Jesus also loved the foolish, the pushy, the stubborn, the fickle. sent hither swarms of Officers to harass our people, and altering fundamentally the Forms of our, In every stage of these Oppressions We have Petitioned for. Youve talked a bit about Wade in the Waters genesis, but more broadly, how early on do you typically begin to sense a manuscripts overarching themes? In a recent podcast of her conversation with Curtis Fox of the Poetry Foundation, Tracy K. Smith says that being Poet Laureate is a kind of service (Off the Shelf, July 31, 2018). Poetry allows us to bridge our differences, to remind ourselves that we do have things to say to each other, that we are interested in each others lives and vulnerabilities. In this new collection, Smith explores, mourns and even celebrates those vulnerabilities, both national and individual. We were almost certain theywere. Over her career, she has published a memoir and four books of poetry, including Life On Mars, which won the Pulitzer Prize several years ago. WASHINGTON SQUARE: In Ordinary Light you recall your first poem, written in grade school and titled Humor. These days much of your work deals with weighty topics, though youve said in other interviews that writing often feels joyful. The poem, titled Garden of Eden begins with Smith acknowledging a profound longing for her Garden of Eden, or moreover her personal paradise. Hi Tracy, thanks for coming on the podcast. Im Curtis Fox. I imagined my Civil War poem would be a one-time exploration of its time period, but when I came back a few years later to writing poetry, the concerns I found myself wrestling with were rooted in similar questions of history, race, compassion and justice. Attention to the stranger crossing any road in any town or city; patience with the awkward encounter, the unknown intention; respect for the other whom you do not know, but with a slightest stretch of mind, imagine you do. He has Id squint into it and let it slam me in the face-- the known sun setting on the dawning century really stuck with me. So, when I was working on other poems in this book that were wrestling with history, I thought, oh, Ill go back to that Jefferson poem and see if I can make it right. This is an essential book, one that should be required reading throughout the land. sent hither swarms of Officers to harass our people Tracy K. Smith: Well, Ive been going into rural communities in different parts of the country. Take it easy. She has taught at Princeton University and Harvard University. Not the liberal version, where everything naturally progresses toward a better reality, but something more ambiguous and fragile. After you read this poem by the former U.S. The collections final poem, An Old Story, also feels faintly Biblical. Garden of Eden by Tracy K. Smith What a profound longing I feel, just this very instant, For the Garden of Eden On Montague Street Where I seldom shopped, And maybe thats me speaking as someone in mid life, someone whos the parent of kids and has fears about the future. How did you fill in that blank as you were writing that? Both are longing for some kind of extra-human counterpoint to the real, the earthbound, the flawed, the finite. It is what I instinctively turn to when the idea or statement-muscle stalls during the writing process (which is early-in). (Jonathan Bachmans renowned shot shows two policemen in body armor arresting a woman named Ieshia Evans; the black-clad officers whip out their handcuffs for no discernible reason as Evans stands in silent dignity, wearing a long dress.). Something flickers, not fleeing your face. I also thought when this poem first came to me, this is what poetry is for, this is what poetry can do. Purchasing food, however, leaves the speaker anxious: It was Brooklyn. Tracy K. Smith: I have, and I didnt know if I would. In 2014 she was awarded the Academy of American Poets fellowship. Over her career, she has published a memoir and four books of poetry, including As for imaginative play, maybe that comes from another place. WebPoet, librettist, and translator Tracy K. Smith served two terms as Poet Laureate of the United States and is the Roger S. Berlind 52 Professor in the Humanities at Princeton University, where she also chairs the Lewis Center for the Arts. I dreamt that I was in a hotel where there was a mural of that poem, which was by him, painted on a wall, and I was reading it aloud to somebody who was with me. If I read a poem about my father, sometimes if the poem is doing its work, you might begin to think about your relationship with your father, even if it might be different from what my poem says. That work is something I can do when I dont have any ideas for poems, and it draws me into conversation with another poetic sensibility. I dont think the poems lay out answers to any of that, incidentally, but their manner of exploring these questions feels fruitful.WASHINGTON SQUARE: One of the most striking pieces in the book is the long poem you mentioned, I Will Tell You the Truth About This, I Will Tell You All About It. Im curious about the research that goes into a piece like thishow did you come across the source documents, and when did you realize they could constitute a poem? Someone has likened it to the poem in my previous book called The Good Life which is about being so hungry, and having a job but not making enough money. Curtis Fox: Dr Hayden from the Library of Congress, right? Curtis Fox: Yeah, its one of those poems, when you read it you think God, somebody should have done this years ago. A friend recently