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The Poetry of Pittsburgh

The Poetry of Pittsburgh

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When I began this blog more than two years ago, I didn’t think long about the quotation I would use across the top. I knew it would come from Annie Dillard’s book An American Childhood.

“When everything else has gone from my brain — the President’s name, the state capitals, the neighborhoods where I lived, and then my own name and what it was on earth I sought, and then at length the faces of my friends, and finally the faces of my family — when all this has dissolved, what will be left, I believe, is topology: the dreaming memory of land as it lay this way and that.”

A few years ago, on our way back from visiting Tom’s family in Indiana, we stopped in Pittsburgh, where Annie Dillard was born on this day in 1945. It was a literary pilgrimage for me. Our first view of the city (where I had lived as a toddler, pre-memory), came at dusk, as we drove into a tunnel and out and suddenly there were the three rivers and the bridges crossing them all lit up with white lights and it seemed magical to me, this old city of groaning steel and trestles.

Was it the place itself that exerted this magic, or was it because I was primed to love it by Dillard’s words? “I will see the city poured rolling down the mountain valleys like slag, and see the city lights sprinkled and curved around the hills’ curves, rows of bonfires winding.”

It was both, I think. The place of poetry. The poetry of place.

 Photo by Peter Tooker 2010 All Rights Reserved. From the blog Open Windows.

Lee’s Place

Lee’s Place

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Today is the birthday of Harper Lee, who was born in 1926 and still lives in her hometown of Monroeville, Alabama. She has written one book,  To Kill a Mockingbird; it won the Pulitzer and has sold more than 300 million copies. 

“I still plod along with books. Instant information is not for me. I prefer to search library stacks because when I work to learn something, I remember it,” Lee said in a 2006 issue of Oprah magazine.

The Monroe County Public Library, I wonder, is that the library she searches? Or the library of Alabama Southern Community College, located in Monroeville? I scan the college website and find a notice for the 15th annual Alabama Writer’s Symposium, with its topic “Write Out of Place,” being held (yes) this weekend.

Here’s how the symposium is advertised, first with this quotation from Katherine Mansfield: “How hard it is to escape from places. However carefully one goes they hold you — you leave little bits of yourself fluttering on the fences — like rags and shreds of your very life.”

And then with the following: “When Mansfield wrote those lines, she could have been describing the way that Alabama authors often find themselves in relation to their home. Whether they set stories lovingly in Alabama, loathingly in Alabama, or deliberately not in Alabama, place becomes a part of who they are. …  The 2012 Alabama Writers Symposium explores the ways in which Alabama writers are affected by their ‘placehood,’  the ways in which Alabama as a place informs their literary efforts.”

Lee lived in New York for a while, and she spent time away in college and when she was helping her childhood friend, Truman Capote (another native of Monroeville), research In Cold Blood in Kansas. But she has spent most of her life in Monroeville. She has not escaped from her place; she doesn’t seem to have wanted to.


Symposium

Symposium

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Less than 24 hours in New York City, a quick trip up for my journalism school reunion. I almost didn’t go; I didn’t know if I wanted to tell people what I was doing. It’s not that I’m ashamed of my career; it’s a decent one by most standards. But my classmates are an impressive group of journalists. I wasn’t sure they would understand that what matters to me now is not the daily chase for plum assignments or the satisfaction of putting a magazine to bed. Instead, it’s reading and thinking and working on the ever-elusive next book.

What I discovered is that many of them are in a similar place. They too are switching gears, writing poetry, starting blogs. They are still an impressive bunch — but impressive as human beings, most of all.

This is where we held our party. Symposium: Plato’s work on the nature of love, the Greek word for drinking party and a funky little restaurant on 113th Street.

Sally’s Garden

Sally’s Garden

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A few days ago our friend Sally invited us to her house to dig up ferns. Her crop was crowded and needed to be thinned, she said. So we ventured over, shovels in tow, on an unseasonably warm April afternoon.

We’d been to Sally’s house before but had never spent time in her backyard. It was nice, I knew, from looking out the back window. But I was unprepared for the beauty and calm spirit of the place.

In the native plants garden there are ostrich ferns and wood poppies and bluebells. A path winds along the perimeter with a pond in the middle and a little arched bridge. The yard is shady and cool, a habitat for birds and butterflies. It backs into a woods that stretches for miles along the stream valley of Little Difficult Run. Sally’s garden is one of those surprising suburban oases.

It wasn’t until we returned home, our car stuffed full of ferns and wood poppies for transplant, that I realized why “Sally’s garden” sounded familiar. It was the Yeats’ poem “Salley Gardens” it brought to mind, a verse put to song, a tale of regret and time passing and all sorts of emotions that are often hidden in the suburbs. But they are what give a place depth.

Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her did not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she placed her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

W. B. Yeats

My Heart With Pleasure Fills

My Heart With Pleasure Fills

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I’m thinking of that poem, the one we learned in elementary school, the one that seems jaded and obvious — until you stumble upon it in real time.

