Poetic Feet to the Fire

I’ve won a poetry contest before, once (granted I’ve entered only about 4 or 5 total), and I entered one recently. For this live performance competition, I collected a group of poems I thought to be of reasonably high quality for the upcoming event (end of July). Before long, I started narrowing down the candidates, returning to that process again after two things changed: The “tournament” became a showcase due to insufficient competitor entries to make the brackets work, and the accompanying call for literary magazine submissions opened up to entries from more writers than just would-be contest winners.

Thus, the pressure was lifted for content on one platform (stage) and transferred to the other (page). The result was to extend the time available for each writer’s decisions on what to submit (deadline moved from June 2 to July 1). With the change in deadline came more detailed guidelines as well. I suppose the crisis of faith that followed for me simply happened sooner than it might have, which is probably good since you don’t want to panic right before going on stage either. Whatever the cause or contributing factors, doubt has crept in.

I had already shuffled the order a few times, relegating poems to alternate status and back again, when I learned the news of the event’s structural changes. Before the tournament became a non-competitive showcase, there was to be a series of time limits for contestants at the mic. However, with a dearth of entries, stage time has expanded for each participant. By contrast, with the new goal for the literary magazine being to include more participants than before, page space per writer has shrunk.

The new submission guidelines for poetry (the event includes storytelling, comedy, and music as well) specify a limit of 30 lines per poem, including lines between stanzas, and this has added difficulty to my decisions. It’s appropriate–only your best work. Of course I would submit only my best! If I could.

My trouble, as I see it, given that I do not write poetry prolifically, is that my shorter poems, the ones eligible for submission, tend not to be as good as those just out of range.

The consequences? My collection has thus begun to dwindle further (not inherently bad); I was forced to revise structures to make a few poems more horizontal and less vertical in appearance (no biggie); and I started to feel the overall quality ebbing away (kind of a biggie). The bubble of my collection of poems seems already to have burst.

For this event, I’ve focused on nature poems, but so does my overall poetry collection. Due to my infrequent verse writing activity (up to a half dozen poems a year), the total collection of possible candidates also spans a period of decades. The oldest poem in the group is 24 years old, the youngest a couple of months. My verse children were born in different personal eras (adolescence, college, working world), geographical places (France, Ohio, and Massachusetts), and moments in my poetic development (confessional, abstract/obscure, nonsensical word play, formalism, free verse with internal rhyme, terse verticality, and so on). A diverse brood. Ironically, the oldest poems tend to be the most underdeveloped–sometimes that’s the nature of literary babies (and some humans).

I have not officially, i.e., formally, published any poetry in my career, if one can even call it a career. So, finding myself on the cusp of large-scale live audience action, if not publication, I’m sitting up a little straighter and feeling the lick of flames under my toes.

In desperation before these emergent, combined realities, I found myself scrounging for additional works to use. One poem I had discarded, or set aside, a few years ago as birth defected and beyond repair has become an object for resuscitation, remodeling, and renewal. You can do that with some writing. I journaled about it, scanned the meter, and color coded my pen marks for the strongest aspects I could isolate and reshape into something new. Now the poem awaits rewriting. Who knows? Maybe it will be the saving grace of the family.

Putting yourself out there is a healthy thing, I must remind myself, even if doubt lingers. It forces you to keep moving forward, find a way to make things work, and start new projects. With the imminence of the showcase, for which I’m officially on the schedule, I gain new motivation to work, to improve, to learn, and to try again. Sometimes, when idea inspiration doesn’t come, when desire to express doesn’t win out, the external pressure of a deadline and an audience can provide the needed incentive.

What is it? Disguised blessing? Healthy challenge?

There are more ways than one to get things done, and opportunity need not be a crisis. So courage, creator! And carry on toward adventure.

Famous Poets’ Nature Poetry (8): “Corsons Inlet” by A. R. Ammons

It’s National Poetry Month. But beyond time, my recommendation stands.

Though it take all month, read one poem slowly, deeply, and again. Here’s a good candidate. Twice winner of the National Book Award, A. R. Ammons embraces–and shows us how to embrace–through close attention born of brave openness: freedom, motion, disorder, uncertainty, change, beauty, nature, life. And shorebirds. Gotta have shorebirds.

“Corsons Inlet” by A. R. Ammons – An excerpt from the poem’s mid-section:

. . . 
risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
          the shallows, darts to shore
                   to stab—what? I couldn’t
   see against the black mudflats—a frightened
   fiddler crab?

          the news to my left over the dunes and
reeds and bayberry clumps was
          fall: thousands of tree swallows
          gathering for flight . . .

