More information available at www.susannalang.com. Capital exerts its violence against nature and the people who are part of it. It feels like an empires end: The known sun setting / On the dawning century, as the last two lines go. Too late. Although the last section of the book includes poems with a similarly wide lens, Smith also evokes small moments with her children. She went on to receive her MFA from Columbia University. 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. The same desolate luxury, I claim pension under the general law, argues one appellant; (i shall hav to send this with out a stamp / for I haint money enough to buy a stamp), another says in closing his letter to the President (all italics and spellings original).In an endnote Smith refers to such texts as erasure poems, a somewhat ironic term. Poet Laureate of the United States; its a high perch for an American poet to land on. 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. Duende is a book that grapples with what it means to me to be an American. The United States Welcomes You opens with the line, Why and by whose power were you sent? and closes with the line, How and to whom do we address our appeal? It was landing on that parallel syntax that told me the poem was over. 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? Each ashamed of the same things: This week, Retelling the American Story. Tracy K. Smith served as U.S. poet laureate from 2017-19 and teaches at Princeton University. The opening poems of Wade in the Water seem to locate the divine in the worldly, sometimes to humorous effect: God drives around in a jeep, and the Garden of Eden turns out to be a grocery store. Is it strange to say love is a languageFew practice, but all, or near all speak?Even the men in black armor, the onesJangling handcuffs and keys, what elseAre they so buffered against, if not loves bladeSizing up the hearts familiar meat? This would be a democratic project: a writer who takes it on would have to imagine a community where individuals arent just monads bouncing around the economy but are instead subjects whose lives matter regardless of how much or little capital is attached to them. 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). Im listening for possibilities in meaning and emotional tone, and trying to make useful formal decisions, in a way that is more similar than different to what happens when I am writing. I watch him bob across the intersection,Squat legs bowed in black sweatpants. As Auden supposedly said in conversation, you cant half-read it. Some of these events have happened in large public spaces, so its been a matter of reading and then having maybe a public Q&A or more of a back and forth afterward. 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. Like the couplet that led me to her work, Smiths writing seems often to spring from an empathetic impulse, animated by common human experiences and invested in the insight we can gain by watching and listening to each other. And if Trump has done anything positive for the country, hes inadvertently, by his own racist statements and actions, put the conversation front and center in American life. For Smith, this is a lavish shop that seems to be selling a very specific selection of goods. 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. WebGarden 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, Usually only after therapy Elbow sore at the crook From a handbasket filled To capacity. the same desolate luxury, people lived paycheck to paycheck, unable to afford such luxuries like exotic fruits or pastries. This is my favorite feeling, something charged and electric. Its been great. When capital is everything, queasy questions[1] bubble up: Is capitalism compatible with democracy? 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. 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. 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. 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. And that stage, I want to think of it as a stage that America has gone through. 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? 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. Tracy K. Smith: Yeah, the sense of dark possibility rose to the surface. Curtis Fox: That was An Old Story. I found two books that really had a powerful impact upon me: Voices of Emancipation: Understanding Slavery, the Civil War, and Reconstruction through the U.S. Pension Bureau Files, edited by Elizabeth A. Regosin and Donald R. Shaffer; and Families and Freedom: A Documentary History of African-American Kinship in the Civil War Era, edited by Ira Berlin and Leslie S. Rowland. 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. This view of history as contested territory is in turn based on a tentatively hopeful view of selfhood in which all is intersubjective. 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. The pedestrian sees himself one way hears his own music in those engines idling for him but who doesnt? 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. Purchasing food, however, leaves the speaker anxious: It was Brooklyn. I felt like my sonnet was off, I always felt like there was something I needed to fix in the last couple of lines of that poem. 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. Petitions have been answered only by repeated injury. Poems are so great because they urge you to start thinking in honest and even vulnerable terms about your own life and your own experiences. 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. WebGarden of Eden story: summary 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 You were appointed Poet Laureate in 2017, after Trump was inaugurated. and settlement here. How do imaginative play and perhaps even humor figure in your process and your poetry right now? Sort of the innocence of consumerism before bad things happen. 