The other day I rounded the corner of a paved path and there was my own “host of golden daffodils.”

Or not my own, actually. That was the beauty of it. They were for everyone, were wild and free, glorifying not just a single backyard but a widespread and well traveled community woods. Tucked among the oaks and maples and just a few feet away from the skunk cabbage.

I slowed my pace as I strode beside them, wanting to savor their beauty as long as possible. Other amblers did the same that sweet spring morning. There was a hush in the air, a reverence for the blossoms.

I did not wait for “the inward eye, which is the bliss of solitude.” I took no chances. I used a camera. And now, as I look at the photograph, I remember the flowers’ surprising presence in that parceled suburban landscape. The words flow into my mind before I can stop them: “And then my heart with pleasure fills, and dances with the daffodils.”

First Things

First Things

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Has it come to this then, writing a post about not writing a post? Or, I should say, writing a post about not writing a post first thing in the morning and hence being waylaid, side-stepped, distracted and otherwise shut off from those first pure moments. It’s not yet 10 a.m., but on days I come into the office, I usually write before 6. Four hours later, I can see how easy it would be to not write at all. Let this, then, be a post about finding time, about deciding what will be automatic and what will not.

“Make it as much a part of your day as brushing your teeth,” say the gurus of exercise/meditation/daily writing/morning prayer. But how many automatic elements can one day hold? Aren’t our days already full to bursting?

All the more reason to plan carefully how we begin. To decide what will come first; to consider what, at the end of the day, we will most regret having not done.

I choose to begin with writing. Most days, I follow the plan. When I don’t (like today, for instance), it doesn’t take long to remember why I do.

Good Fences

Good Fences

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The fence was built but it needed reinforcing, so on Saturday I helped my brother hammer chicken wire into split rails. A small task, and gladly done. Now his dogs will be free to romp and play in their new home. The fence will give them freedom.

“Good fences make good neighbors,” Frost wrote. But these words are spoken by the neighbor; they appear in quotation marks. The poem begins:

Something there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun …

And, later:

Spring is the mischief in me, and I wonder
If I could put a notion in his head:
‘Why do they make good neighbors?’ Isn’t it
Where there are cows?
But here there are no cows.
Before I built a wall I’d ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn’t love a wall…

Something there is, true. But that doesn’t stop us from building them.

Afternoon Light

Afternoon Light

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The late-day walk is sun-scorched, quick-timed. The cars don’t see you coming. In the lengthening days of new spring, it is still raw and cold, so I don’t linger on the path. The point is decompression. The jingle-jangle of the subway, the pressure of the deadline — these will slip away in the balm of foot fall. Or at least that is the hope.

But afternoon light is desolate. It lacks the comfort of the morning. I find no explanation for this in science, only in poetry:

There’s a certain slant of light,
On winter afternoons,
That oppresses, like the weight
Of cathedral tunes.

Miss Dickinson to the rescue. She understands.

Walk from One World

Walk from One World

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This winter’s mild weather means it’s not too cold for a walk before dawn. I’ve taken a few of these lately, mostly brisk strolls to the train.

To walk to Metro is to walk east, toward morning. So in all of these ambles I aim toward a slight strip of red along the horizon, the earliest sign of daylight. The only folks I see are just like me, dressed in black or gray, shouldering packs and briefcases and gym bags, purposefully striding to the ribbon of track that will whisk us from one world to another.

These last few months I have come to appreciate even more the benefit of such a separation. It is good to have a place that is not home, a cool, quiet, unemotional place in which to produce solid, if unimaginative, prose. So, I move fast on these morning walks to Metro not just because I’m scared to be stirring in the darkness, but also because I’m genuinely eager to leave the turbulent, heartfelt, almost full to bursting world for a leaner, calmer one.

I have no illusions, though. My best and deepest work always comes from acknowledging and confronting the turbulent world. I walk fast in the morning, but never fast enough to leave that world completely behind.

The Paper

The Paper

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It has been a while since I had to write a paper. Even though I write all the time and deadlines are my constant companion, there’s something about an academic deadline that’s different. Is it because a grade rests on the performance? Undoubtedly that has something to do with it.

Most probably, though, it harkens back to some deep primordial fear of failure. The way my stomach would somersault when the teacher (often a nun) began collecting the assignments — and I realized that I Had Left Mine At Home. It was pure terror, to be rehashed in dreams for decades to come.

And then there were those loopy all-nighters of college and late high school, typing (yes, typing — on a typewriter with White Out and correcting strips) the bibliography as the sun rose. Those nights had a rhythm and a pattern all their own: the despair of 2 a.m., the rejuvenation at 3, the near crash at 4 and the triumphant completion at 7:30, just in time for an 8 a.m. class.

I’ve learned to pace myself a bit since then. I’m mailing my paper today (fingers crossed) and it isn’t even due till tomorrow.

photo: IBM