taken Captive An elegy to your mother in The Bodys Question ends with the lines, We sat in that room until the wood was spent. 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. A friend recently emailed it to me, even though I hadnt read the book yet. Smith assembles a collage of bad news, omitting punctuation to create a sense of anxious acceleration: dust vented from factory chimneys settled well-beyond the property lineentered the water tableconcentration in drinking water 3x international safety limitstudy of workers linked exposure with prostate cancerworth $1 billion in annual profit. Pomegranate, persimmon, quince! Curtis Fox: And what about the desolate luxury? 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). Everyone hunkers down alone with their stuff, just as capitalism wants it.Two vicious features of the system, which Im hardly the first to note, are its enforcement of rigid hierarchies (think about the racial pay gap, for example) and its wholesale razing of the biospheric life-support systems that allow civilization to exist in the first place. This is a poem thats kind of looking back toward the moment when we might have known but didnt care. Lentils spilt a trail behind me Maybe I am asking my new poems to remind me that I am one of those people, that America is one of those people. 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. Every least leaf, Shivers in the sun, while we sit, bothered,Late, captive to this thing commanding. Many of the poems focus on history, whether spiritual or political. Analyzes how the first poem in the book sums up the primary focus of the works in its exploration of loss, grieving, and recovery. 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. 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, He put the two of them in a garden where they did not have to provide for themselves. Smith continues that it was Brooklyn and everyone she had known was living. SMITH: The books have a lot in common. Every small want, every niggling urge. 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 Consider, that is, the languages and practices we have developed to exist within Western consumer markets. SMITH: I think the only way students learn how to craft their own poems is by reading and learning to pay close attention to the specific choices that other writers make. He has 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. If capitalist institutions erase memory and sweep everything into an eternal present of consumption, poetry is a slow art with a long memory and an expansive capacity to imagine other worlds. Tracy K. Smiths unforgettable poem from Wade in the Water feels so potent right now. And I remember, I was sitting reading this document, and suddenly I got to the region where all of these complaints against England were being raised, and I felt that they were speaking so clearly to the history of black life in this country, and suddenly everything else that I was working on, that I thought I wanted to gather around the idea of Jefferson, just went away. And whats really exciting is its not a matter of me teaching people about these poems, its really a matter of us listening to each others responses, questions, associations. 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. to bear. Email us at [emailprotected], or write a review in Apple Podcasts, and please link to this episode on social media. I think the topic has also just come up much more frequently and relentlessly in the years since Trayvon Martins murder.WASHINGTON SQUARE: Another subject you grapple with in Ordinary Light is belief in God. Smith works like a novelist, curating the national tongue. 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. Curtis Fox: Tracy K. Smith is the Poet Laureate of the United States. 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. And then our singing. I struggle a lot with interpreting metaphorical words often used by poets and underlying meanings behind small phrases. It wasnt until I found myself preoccupied with questions of love and faith that I figured out how I wanted to work with the source material of the article. Elbow sore at the crook I am thunderstruck by the human care of these last lines. And let it slam me in the face Her poem is an erasure poem, a form of found poetry, making it even more successful in her criticism of the original document. To capacity. Curtis Fox: Its one of the curiosities of your book, that to grapple with this dawning century you go back into history with poems in the voices of the enslaved and powerless, and you also make interesting use of the Declaration of Independence. The last couplet, which read You are not the only one / Alive like that, lodged in my mind: even lacking any context for the words, I felt electrified by the truth they managed so simply to express, and by the sense of wise, intimate authority the second-person address carried. the Declaration of Independence erasure). If we laugh at it, it has less power over us. 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. Smith received the 2012 Pulitzer Prize in poetry for her third book of poems, Life on Mars (Graywolf Press, 2011). Home the paper bags, doing Aside from that, I like your analysis of the poem. She studied at Harvard University, where she joined the Dark Room Collective, a reading series for writers of color, created by Sharan Strange in 1988. 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. 