- from "Corsons Inlet" by A. R. Ammons 
Read the full poem on the Poetry Foundation website, 
quoted from The Selected Poems: Expanded Edition 
(W. W. Norton and Company Inc., 1986)

See also Norton's list of other titles by A. R. Ammons.
IMG_1684_swallow

suspected tree swallow, rocks like dunes, The Glens Trail, Gorge Metro Park, Akron, Ohio, May 2017. Image © by C. L. Tangenberg


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Other posts in my series on famous nature poetry:

  1. Nature Poetry by Famous Poets excerpting Thomas Hardy’s “The Darkling Thrush”
  2. Famous Poets’ Nature Poetry (1): Sun Spots
  3. Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden”
  4. Famous Poets’ Nature Poetry (2): Elizabeth Bishop
  5. Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils
  6. Famous Poets’ Nature Poetry (4): Promise of a Fruitful Plath
  7. Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns
  8. Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots
  9. Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
  10. Famous Poets’ Nature Poetry (7): Black Legacies
  11. Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree”

Thoughts on “How to be a Confident Writer . . .”

Writer, be free! Reblogging a post I pressed in 2015 from Live to Write – Write to Live, along with my commentary at the time. Happy Independence Day.

Philosofishal by Carrie Tangenberg

Weekend Edition – How to be a Confident Writer Plus Writing Tips and Good Reads.

“The trick is to metabolize pain as energy. Learn, when hit by loss, to ask the right question: ‘What next?’ instead of ‘Why me?”  — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity

I agree with most of the major points in the main post linked above on the confidence/vulnerability topic, including the embedded, sampled responses. In fact, I found myself at each turn nodding and thinking, “Just like Julia Cameron says in The Artist’s Way.” Many of these themes and issues arise frequently in the book. **

The one thing I disagree with, and side with Cameron about, is the notion that we are our own best judges. While it is true that during the creation process it is best to eschew judgement (especially of ourselves) altogether, once the…

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Thoughts on “How to be a Confident Writer . . .”

Weekend Edition – How to be a Confident Writer Plus Writing Tips and Good Reads.

“The trick is to metabolize pain as energy. Learn, when hit by loss, to ask the right question: ‘What next?’ instead of ‘Why me?”  — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity

I agree with most of the major points in the main post linked above on the confidence/vulnerability topic, including the embedded, sampled responses. In fact, I found myself at each turn nodding and thinking, “Just like Julia Cameron says in The Artist’s Way.” Many of these themes and issues arise frequently in the book. **

The one thing I disagree with, and side with Cameron about, is the notion that we are our own best judges. While it is true that during the creation process it is best to eschew judgment (especially of ourselves) altogether, once the art has been created and it’s time to assess and edit, others’ opinions are often helpful and sometimes indispensable.

“All too often, it is audacity and not talent that moves an artist to center stage.” — Julia Cameron

Julia Cameron effectively says, Repeat after me, “My job is to create, not to judge.” This mindset frees us to express ourselves in flow without expectation, and it reminds us that there are enough critics among potential readers out there–our own misgivings need not apply.

At the same time, it is part of a writer’s job not to avoid judgement but to seek the wisest, most trusted sources of beta readers for objective, constructive feedback and counsel. Although this step can be scary even with trusted readers, it’s better than to resign ourselves solely to subjective self-flagellation by our internal committee of unreliable critics.

“Always remember that your Censor’s negative opinions are not the truth.”  — Julia Cameron

In other words, each phase has its useful function and purpose (creation, critique, and self-critique), and we need not fear going through all the phases, as long as the input is positive and helps us move forward with our writing and, thus, our confidence. Cameron equally encourages artists to shield themselves against negativity in general and disparaging reviews in particular.

“Progress, not perfection, is what we should be asking of ourselves.”  — Julia Cameron

Ultimately, art is meant to communicate, which requires an interface and exchange between writer and reader, speaker and listener, image and viewer. Not everyone on the receiving end will be nice to the provider, but very few will be intentionally mean or corrosive. Artistic expression requires a little trust and a little faith in people, not to mention courage, if it is to be shared confidently.

“Leap, and the net will appear.”  — Julia Cameron

Avoiding all external judgement, a course that may seem blissful and safe, is not the path to unshakable confidence. It is a fool’s errand to make art while simultaneously expecting to publish and preparing to ignore responses to what we make. We only retard our development by insisting on operating in a vacuum.

Artistic growth occurs in conversation with other art and artists–which is increasingly true in the blogging and social networking age–whatever forms the art and the conversations may take. The dual gift is that we cannot help but improve as people while we improve as artists.

We can always learn from each other, even through the challenging moments. When we remain open with a balanced, sensible approach to engagement, artistic fortitude can be mutually and self-reinforcing. From there, we only get better.

Bon courage!

“No matter what your age or your life path, whether making art is your career or your hobby or your dream, it is not too late or too egotistical or too selfish or too silly to work on your creativity.”  — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity


** Seriously, if you are a budding (or veteran but jaded) creative type with low or wavering self-esteem, you should probably give The Artist’s Way program a try. Applied as intended, it is therapy that liberates mind and spirit and a system that fuels inspiration and creativity.


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