I enjoyed reading your thoughts on the sound and performance of poetry. Almost simultaneously I read Mary McCray’s “Should Poetry Be Heard or Read” over at Big Bang Poetry. Talk about serendipity.
I go back and forth on this. Right now I think I’m with McCray because my mind tends to wander or skip around when I hear an unfamiliar poem read aloud. But I also think that reading aloud must be part of the poem’s composition process, if only to catch clumsy language. Perhaps having someone else read a poem aloud would be even better: if they stumble over a word or passage, then that might be a place that needs work.
I honestly wonder how many poets read their work aloud at each stage of development. I was kind of shocked years ago to come across this quote by Sylvia Plath from an interview: “My first book, The Colossus, I can’t read any of the poems aloud now. I didn’t write them to be read aloud. In fact, they quite privately bore me.” Are we separated now from mid-20th century poets in this regard, or are things still pretty much like that?
Thank you for your thoughtful comment. I am actually not a sound purist at all. In fact, I have concrete free verse poems as well, but they still sound good. The language must make sense in the “mental ear” of the reader. It increases the chances of being read again. Sonics don’t mean as much to me as others—our family went to church with a deaf community for seven years. There is beauty in the signed dance of language too.
There are a number of really important poets whose poems I like, but for the life of me I can’t memorize them, Sylvia Plath is one of them. Ted Hughes, same for that matter. But Emily Dickinson and Gerard Manley Hopkins and W.H. Auden—no problem! So is poetry you can remember more effective for culture? I think so. Four Weddings and Funeral, just an example.
I have not been over to Big Bang Poetry, but I will try to soon. Thanks for the tip!
I missed you! I am planning another cake for next year. 51 years doesn’t sound so momentous though. I hope you can come and meet the friends I’ve convinced to attend. Bob met the 50 people mark. The most he’s gotten to attend!
The poetry reading in the barn reminds me of the time I took my wife to tour Eugene O'Neill's Tao House, which he built with his Nobel Prize money. His plays are staged in the barn now by the Eugene O'Neill Foundation--I wish I had learned about that before we moved away, because I would have enjoyed that. As for memorizing poetry, we did that in Russian class when I was studying, and I did it on my own when studying German and Old English. It does wonders for learning the language, in my experience, if only for boosting enthusiasm. https://eugeneoneill.org/productions/festival/
Thank you so much! Yes, my writing tends to be personal as well as touching upon the classical. The poetry is a rarity because I am supposed to send out my work to get published in journals. If it’s on Substack it can’t be considered for any place except Rattle which will publish “uncurated” poems (meaning not traditionally published—blogs and social media are fine).
I enjoyed reading your thoughts on the sound and performance of poetry. Almost simultaneously I read Mary McCray’s “Should Poetry Be Heard or Read” over at Big Bang Poetry. Talk about serendipity.
I go back and forth on this. Right now I think I’m with McCray because my mind tends to wander or skip around when I hear an unfamiliar poem read aloud. But I also think that reading aloud must be part of the poem’s composition process, if only to catch clumsy language. Perhaps having someone else read a poem aloud would be even better: if they stumble over a word or passage, then that might be a place that needs work.
I honestly wonder how many poets read their work aloud at each stage of development. I was kind of shocked years ago to come across this quote by Sylvia Plath from an interview: “My first book, The Colossus, I can’t read any of the poems aloud now. I didn’t write them to be read aloud. In fact, they quite privately bore me.” Are we separated now from mid-20th century poets in this regard, or are things still pretty much like that?
https://www.bigbangpoetry.com/2024/08/what-is-poetry-heard-or-read/
Hi Frank,
Thank you for your thoughtful comment. I am actually not a sound purist at all. In fact, I have concrete free verse poems as well, but they still sound good. The language must make sense in the “mental ear” of the reader. It increases the chances of being read again. Sonics don’t mean as much to me as others—our family went to church with a deaf community for seven years. There is beauty in the signed dance of language too.
There are a number of really important poets whose poems I like, but for the life of me I can’t memorize them, Sylvia Plath is one of them. Ted Hughes, same for that matter. But Emily Dickinson and Gerard Manley Hopkins and W.H. Auden—no problem! So is poetry you can remember more effective for culture? I think so. Four Weddings and Funeral, just an example.
I have not been over to Big Bang Poetry, but I will try to soon. Thanks for the tip!
Sad I missed the conference this year!
I missed you! I am planning another cake for next year. 51 years doesn’t sound so momentous though. I hope you can come and meet the friends I’ve convinced to attend. Bob met the 50 people mark. The most he’s gotten to attend!
The poetry reading in the barn reminds me of the time I took my wife to tour Eugene O'Neill's Tao House, which he built with his Nobel Prize money. His plays are staged in the barn now by the Eugene O'Neill Foundation--I wish I had learned about that before we moved away, because I would have enjoyed that. As for memorizing poetry, we did that in Russian class when I was studying, and I did it on my own when studying German and Old English. It does wonders for learning the language, in my experience, if only for boosting enthusiasm. https://eugeneoneill.org/productions/festival/
I'm new to your writing, but if that 'probably wasn't [your] best' poem I'm in for a treat! Thank you for sharing something so personal
Thank you so much! Yes, my writing tends to be personal as well as touching upon the classical. The poetry is a rarity because I am supposed to send out my work to get published in journals. If it’s on Substack it can’t be considered for any place except Rattle which will publish “uncurated” poems (meaning not traditionally published—blogs and social media are fine).
My wife is a poet, and she did write one poem about me. I'm the only one she's allowed to read it.