2,000 Ways of Looking at Wang Wei (and I still can’t resist)

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The subject of Nineteen Ways of Looking at Wang Wei: How a Chinese Poem is Translated, these four lines have not suffered from lack of translation. Gary Snyder’s rendition is beautiful – some might say perfect – as is Burton Watson’s. And then there’s Octavio Paz’s version. Yet I persist…

The transliteration on Chinese-poems.com (which differs from that offered by Eliot Weinberger):

Empty hill not see person
Yet hear person voice sound
Return scene enter deep forest
Duplicate light green moss on

And my take:

Deer Sanctuary

There’s no one on this empty hill,
but I hear someone talking.
Sunlight trickles into the forest,
reflecting onto the green moss.

Time and again Weinberger objects to an explicit first person observer, but to my ear it flows better. I’ve tried to retain a sense of precision in observation and at least a hint of duality, and believe that I’ve succeeded, at least in part. Having carried this poem with me for more than two decades, only now have I felt up to the task of adapting it. I chose the title “Deer Sanctuary” because in my neck of the woods spaces enclosed by “game fences” are generally meant for hunting. We Texans do love our venison. But the poem, to me, is ultimately peaceful. Hence my title.

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This originally appeared on the blog in April 2014.

Q&A with Poet Lynne Burnett, Part 2

Part 2 of the Q&A with poet Lynne Burnett:

Would you offer up some of your influences – poetic and otherwise. What draws you to that work? 

Well, I’d have to start with the Romantic Poets (Shelley, Keats, Blake) and William Wordsworth, whose lines “To me, the meanest flower that blows/Can give thoughts that do often lie too deep for tears” are engraved in my mind. Then there’s Walt Whitman (the music of his lines!), Emily Dickinson (nutshells bursting with meaning), Rilke (“Again and again, even though we know love’s landscape”…), Rumi (words that dance with beauty, love and ecstasy) and a host of others. More currently, Jane Hirshfield for her image windows and language depth, Billy Collins for his ease of expression and accessibility, George Bilgere for his wry humour, Stephen Dunn for the contemplative mind journeys he takes me on, Tony Hoagland for his wit and great intellect in both poems and essays, Mary Oliver for her simple praise of the natural world, David Whyte for poems that immerse me in the soul’s callings. There are many more – I’m a wide reader and everything I read exerts its influence – but these are the ones that immediately come to mind. I am drawn to work that praises both the extraordinary and ordinary aspects of a life, to the grounded ecstatics, to poems so deep they are bottomless – that reward over and over and feed a hungry mind, questing heart. I’m also drawn to haiku for its succinctness.

And to art, especially paintings: I’ve written a sequence of 17 poems based on one artist’s “Time” sequence of 17 abstract paintings, which resulted in the two of us finally meeting face to face and me being able to see those paintings firsthand. I guess that makes me an ekphrastic poet!

 

What themes or traits will readers find in your work? What will they not find?

Because of the brevity of life, it’s precious to me. So, the themes of time and death and why are we here, what does it all mean. Readers will find praise, love, ecstasy, humour, irony, an articulation of ideas and ponderings, joy and innate spirituality in my work. I’ll work a theme from every angle over the course of many poems – which I hope I’ve done successfully with this chapbook. You’re unlikely to find swearing or really long poems (yet) or long wordy narratives. I like compression. I try to present different facets of a subject in a poem rather than take a specific stand for or against something. Although I initially worked toward a resolution in my poems, now you’ll find less of that, more of a door for the reader to go through and take what s/he will. Animals and nature abound in my writing. The “aum” of life too. 

And your creative process? Could you offer us a glimpse into how your poems develop from first glimmer to fully realized piece? Do you follow a regular writing routine? Do you listen to music while writing? Write in public or in solitude?

I have so many folders jammed with notes on odd pieces of paper, and little memo pads in every bathroom of the house! Any phrase that comes to mind or overheard and of interest, any incident read or seen that grabs me or gives me pause or makes me think – all get jotted down for later development. An observed image can tunnel through me to unexpected places. Occasionally I’ll use a random group of words and this will result in some of my best poems. Most of the time I start with a memory or something seen or read that I want to make sense of or settle emotionally. I sit at my desk some portion of every day (and thankfully have a large den with a door) but the real writing happens either first thing (before checking emails etc.) or mid-late afternoon. I LOVE this time of day, after I’ve meditated, and can write freshly or look with more objective eyes at something already begun. When I begin a poem, it lives with me – usually for days and weeks – until it amasses enough energy and coherence to be considered a poem and at that point I’ll type it on the computer, print it and then also put a handwritten copy into a binder. Every poem I’ve ever written, and every revision, they’re all dated, signed and noted in these binders. Anyway, this fledgling poem that finally got printed will have had a rocky start and almost always reach a point where it’s not working, I can’t find a satisfactory end or smooth transition between stanzas or the tone or point of view aren’t right and I get stuck – for days. It’s a part of my process I’m familiar and increasingly comfortable with. I’ll go for a walk or iron and the physical motion does some magic. As uncomfortable as this part is, it ALWAYS resolves itself if I just surrender to what wants to be said, not what I think wants to be said. Often I’ll end up with an opposite point of view as a result. The completion of the poem after this tipping point happens quickly: I get an image of sewing, a tactile sensation of words being stitched together, that is strong and stretchy and hole-proof. This doesn’t mean my opinion of the poem doesn’t change over ensuing days/months/years – it certainly does and most of my poems are revised. However, the core energy of the poem – hopefully – stays intact (I believe poems are energetic structures). I’ve learned to always sleep on my “latest, greatest” drafts (what was I thinking?) which turn out to be in the new day’s light – if not “it” then a necessary step to get there. On occasion I’ve written to music (always instrumental) and found it quite freeing! Usually though I work in quiet solitude. Now that I have a much larger den with a fabulous sound system I think I’ll experiment more with that.