emailed it to me, even though I hadnt read the book yet. And then theres that line in Eternity: as though all of us must be / Buried deep within each other. How does poetry foreground or grapple with distinctions between the self and others? I had the same problem choosing my poet. SMITH: Writing the found poems feels more like writing a poem of my own than anything else. Moreover, my sense of the nearness of the pastthe way that our public grappling with race and racial prejudice has begun to feel so much like a throwback from an earlier timeignited the urgent wish to hear something in an earlier periods voices that might be useful at this moment in the 21st Century.The title Wade in the Water comes from an African American spiritual, which seems apt for a collection that thinks so much about faith, race, and history (especially the Civil War), and for a poet whose previous book took its name from a song, too. From trees. And I guess in some ways thats a scary place to be. Tracy K. Smith: I hear those two things, but in the reverse order. Her latest book is Wade In The Water. I honestly really enjoyed this poem, particularly the ending clause. Curtis Fox: Being Poet Laureate is obviously an honor, but have you enjoyed it? That distinction gets complicated once you open the booksbut I wonder if you do see these collections as particularly complementing or speaking to each other? Her latest book is Wade In The Water. One quick way to define capitalism is to observe that it entails the dedication of all things, all human objects and ideas and actions, to profit, to the continual accumulation of wealth in private hands. More information available at www.susannalang.com. WebSMITH: I like the way that humor exists in our lives, even in the dark and difficult moments. For instance, an entire found poem (Smiths term) called Watershed comprises narratives of near-death experience juxtaposed with fragments from a New York Times story about a DuPont chemical disaster that poisoned an entire Ohio community. Thats the emphasis in each of my workshops, though sometimes we use themes to determine the readings, or we look at a specific type of poemsay long poems or poem cyclesover the course of the term. Tracy K. Smith: Mhmm, yeah. Onto the darkening dusk. Several poems in Wade in the Water were written after translating poems of hers called In the Distance and Green Trees Greet the Rainstorm.WASHINGTON SQUARE: Section III of Wade in the Water ends with a Political Poem: a vision of workers cutting grass and communicating intermittently by raising their arms. In Garden of Eden, the first poem in the collection, Smith remembers shopping at a grocery store in Brooklyn that was actually called the Garden of Eden. Elbow sore at the crook Educated at Harvard and Columbia, teaching at Princeton, named the US Poet Laureate in 2017, and already freighted with laurels (her previous book, Life on Mars, won the 2012 Pulitzer), Smith is no undiscovered talent. What about you? But before we get to the analysis, lets briefly summarise the story of Adam and Eve in the Garden of Eden. On the sixth day of Creation, God created man in the form of Adam, moulding him from the dust of the ground (Genesis 2:7), breathing the breath of life into Adams nostrils. Under the intense weight of capital, this poisoned realism infects all other forms of discourse, connection, economy. The final poem, An Old Story, exposes our tendency to destroy our own world by reminding us of the Biblical storm that drowned all life except for Noah, his family, and the pairs of animals he saved on his ark: After the storm, it is song that changes the weather, tempts the animals to come down from the trees where they had shelteredin an ark made of wood but not by us. Price and value, Smith reminds us, are not the same thing.In a recent lecture published by the Washington Post, she calls poetry a radically re-humanizing force, one that comes closest to bringing us into visceral proximity with the lives and plights of others. She contrasts it with the market-driven language that divides everything into a brutal war of all against all and debilitates our minds: I also, more and more, recognize its value as a remedy to the various things that have bombarded our lines of sight and our thought space, and that tamper with our ability or even our desire to listen to that deeply rooted part of ourselves. Curtis Fox: The poem ends with an erasure, it ends ambiguously, taken Captive / on the high Seas / to bear as you just read, and its with a dash there at the end. Curtis Fox: So this poem is set in pre-Facebook times. Would you read it for us? Capitalism has made a nightmare world, and we can either resist its pressures or chill with our smartphones and wait for climate change to kill us.Along comes Tracy K. Smiths new book, Wade in the Water (Graywolf). In fact, I think I picked up the pace on my own new poems, and wrote the bulk of Wade in the Water, precisely because of my work on Yi Leis poems. Wade in the Water in particular enlists a whole chorus of voices, including historical ones resurrected almost verbatim in collages and erasures. Did the poems you wrote after doing that translation feel stylistically or thematically influenced by Yi Leis work? What a profound longing Life on Mars is a very sentimental and intimate book of poems about how an author deals a lost in her life. For a long time I didnt know what to do with my interest in the Nathaniel Rich article that informs Watershed. Then, after most of the manuscript was finished, I had the idea of marrying the facts