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. I will say it flat-out: I do not like poetry. I think in these most recent poems, Im trying to figure something out about the possibility of something like universal oneness. RHINO Poetry is supported in part by the Illinois Arts Council, a state agency, Poets &Writers, Inc, The Poetry Foundation, and by The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation. Petitions have been answered only by repeated injury. Unlike a lot of other poets I was looking at, she has a certain flavor that just really fit to my taste. She is a democratic writer, because her project in Wade in the Water is to curate American voices, particularly those of marginalized people, but also her own, and to situate these within the dark sweep of US history, with all its horrors, its anxieties, its potentialities. 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. [1] The term queasy questions comes from John Self, the narrator of Martin Amiss novel Money (1984). Smith received the 2012 Pulitzer Prize in poetry for her third book of poems, Life on Mars (Graywolf Press, 2011). How did you arrive at the title, and what do you hope it suggests or encapsulates for readers?While working on the book, I had the experience of attending a ring shout and feeling so deeply moved and shaken by the performance of Wade in the Water. After that evening, I suspected that Wade in the Water was going to be the title of my book. Tracy K. Smith served as U.S. poet laureate from 2017-19 and teaches at Princeton University. 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. Innocence and privacy. Everyone I knew was living It moves like a woman / Corralling her children onto a crowded bus. It is, implicitly, formed out of lives meshed into communities and societies; in place of capitalisms brutal sorting of human beings, Smith proposes another world. We get collage, erasure, short lyrics, long sectioned pieces; speakers grapple with the Civil War, immigration, faith, environmental damage, motherhood, grocery shopping. I think we have reached a moment where we need new myths.WASHINGTON SQUARE: The titles and cover art of your two most recent collections suggest a sort of pairing: Life on Mars, with its image of the Cone Nebula, points to the cosmic, while Wade in the Water presents as more earthbound. 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. Would you read it for us? Among her current projects is Self-Portraits,a chapbook collection of ekphrastic poems focused on women artists. Its not that I dont like it because Ew, poetry, but rather because I just dont understand a majority of it. Her term will be up in April of 2019. Yet everyone lived with a sense of innocence and privacy. People are leading lives where they cannot afford rich and luxurious things and are ashamed of that, yet they also hold onto fear; they are afraid to let people see their actual status. 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. Tracy K. Smith, I hope your poem is a prophecy. Wade in the Water (Graywolf Press, 2018) was her fourth At the end of the day, our lives arent quite the way we wish they were and it can be difficult to come to terms with that. Curtis Fox: So please give that a read if you would. She earned a BA from Harvard University and an MFA in creative writing from Columbia University. We were then asked to form an opinion on the meaning and significance of the poem. Title notwithstanding, the poem doesnt feel ostentatiously politicalcertainly not compared to some of its neighbors (e.g. I am thunderstruck by the human care of these last lines. What a profound longing So I thought, what could I do? The story of that poem is that it woke me up one night. In a 2016 interview for The Iowa Review, you commented, I never have figured out how to talk about race in my poetry in a way that feels authentic and organic, and Ordinary Light is a book in which Im thinking so much about race. Wade in the Water seems to engage this topic compellingly and with great assurance. But those things came out in this poem. One of the women greeted me.I love you, she said. 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. Usually only after therapy The glossy pastries! On the dawning century. For 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. I guess Ive been thinking a lot about mythology. Its not quite music, but the construction of these two parallel statements operated in a fashion similar to rhyme for me.WASHINGTON SQUARE: Youve said that writing your memoir Ordinary Light helped you work through your own thinking about race. A friend recently emailed it to me, even though I hadnt read the book yet. The opening and closing poems refer to the most familiar Biblical stories. Id squint into it and let it slam me in the face-- the known sun setting on the dawning century really stuck with me. The feeling that we arent content with how things are in our lives can resonate with everyone I am sure. His arms churn the air. Her writing contests the deeply isolating structures of capitalism by imagining self and nation as a collaborative condition, one that must be endlessly reconstructed and defended in the face of xenophobia, sexual violence, economic ruin, social anomie, and political disintegration. WASHINGTON SQUARE: Thats fascinating! 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. 4 (September 2018). We often want more from life than is achievable and all-in-all, thats okay. How do you feel now about taking up race in your poetry? Smith: That's the only dream like that that I've had. I love chicken. I think its because i'm not very artistic that it doesn't come so easy. 