List three favorite poets, an admirable animal, and your go-to beverage.

Only three!!! This moment it’s Stephen Dunn, Jane Hirshfield and Dorianne Laux. Ask me again and my answer might be different (isn’t it wonderful to have a Poet Bank to draw from?). An admirable animal would be my totem, the black panther: about ten years ago I dreamed one picked me up in its mouth and half-carried half-dragged me to a path I was supposed to be on, before letting me go, mission accomplished. Shortly after, I was in Mexico and a beach vendor walked by, hawking, among other stone sculptures, a foot long black panther. Yes! Of course I ran after him and this big boy has stalked a corner of my desk ever since. If it’s first thing in the morning, my go-to beverage is a strong cup of coffee but later in the day some coconut water does the trick! 

Thanks, Lynne!

See Part 1 here.

Visit Lynne’s blog to read a sample of her poetry, after which you’ll likely feel an irresistible urge to purchase Irresistible, now available through Amazon.com and Finishing Line Press

Gemini Ink Writers Conference in San Antonio, July 2018

Gemini Ink Writers Conference in San Antonio, July 2018

This 3-day conference has quite the line up in poetry, with renowned poet and editor Veronica Golos, Pulitzer Prize winner Vijay Seshadri, and Ruth Lilly Prize winner and Pulitzer Prize finalist Martín Espada. I can’t pass up this opportunity, and have already registered for Veronica Golos’s workshop. The conference runs from Friday, July 20 until 6:00 p.m. Sunday, July 22. If you’re a local or don’t mind traveling and want to sample the Texas summer (we do have air conditioning), you might consider Gemini Ink Writers Conference. I’m excited!

The non-poetry offerings are equally impressive, but hey, I’m a poet, and will let someone else address those.

Politics

snake

Politics

No snakes here,
but a little voice

says the mice
will return,

and which
do you prefer,

the one that
gnaws open

ramen packages
then craps

on your plate
or the one

who takes
its prey

under the house
and swallows

it whole,
leaving

no bones
behind?

dc

“Politics” first appeared here in January 2017.

Portrait of Donald Trump as Poet Transforming into a Creature from Out of a Francis Bacon Painting

Ah, this poem by one of my favorite poets!

Shenandoah Breakdown

Photograph by Jose Padua

Sometimes I feel like I’m several billion dollars
worth of tax free income but all you want to do
is kill my high. Like I’ve just had a
poetry reading in an elegant theater,
attended by three hundred people,
which for poetry is big, it’s huge, but
all this guy with a poetry blog publishes
is a blurry photo of some sad bar where
ten drunk guys are nursing their craft beers
while I stand alone in a corner reading
my magnificent poem about how great I am.
That’s not how it’s supposed to happen.
And that’s why I didn’t have some other poet
read his work at my inauguration because
I’m the only poet worth reading nowadays
and I was too busy to read my own poems
while being inaugurated as the forty-fifth
and best president ever that day so screw you.
It’s because of people like you that…

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Autumn Winds (after Li Po)

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Autumn Winds (after Li Po)

Clear autumn winds swirl
below the moon’s glow,
scattering the gathered leaves.
The startled crows return.
When will we see each other again?
This hour, this lonely night, my feelings grow brittle.

The transliteration on Chinese-poems.com reads:

Autumn wind clear
Autumn moon bright
Fall leaves gather and scatter
Jackdaw perch again startle
Each think each see know what day
This hour this night hard be feeling

* * *

“Autumn Winds” last appeared here in May, 2016. I started the adaptation in the heart of summer, hoping that it would offer a respite from the unrelenting Texas heat…

Bird Fall MGD©

Recording of Self-Portrait with Knife

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Self-Portrait with Knife

Lacking benefit of prayer or belief,
it slips through flesh,

praising its temerity. Or,
parting the onion’s core, reclaims
the right to weep.

How many nights have we shared
these pleasures? I smooth the blade

with steel, listening to the fine hum.

“Self-Portrait with Knife” is included in my just released micro-chapbook Only This, available for free download from Origami Poems Project.