from that article, in a found poem, with the narratives of near-death-experience (NDE) survivorspeople whose vocabularies almost across the board invoke the sense of Love as an original animating force, as the logic of the universe. Livid, the land, and ravaged, like a rageful, Would survive ushow little we had mended, Large and old awoke. Do these various modes of working with existing text feel similar to each other? WebThe assignment consisted of reading this newly published poem and then writing an analysis. Aside from that, I like your analysis of the poem. Every small want, every niggling urge. Smith: That's the only dream like that that I've had. Ive been sharing work by other American poets, and readings of my own poems as well, and just asking a very simple question, which is, what do you notice? Pessimism hobbles anyone who is paying attention. Pomegranate, persimmon, quince! But the point of material restitution isnt to create new hoards of capital or to employ it in fresh exploitative ventures; rather, the money these people are owed for their service to what was once a Republic is a form of human acknowledgement, a way of saying that their lives mattered. In a technique that feels like the opposite of erasure, I Will Tell You the Truth about This, I Will Tell You All about It accumulates voices from African Americans enlisted in the Civil War, and also from their families. Its actually the last poem in your book. Yes, these are black voices that have been effaced from history, buried in government archives and exhumed by a few scholars on whose work Smith draws. From short lyrics to erasures to sectioned, multi-form elegies, all of Smiths work feels radically alivetraversing space and time; rife with cultural and historical references (to, for example, rock music; scientific research; classic movie scenes); and always illuminating with great care the complexities of consciousness and embodiment. It feels like an empires end: The known sun setting / On the dawning century, as the last two lines go. / We never left the room. You can read some of her poems on our website. I also think that over the years teaching has made me a better editor of my own work. My approach was to expand it, to maybe pull it apart and make it into a poem in different sections, and I looked through some of his letters, I looked through his will, and found through erasure different statements within those documents. They let you move back and forth, slowing things down or speeding them up in an attempt to get a fuller, more satisfying view. I wanted to draw-in the sense of the living spirit at the heart of that nights encounter, and at the heart of the tradition of the ring shout itself: the sense of love and deliverance, of faith and compassion, of justice and survival.Watershed was a poem I knew I wanted to write. K Smith. 4 (September 2018), Emily Jungmin Yoon, Maya Marshall, RHINO Reviews Vol. Tracy K. Smith, I hope your poem is a prophecy. The author of four books of poems, she received the 2012 Pulitzer Prize in poetry. WASHINGTON SQUARE: Speaking a few years ago with Gregory Pardlo, you mentioned that music, image, form and departure are the things Im conscious of managing in a poem. Can you say a little more about balancing these qualitiesand, perhaps, how you know when one or two of them want to predominate? Curtis Fox: So thats the opening poem in your book, and as you said, its set in the early years of the century when the poet was more {innocence}, but there are hints that all is not well, and you write Everyone I knew was living / The same desolate luxury, / Each ashamed of the same things: / Innocence and privacy. Have your process and preoccupations changed? Each one of us is a collaborative condition, The Everlasting Self puts it.Smith isnt a political theorist, psychologist, historian, or polemicist, though her poetry metabolizes elements of those discourses. Petitions have been answered only by repeated injury. Tracy K. Smith: I think about the incredible systematic and orderly attempts to negate black life throughout the history of this country, and then I think about the voices and the contributions to democracy that Blacks have offered, and those two things speak really powerfully to each other. My thirties. Unlike a lot of other poets I was looking at, she has a certain flavor that just really fit to my taste. I think it urges the viewer to submit to the terms and values of the subjects rather than cling to any pre-existing sense of what dignity or autonomy ought to look like. And let it slam me in the face Tracy K. Smith: Well, I thought that this conversation about how incapable we as a nation are of having a conversation across political difference or racial difference, that motivated me to think about how poetry might be a kind of bridge. Parenting is such an intimate experience, but we have all been parented and many of us have struggled through these moments when our childrens voices trumpeting their separate identities are both miracle and monumental challenge. Below you can find the poem followed by my analysis. Thanks for listening. (I know Eternity quotes a line from a Yi Lei poem you translated.) As Auden supposedly said in conversation, you cant half-read it. Not unlike your previous books, this one feels cohesive even as it encompasses poems whose forms and concerns vary. WebTracy K. Smith is a Susan S. and Kenneth L. Wallach Professor at Harvard Radcliffe Institute and a professor of English and of African and African American Studies in the Harvard Faculty of Arts and Sciences. This