Thursday, January 31, 2013

Heart Beats: Everyday Life and the Memorized Poem

Just a bit more on memorizing poetry: a new book came out from Princeton University Press about a month ago on the topic.  I haven't read it yet, but it should be interesting, according to reviews from The New Yorker and the Times Higher Education.  Both are well-worth reading, but The New Yorker piece especially brings up some poignant moments, noting that some of the memorized-poems discussed in the book "were continually reminding us that we all have one foot in the grave. It’s a weighty burden to drop on the scrawny shoulders of some ten-year-old boy or girl, standing hunched and terrified before a scowling, correction-bent teacher."

The three poems Robson focuses on are Felicia Hemans’s “Casabianca,” Thomas Gray’s “Elegy Written in a Country Churchyard,” and Charles Wolfe’s “The Burial of Sir John Moore after Corunna.”  I've included Gray's poem below.  Imagine being asked to memorize all of that, in middle school!

Elegy Written in a Country Churchyard
Thomas Gray

The curfew tolls the knell of parting day,
         The lowing herd wind slowly o'er the lea,
The plowman homeward plods his weary way,
         And leaves the world to darkness and to me.

Now fades the glimm'ring landscape on the sight,
         And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
         And drowsy tinklings lull the distant folds;

Save that from yonder ivy-mantled tow'r
         The moping owl does to the moon complain
Of such, as wand'ring near her secret bow'r,
         Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
         Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
         The rude forefathers of the hamlet sleep.

The breezy call of incense-breathing Morn,
         The swallow twitt'ring from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
         No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
         Or busy housewife ply her evening care:
No children run to lisp their sire's return,
         Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,
         Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
         How bow'd the woods beneath their sturdy stroke!

Let not Ambition mock their useful toil,
         Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
         The short and simple annals of the poor.

The boast of heraldry, the pomp of pow'r,
         And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour.
         The paths of glory lead but to the grave.

Nor you, ye proud, impute to these the fault,
         If Mem'ry o'er their tomb no trophies raise,
Where thro' the long-drawn aisle and fretted vault
         The pealing anthem swells the note of praise.

Can storied urn or animated bust
         Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
         Or Flatt'ry soothe the dull cold ear of Death?

Perhaps in this neglected spot is laid
         Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
         Or wak'd to ecstasy the living lyre.

But Knowledge to their eyes her ample page
         Rich with the spoils of time did ne'er unroll;
Chill Penury repress'd their noble rage,
         And froze the genial current of the soul.

Full many a gem of purest ray serene,
         The dark unfathom'd caves of ocean bear:
Full many a flow'r is born to blush unseen,
         And waste its sweetness on the desert air.

Some village-Hampden, that with dauntless breast
         The little tyrant of his fields withstood;
Some mute inglorious Milton here may rest,
         Some Cromwell guiltless of his country's blood.

Th' applause of list'ning senates to command,
         The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
         And read their hist'ry in a nation's eyes,

Their lot forbade: nor circumscrib'd alone
         Their growing virtues, but their crimes confin'd;
Forbade to wade through slaughter to a throne,
         And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,
         To quench the blushes of ingenuous shame,
Or heap the shrine of Luxury and Pride
         With incense kindled at the Muse's flame.

Far from the madding crowd's ignoble strife,
         Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
         They kept the noiseless tenor of their way.

Yet ev'n these bones from insult to protect,
         Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
         Implores the passing tribute of a sigh.

Their name, their years, spelt by th' unletter'd muse,
         The place of fame and elegy supply:
And many a holy text around she strews,
         That teach the rustic moralist to die.

For who to dumb Forgetfulness a prey,
         This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
         Nor cast one longing, ling'ring look behind?

On some fond breast the parting soul relies,
         Some pious drops the closing eye requires;
Ev'n from the tomb the voice of Nature cries,
         Ev'n in our ashes live their wonted fires.

For thee, who mindful of th' unhonour'd Dead
         Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
         Some kindred spirit shall inquire thy fate,

Haply some hoary-headed swain may say,
         "Oft have we seen him at the peep of dawn
Brushing with hasty steps the dews away
         To meet the sun upon the upland lawn.

"There at the foot of yonder nodding beech
         That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
         And pore upon the brook that babbles by.

"Hard by yon wood, now smiling as in scorn,
         Mutt'ring his wayward fancies he would rove,
Now drooping, woeful wan, like one forlorn,
         Or craz'd with care, or cross'd in hopeless love.

"One morn I miss'd him on the custom'd hill,
         Along the heath and near his fav'rite tree;
Another came; nor yet beside the rill,
         Nor up the lawn, nor at the wood was he;

"The next with dirges due in sad array
         Slow thro' the church-way path we saw him borne.
Approach and read (for thou canst read) the lay,
         Grav'd on the stone beneath yon aged thorn."

THE EPITAPH
Here rests his head upon the lap of Earth
       A youth to Fortune and to Fame unknown.
Fair Science frown'd not on his humble birth,
       And Melancholy mark'd him for her own.

Large was his bounty, and his soul sincere,
       Heav'n did a recompense as largely send:
He gave to Mis'ry all he had, a tear,
       He gain'd from Heav'n ('twas all he wish'd) a friend.

No farther seek his merits to disclose,
       Or draw his frailties from their dread abode,
(There they alike in trembling hope repose)
       The bosom of his Father and his God.

Authors Interview Themselves

You guys might be interested in this 2010 article from the Guardian, "Questions that authors are never asked." In it, authors ask themselves interview questions that they feel are important, but which they are rarely asked.  It features interviews with many writers, including Nadine Gordimer, John Banville, and Margaret Atwood.  Since we're reading Atwood this week, you might find that one especially interesting.  (Hers is a little more than half-way down the page.)