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. And, for all their sagacity and poisetheir precise images and finely-crafted musicSmiths poems manage to be, too, surprising and audacious. Her translations of poetry by Yves Bonnefoy include Words in Stone and The Origin of Language. WASHINGTON SQUARE: Thats fascinating! Petitions have been answered only by repeated injury. The last lines of the poems final section point this up with staggering intensity: My full name is Dick Lewis Barnett.I am the applicant for pensionon account of having servedunder the name Lewis Smithwhich was the name I wore beforethe days of slavery were overMy correct name is Hiram Kirkland.Some persons call me Harry and others call me Henrybut neither is my correct name. The couplet looped in my head for weeks, and when I finally resorted to Google, I learned it was from Smiths first collection, The Bodys Question.I borrowed her books from the library and found them full of lines like the ones that had hooked me. She does something trickier and more important: her work conjures up, with vivid particularity, at the level of the individual, what it is like to live under late capitalism. 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. WebMetal claws poised over a valley of rubber. 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. After all, it supposedly makes nothing happen, according to Auden (indeed, imagine a poem changing President Trumps mind on immigration), and it is the literary form for which capitalism has the least use, judging by its small contemporary readership.But poetry that tries to represent individual subjectivity is well positioned to depict life under capitalism and to render possible post- or anti-capitalist alternatives. Wade in the Water by Tracy K Smith is published by Penguin (8.99). Wade in the Water, by Tracy K. SmithGraywolf Press, 2018. We have reminded them of the circumstances of our emigration. 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. I love chicken. I know its a huge honor, and thats the first thing that I felt when Dr Hayden called me. In a quiet way, I am editing from the moment I begin writing, pushing myself to think more rigorously and vigorously and to live up to the model of discipline and courage that I encourage my students to embrace.WASHINGTON SQUARE: Youve written four poetry collections; when you started writing, you were a student, and now youre a teachernot to mention the nations Poet Laureate. I was dreaming that I was reading aloud a mural that had been made of a Carl Phillips poem, when suddenly my waking mind broke in to say: Thats not a Carl Phillips poembut if you write it down it can be yours! I woke up and struggled to remember and reconstruct the lines Id read in the dream. Not only that, several poems were originally written for separate projects: museum exhibitions, an NPR broadcast, an academic conference. And that stage, I want to think of it as a stage that America has gone through. What made you decide to use collage rather than writing something inspired by the archives? WASHINGTON SQUARE: In addition to the found poems in Wade in the Water and your previous books, youve also written erasures (including an erasure of the Declaration of Independence) and translated poetry from the Chinese. Among her current projects is Self-Portraits,a chapbook collection of ekphrastic poems focused on women artists. K Smith. Poet Laureate Tracy K. Smith (1972-), listen to her read it here. I chose the title Watershed even before the poem itself had been written. Tracy K. Smith, I hope your poem is a prophecy. 4 (September 2018). When she writes about love and desire, they are vehicles for the philosophical examination of humanity, of the ways we respond to authority, and more and more they are vehicles for thinking about the plight of the earth. Or was it just a sense of being spurred to write by the experience of working intensively with language?SMITH: Yi Lei has big questions. SMITH: Writing Ordinary Light helped me break my own silence about how race has shaped me. Looking back, do you have a sense of your writerly evolution across your books? The glossy I see it as my job to draw these things out, and offer the kinds of questions and observations that will help students move further into their strengths as writers, and to follow them toward an organic and genuine sense of their own deepening themes and questions. I also advise thesis students who are involved in producing book-length collections of poems. 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. Her latest book is Cast Away, from Greenwillow Books. Her latest book is Wade In The Water. Let us know what you think of this podcast. Its been great. We often want more from life than is achievable and all-in-all, thats okay. 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. And I love how Wright allows the text of her various speakers to become a kind of chorus. I'd squint into it, or close my eyes And let it slam me in the face The known sun setting On the dawning century. What is it that I could do in this role that would be different and useful. Even going into the first trip, I was thinking okay, Im performing a service. My poems strain for the kind of freedom to rise above Time on occasion, to see through it, to make use of what once (when I needed it) might have been invisible to me and what now (after the fact) can seem plain. Did that effect the way that you thought about what you were going to do as Poet Laureate? History is in a hurry, runs New Road Station. It teases us; it helps us sometimes, so that what is happening now feels like it has already occurred once before; it bridles adults and happily submits to being largely ignored by children. and was pleasantly surprised to stumble upon Tracy. and settlement here. So the poems change for me too, which is I think affirmation that something real is happening. Duende is a book that grapples with what it means to me to be an American. The poem, titled Garden of Eden begins with Smith acknowledging a profound longing for her Garden of Eden, or moreover her personal paradise. Race is one of the chief subjects of Wade in the Water, a site wherein my wish to contemplate the elusive nature of compassion gets played out. All Rights Reserved. Id squint into it, or close my eyes / And let it slam me in the face / The known sun setting / On the dawning century. WebSMITH: I like the way that humor exists in our lives, even in the dark and difficult moments. In Black life, humor helps make the unbearable bearable. Though its not like we have much of choice. Film awards like the Oscars often have a best-animated film category, and this is dumb. She's also the author of a memoir, Ordinary Light, which was a finalist for the National Book Award for Nonfiction. To say that shes very goodthat her poetry is not screwing aroundis to state what has become increasingly obvious over the past decade. Teaching is inspiring for me. SMITH: I wanted to open the book by invoking a sense of the eternal, to start with a nod to that scale. I see humor as one of the things that keeps us alive. Like the letters themselves, Smiths poem is restorative. She earned a BA from Harvard University and an MFA in creative writing from Columbia University. So I had to kind of really think about it, before saying yes. 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. ravaged our Then animals long believed gone crept down. Register now and publish your best poems or read and bookmark your favorite popular famous poems. Life on Mars is pointed into the future as a way of reckoning with all of that, while Wade in the Water takes up history in a similar effort. Henley, Sonja Johanson, RHINO Reviews Vol. Her From a handbasket filled Tracy K. Smith: Well, Ive been going into rural communities in different parts of the country. Sort of the innocence of consumerism before bad things happen. The way you can break into laughter remembering something while at a funeral, say, and 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. That process involves weekly meetings where we are looking at and critiquing new poems, but also trying to listen to the themes and questions driving the work. Tracy K. Smith begins her poem The Good Life with a subordinate clause: Whenpeople talk (Line 1). The first line introduces the readers to both the casual toneof the poem and draws them in to the discussion with which the poem is concerned, prompting them to read the next line in order to answer the question implicitly posed in the first. Pessimism hobbles anyone who is paying attention. The Garden of Eden is a semiautobiographical account based on Hemingways honeymoon with his second wife, Pauline Pfeiffer, in May, 1927, at Le Grau-du-Roi, a fishing village in the Carmargue, on the Mediterranean coast of France. Curtis Fox: So this poem is set in pre-Facebook times. And I guess in some ways thats a scary place to be. And sound helped me devise the poems exit strategy as well. Thats one reason that the poem Eternity, which is set in China and dedicated in part to Yi Lei, felt important to include in the book, because much of my own new work comes directly out of that relationship. Comprehending, and perhaps steering, its history requires love amid the ruins.Unrest in Baton Rouge underscores this. This was the shattered promise of Reconstruction, which collapsed under the weight of reactionary white politics (and outright terrorism) by the late 1870s. I honestly really enjoyed this poem, particularly the ending clause. Poet Laureate of the United States; its a high perch for an American poet to land on. Not unlike your previous books, this one feels cohesive even as it encompasses poems whose forms and concerns vary. I'd squint into it, or close my eyes Tracy K. Smith: Sure. They are places to test out new lines of inquiry. The conversations that can ensue after weve sat together listening to poems that have activated some of our own private urgencies, are useful. Whatwhat on earthconstitutes a meaningful life in a market society?Markets shape mindsets. You were appointed Poet Laureate in 2017, after Trump was inaugurated. WebTracy K. Smith was born in Falmouth, Massachusetts, on April 16, 1972, and raised in Fairfield, California. Smith: That's the only dream like that that I've had. 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 Curtis Fox:So how did that translate into what you have done, or what you are doing as Poet Laureate? But I also felt that, okay, this is a kind of service that I would be doing for the country. From trees. On the dawning century. Tracy K. Smith served as U.S. poet laureate from 2017-19 and teaches at Princeton University. 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. Selected by Naomi Shihab Nye. Copyright 2018 by Tracy K. Smith. In early drafts of that poem, I was struggling with the feeling that I had too much cherishing for the poems initial speaker, which I had imagined as a black man with his hands in the air, arms raised, eyes wide. So I inverted the poem, and wrote from the perspective of someone apprehending him. / We never left the room. Those banked poems help me get started, but inevitably the work generated during that intense period is characterized by recurring themes, images, vocabulary, and obsessions. Its not that I dont like it because Ew, poetry, but rather because I just dont understand a majority of it. WASHINGTON SQUARE: Im intrigued by the extent to which youve referred to this poem as an autonomous entity: it seems to be voiced, what I read as fear or hesitation. Are there some poems that seem more or less transparent to you, more or less within your understanding and control, than others?SMITH: Oh, sure. The dead speak.The poem bores deep into the nations roots, back to the Civil War, which momentarily created opportunities for African Americans to participate in democracy as voters and officeholders, craftsmen and farmers, teachers and doctors; as free agents in America, not chattel. (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.). Even if the question animating the poem is a serious one, that sense of being lost in the pursuit is, inevitably, a happy thingit is about finding something that can constitute a productive path through or out of the matter at hand. 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