seems like a really relatable poem; I can relate to you in that it's hard to be satisfied with our lives and that as we've gotten older it's become easier to accept that (knowing that it's ok in your words). He put the two of them in a garden where they did not have to provide for themselves. I guess Ive been thinking a lot about mythology. And then our singing. What are you really getting at there? Articulating one would require thinking of others as more than free particles in a market or economic obstacles and opportunities. The poet is having an ominous sense that this century is going to be quite something to handle, which turned out to be true. I often find that, after working on several new translations, I am driven to write. The something climbs, leaps, isFalling now across us like the prank of an icy, brainyLord. Do found texts youve worked with sometimes inform your subsequent writing? The first line introduces the readers to both the casual If we are moving through Time, I suspect Time is moving, too, though who knows where it is heading? The known sun setting Or how you can sometimes see the humor in your own dire or embarrassing situation, and how that can be both frustrating and something you file away under Things that Will Be Funny in the Future. A few years ago, actually several years ago now, I wrote a sonnet that I contributed to an anthology called Monticello in Mind, that was edited by Lisa Russ Spaar, and they were poems about Thomas Jefferson. She comes home with her paper bags and looks at the numbers to her name and it ultimately slam[s] [her] in the face; she perceives a life of luxury and craves more from life than that of which she can afford. Poet Laureate of the United States; its a high perch for an American poet to land on. Whats going on there? A two-time Hambidge fellow, her poems have appeared in such publications as Little Star, Prairie Schooner, december, American Life in Poetry andVerse Daily. I often think of a wonderful Marie Howe poem called The Star Market which begins: The people Jesus loved were shopping at the Star Market yesterday. These are the old, the sick, the people a healthy young person might recoil from. I watch him smile at nobody, at our trafficStopped to accommodate his slow going. If we laugh at it, it has less power over us. I suppose those two choices speak to some of the overarching themes I consciously wanted the book to cleave to.WASHINGTON SQUARE: This last comment makes me wonder about your process assembling a book. This week, Retelling the American Story. It felt very much like a plea that could live in the 21st century, around all the instances of violence against unarmed black citizens. Its also the title of a poem in the books first section, and it reverberates in images of water throughout the collectionin the poems Watershed and The Everlasting Self, for example. God then planted a garden eastward in Eden (2:8), containing both the tree of life and the tree of knowledge of good and evil (2:9). Adam is tasked with keeping or maintaining the garden. God tells him he can freely eat of every tree in the garden, except for the tree of the knowledge of good and evil, for to eat of that tree would be to die. In this book, Im doing that more relentlessly. Redress in the most humble terms: Dang, you hear those birds? Capitalism is the enemy and the stakes are high, because one of the only defenses against the degradations of our market-driven culture is to cleave to language that fosters humility, awareness of complexity, commitment to the lives of others and a resistance to the overly easy and the patently false.Embedded in all this is a specific conception of history. 1 No. Its current occupant is Tracy K. Smith, who was named Poet Laureate in 2017. Curtis Fox: And the poem ends ominously, as if were about to be kicked out of the Garden of Eden, not only the store but innocence in general. How does Political Poem complement and converse with the books more overtly, explicitly political poems? We have reminded them of the circumstances of our emigration WebGarden of Eden What a profound longing I feel, just this very instant, For the Garden of Eden On Montague Street Where I seldom shopped, Usually only after therapy Elbow Did writing your memoir indeed open up new space for that? I'm glad you were able to find something to connect with! Curtis Fox: This is Poetry Off The Shelf from The Poetry Foundation. Curtis Fox: That was An Old Story. Tracy K. Smith, "Declaration" from Wade in the Water. WebAnalyzes tracy k. smith's "life on mars" as an elegy as a whole with many poems pertaining to death and s struggle with the loss of her father. I think it has to do with the joy of losing oneself in something, which is what happens when a poem is really going somewhere. I dont yet know how to classify Wade in the Water. Incidentally, the only other poem in the book whose title was chosen well in advance of the poems composition was Eternity. I knew that I wanted to write a poem that invoked a never-ending sense of scale. Every least leaf, Shivers in the sun, while we sit, bothered,Late, captive to this thing commanding. And youre leaving it to us, the reader, to fill in the blank. Henley, Sonja Johanson, RHINO Reviews Vol. I feel, just this very instant, She's also the author of a memoir, Ordinary Light, which was a finalist for the National Book Award for Nonfiction. It comes down to simple math.The beach belongs to none of us, regardlessof color, or money. We thought the birds were singing louder. 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