Margaret Atwood - source: http://commons.wikimedia.org/wiki/File:Margaret_Atwood_Eden_Mills_Writers_Festival_2006.jpg

Tuesday, January 29, 2013

"A Memorized Poem Lives with You Forever"

Since you'll each be memorizing a poem this semester, I thought you might enjoy this article from NPR, "A Memorized Poem Lives with You Forever, So Pick Carefully."  Though it's probably best for you to pick a piece you feel personally connected to, the article mentions ten poems you might consider memorizing, including "The Fish," by Elizabeth Bishop, who we'll be reading later this semester, and John Keats, who is pictured below.

John Keats - source: http://commons.wikimedia.org/wiki/File:John_Keats_by_William_Hilton.jpg

Sunday, January 27, 2013

This Week's Literary Events

If you have some extra time this week, you might want to check out some of these readings.  Remember, you're required to go to two readings during the semester and write a short review of each on this blog, so this is a good opportunity to get one or both of those done.  If you're planning to go to any of these, feel free to leave a comment, and perhaps a few of you can go together.

Trauma and Responsibility: Women Writing About Resilience
29 January, 7 p.m., 192 Books, 192 Tenth Avenue, New York, NY, 10011. Free.
Survivor’s guilt. Does it live on in our scars, or can we overcome it? In two powerful new stories, Karen Russell and Jennifer Vanderbes explore the lives of two women who must face a trauma and the responsibility they feel towards it. In Vanderbes’s story, a mother tries to live with the death of her child and the idea that she could have saved her. Russell’s protagonist, a massage therapist, finds that her touch has the power to change the way a war veteran perceives his involvement in the death of a fellow soldier. Granta editor John Freeman joins these two writers to explore how we write about trauma and if it is possible to release the guilt of a survivor.

Fiction Addiction: A Night with PEN American Center
29 January, 8pm, corner of Second St. and Avenue A. 2A in the upstairs bar.
Fiction Addiction, January time. We're teaming up with PEN American Center this month, the world's oldest human rights and literary rights organization in the world, defending free expression and celebrating literature since 1922. Can't wait to bring you these four PEN Members, 50 feet tall and reading for you on the 29th: TEA OBREHT (The Tiger's Wife); CHRISTOPHER SORRENTINO (American Tempura, Trance, etc); J. ROBERT LENNON (Familiar, Castle, etc); CATHERINE CHUNG (Forgotten Country). What more can be said? 

Organic Open Mic by Inspired Word 
Every Tuesday, 7pm, Bareburger 2nd Floor, 85 Second Avenue (@ 5th Street). $10.
Looking for special - and very unique - open mic in downtown Manhattan, with wall-to-wall people and great energy? Swing by the Organic Open Mic at the gorgeous Bareburger organic restaurant in the East Village - the home of some of the best tasting food on the planet.  Produced by the long-running Inspired Word open mic series, which has featured Grammy winners, American Idol finalists, Golden Globe Award winners, Emmy nominated actors, and HBO Def Poetry stars, this open mic is open to ALL types of performing artists - comedians, musicians, storytellers, singers, poets, fiction/nonfiction writers, playwrights, spoken word artists, performance artists, dancers. The event takes place on the second floor, with full-length windows on all sides that offers an especially beautiful view.


Storytelling: A Conversation on Truth and Betrayal
30 January, 7 p.m., BookCourt, 163 Court Street, Brooklyn, NY 11201. Free.
From a masseuse who secretly manipulates the scars of war with her touch to the fire that perhaps didn’t have to claim the life of a loved one to a still-born flirtation, Jennifer Vanderbes, Karen Russell and AndrĂ© Aciman explore the many shapes of betrayal. Granta associate editor Patrick Ryan joins these authors for a reading and conversation about their new work in Granta and the ways in which betrayal functions in a story.

Granta 122: Betrayal - The New York Launch
31 January, 7 p.m., McNally Jackson, 52 Prince Street, New York, NY 10012. Free.
Treachery lies at the heart of our most dramatic stories. Celebrate the launch of Granta 122 with an evening of stories and conversation exploring betrayal’s many forms with Ben Marcus, Karen Russell, Colin Robinson, Lauren Wilkinson and Granta editors. Drinks will be served at the event.

Fiction Reading: Lorrie Moore
31 January, 7 p.m., Greenberg Lounge, NYU School of Law, 40 Washington Square South. Free.
Acclaimed author Lorrie Moore’s most recent title is the novel "A Gate at the Stairs" (Knopf, 2009). Moore is the 2013 Distinguished Fiction Writer-in-Residence in the NYU Creative Writing Program. Introduced by Darin Strauss.

Poetry Reading: Brenda Shaughnessy and Craig Morgan Teicher 
1 February, 5 p.m., Lillian Vernon Creative Writers House, 58 West 10th Street. Free.
Brenda Shaughnessy’s new collection is "Our Andromeda" (Copper Canyon Press, 2012). "To Keep Love Blurry," Craig Morgan Teicher’s latest title, was published by BOA Editions in 2012.

Monday, January 14, 2013

Welcome to Creative Writing 815-009

Dear Students,

I look forward to meeting you all in class soon.  In the meantime, I should let you know there have been two small changes to the syllabus.

First, the ISBN on Dubliners is incorrect. We'll actually be reading the Norton Critical Edition, which is ISBN: 978-0393978513.

Second, we won't be reading Facts for Visitors, so there's no need for you to purchase that title. (Though it is a wonderful book, so it's certainly worth purchasing if you're interested.)

Best,
Kristin