we need to face up to what this is about. And we have to move through something in order to come to the other side of it. This is what I believe. You can’t go around it; you move through it to the other side of it, and perhaps you’ll change. Move through it, and you’re changed. I think it’s also taught: racism is taught. I’m not talking about the fact that one is singled out and tutored, but body language is the first thing. That’s how small children are often taught elements of racism. Children are great readers — they are amazing. And they’re being taught when they’re not aware and even the parents or the adults around them are not aware, by body language.
Going back to the war for a minute. How did that experience inform your use of language, and what did it tell you about social identity?
Going to Vietnam was very instructive, but I suppose I came to war very early. I write about this: there’s a preface to an anthology entitled Inheriting the War where I write about the fact that I’m 6 or 7 and my great uncle, who had been to World War I. He defined it as “on a barrel detail,” which was a strange way of defining World War I and his experience. But then he told me in a graphic way what that meant. There is so much trench warfare, you know, in World War I, there were so many soldiers getting killed that the only thing they could do was bury them there, and then come back and exhume the bodies. And that’s what he was doing. It was a horrific description of war. You have two dog tags, right? Put one in the mouth of the corpse and one in a bag. That was very … well, to carry around that image, I think, was an anti-war statement. The other thing he said was that the only thing he had been taught was to kill, to drink, and gamble.
So bring that back to identity and to language.
Well, I know the history of Blacks fighting in wars. My uncle, I think, fought under the French flag. When I got to Vietnam, I had all this in my head, you know? I wasn’t afraid of the landscape, and consequently when I saw the people often working in the rice paddies and what have you, I said, “Oh, these are peasants.” This same people I’d come from in so many ways in rural Louisiana. And yet I knew — I wasn’t insane — I knew that they could kill you, you know? There was a lot of tension there. Okay, for example, I refused to use those derogatory terms for the Vietnamese. And I would question people about them because I thought it paralleled other similar terms for African Americans — that kind of … you know, degradation. You have to degrade before you can kill. So in a certain sense, I identified with the Vietnamese, and yet I knew that I could get killed by those same individuals. And that’s a real trick inside the head to think about it in that way.
I don’t think the poet should write down to the reader. There’s a place where they meet.
In the rear, that’s where the problems exist between American soldiers. Not in the field, not on the LZs and what have you — you know, when they’re dependent on each other to fend off the enemy — but it was in the rear when they were drinking and trying to forget the war and elements of the war. But mainly when they’re drinking. Then the real American shows up again. That was real problematic. The Vietnamese knew that demarcation, they knew what was happening in the American psyche when it came to race, and sometimes they expertly played up on it. The idea of Hanoi Hannah is a good example of that, right? Her voice penetrated. You know, “Hello GIs. Guess what’s happening back home?” You know, that gets your attention when you’re out in the middle of nowhere. I suppose she saw the parallels. Ho Chi Minh was very interesting because he knew the American constitution, but he also knew all the problems with America, so the Vietnamese were very informed when it came to race.
What do you read besides poetry? And what other areas of interest do you have? What other disciplines are you interested in?
I suppose since high school I’ve been intensely involved with history. One reason is because I had a superb history teacher, Mrs. Green. And so that’s been going on for a very long time. Philosophy is important to me; when we think of philosophy we think of abstract thinking, but when it converges with nature it becomes doubly interesting for me. Well, I used to assign for students Scientific American, and the reason for that is, well, I didn’t initially know but finally I came up with this: it is where terror and beauty converge, align, and that makes sense to me. But also I think it has something to do with the images; there are some surprising images in science and also [surprising] realities, I think. And questions; questions are so important. I read a little bit of everything, really.
What are some daily practices around your writing process?
It’s a daily practice. Okay, let’s start this way. Okay. I used to think I could remember everything. I had that foolish belief I could remember everything, but no that’s not the case, especially recently. So I keep a pad of paper beside the bed and often I write at least a few lines before my feet touch the floor. I’m not one for remembering every dream, and yet I know that I’m dreaming because we’re all dreaming in some way. So sometimes that first image that I write down seems almost as if it came out of a dream. And yet it is instructive. I’m not talking about where I’m writing for hours at a time; if I’m writing for 30 minutes that’s fine, not sitting there where you’re writing for hours at a time. You don’t have to. I think this is probably true for everyone out here: writing is taking place even when we’re not writing. But we don’t have to be overly conscious of that. You know?
That’s a good segue into advice for emerging writers. What do you tell young writers they need to do or think about? What advice do you have for them?
Okay, my advice is to write every day and to read everything. And don’t worry about getting published. That’s the other thing: don’t worry about getting published. My first collections were small books. A good example of that is that Lost in the Bonewheel Factory. I was reading from that and a publisher, Chris Howell of Lynx House, said, have you sent that out anywhere? And I said, no I haven’t. So I worked on it a couple more months and then I sent it to him, but the main thing is I was interested in hearing the poems come alive. I used to have this straight man that I used to work with (laughs), a poet by the name of Adam Hammer, we were in graduate school together at Colorado State. Adam was so unusual for a simple reason; because when his father had worked on the Oakridge project, the atom bomb, Adam as a teenager had translated Rimbaud. He had gone to University of Massachusetts without a college degree for the graduate program. So he was very unusual, and we used to do these poetry readings together. He was really the quintessential surrealist, an American surrealist; that’s how his mind worked. And we used to play off of each other, which was an interesting experience because I was writing poetry entirely different than his, and so within our poetry reading you would see huge ranges taking place, you know? That was instructive, where the mind could travel.
So you’d advise young poets to expand the range of what they’re exposed to?
Right, right. You don’t want to have 20 poets reading the same poem.
Looking back at this long illustrious career, what are you most proud of? What do you wish you’d known earlier? What do you know for sure? What are you still learning?
That’s a huge question! I suppose what I’m most proud of is that I realize that I have been informed by the place I grew up and it has given me a certain kind of tenacity. That’s what I’m most proud of.
For me, the poem — the new poem, the poem I’m working on — is the poem that I care the most about. Not that I work past poems or anything like that, because I’m constantly returning to poems, but I’ve been informed by the present. The way that I work is that I’m working on more than one collection of poems, side by side, and I move from those places and hopefully being surprised and sometimes fumbling on to something that I never thought I would write about. That’s very important to me — when I thought I would never write about something. When I didn’t even know I would write about it, you know? So one laughs and says, “What in the world? Where did that come from?” And sometimes when I’m working on a poem, I find myself working on another poem within the context of that poem, you know, so that’s important — to realize that sometimes we’re working on multiple things within the context of a given poem.
We’re informed by what we take in, and we’re also informed by what we push against. And I’m not about going out and using one’s body as a weapon; I’m talking about pushing against that which I think humans have always possessed, that question about mystery. That’s what makes us human I think, that we think of the world as mysterious, and consequently because we’re thinking about the world as mysterious it’s always beckoning to us.
That was, to use your favorite word, instructive! Thank you.
Lauren K. Alleyne is Editor-in-Chief of The Fight & The Fiddle, Assistant Director of the Furious Flower Poetry Center, and Associate Professor of English at James Madison University. She is the author of Difficult Fruit (Peepal Tree Press, 2014) and Honeyfish, which won the Green Rose Prize from New Issues Press and is forthcoming in April 2019.