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. But it is as if he hears, A voice in our idling engines, calling himLithe, Swift, Prince of Creation. I love you,I love you, as You flinch. Brought on a different manner of weather. If we laugh at it, it has less power over us. A two-time Hambidge fellow, her poems have appeared in such publications as Little Star, Prairie Schooner, december, American Life in Poetry andVerse Daily. WebTracy K. Smith was born in Falmouth, Massachusetts, in 1972, and raised in Fairfield, California. This is an essential book, one that should be required reading throughout the land. In October, Graywolf Press will We'll love you just the way you are if you're perfect. Analyzes how the first poem in the book sums up the primary focus of the works in its exploration of loss, grieving, and recovery. on the high Seas The something climbs, leaps, isFalling now across us like the prank of an icy, brainyLord. WebTracy K. Smith was born in Falmouth, Massachusetts, on April 16, 1972, and raised in Fairfield, California. It comes down to simple math.The beach belongs to none of us, regardlessof color, or money. We thought the birds were singing louder. Home the paper bags, doing Can you tell us a little bit about this poem before you read it? We took new stock of one another. An elegy to your mother in The Bodys Question ends with the lines, We sat in that room until the wood was spent. But I also felt that, okay, this is a kind of service that I would be doing for the country. 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. Every least leaf, Shivers in the sun, while we sit, bothered,Late, captive to this thing commanding. Im talking about the many products, services, networks, trends, apps, tools, toys, as well as the drugs and devices for remedying their effects that are pitched to us nonstop: in our browser sidebars, in the pages of print media, embedded in movies and TV shows, on airplanes, in taxis and trains and even toilet stalls. Poetry wasnt really on my radar thenat least nothing contemporarybut I was taking a required composition course, and in the classroom I spotted a poster bearing some lines from a poem. Selected by Naomi Shihab Nye. 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. Its about letting the unconscious mind into the process of problem-solving. And let it slam me in the face Tracy K. Smith: I have, and I didnt know if I would. 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. Take it easy. So I did that with this document, and what I found myself doing was deleting the text that was most specific in reference to England, and listening only to the first half, in many cases, of statements. 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. 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. Looking back, do you have a sense of your writerly evolution across your books? Or next to nothing and drops it in the chute. Due to the insinuation that this is an expensive shop, she reminisces of being in her thirties and seeing the The glossy pastries! and the Pomegranate, persimmon, [and] quince! sold there. But the poet respectfully appropriates them, placing each within her linguistic universe, where things like line breaks and image patterns matter, and as such the erasure is partly undone. Bouncing balls, the kind that lifts nothing. SMITH: The older I get, the more I begin to think of Time as not just a force or a law of nature, but as a presence we live alongside, someone rather than something. Im thinking particularly of your poem Ash, which, compared to some of the other poems in Wade in the Water, feels especially, conspicuously (and beautifully!) Curtis Fox: Now you hinted at it, but its an erasure poem. I wanted to find a way of reminding myself that our 21st Century moment isnt self-contained; somewhere and somehow, it has bearing upon what happens moving forward throughout all of eternity, even after we humans are gone from this planet. I spent about 2 hours going through this list of poets trying to find someone that I could just understand and was pleasantly surprised to stumble upon Tracy. And, for all their sagacity and poisetheir precise images and finely-crafted musicSmiths poems manage to be, too, surprising and audacious. The poet is having an ominous sense that this century is going to be quite something to handle, which turned out to be true. 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. 1 No. Even a simple poem like The Good Life grew large, for me at least,when the image of a woman journeying for water from a village without a well arrived. 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. Im Curtis Fox. 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. 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. Its actually the last poem in your book. sent hither swarms of Officers to harass our people I dont yet know how to classify Wade in the Water. From a handbasket filled Curtis Fox: Dr Hayden from the Library of Congress, right? Aside from that, I like your analysis of the poem. Smith works like a novelist, curating the national tongue. Did that effect the way that you thought about what you were going to do as Poet Laureate? It felt very much like a plea that could live in the 21st century, around all the instances of violence against unarmed black citizens. 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). The known sun setting Its current occupant is Tracy K. Smith, who was named Poet Laureate in 2017. Declaration uses erasure to repurpose Thomas Jeffersons litany of complaints against King George, evoking the slaves forced migration to this country and their experience here of unspeakable oppression. Even going into the first trip, I was thinking okay, Im performing a service. What happens to our relationships with others under these conditions which have resolved personal worth into exchange value, as Marx and Engels write in The Communist Manifesto? 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