Well, THAT happened!
Thirty days, thirty poems extracted from “The Stories of John Cheever” as part of the Pulitzer Remix Project. As we hit the final few days it seemed to me as if we all taking a final sprint for home. I don’t think it’s a coincidence that many of my fellow remixers might have been holding back their one final poem as a sort of send-off. For my part, I knew going in I wanted the last poem to be one of Cheever’s most famous: “The Enormous Radio.”
Here’s how the month ended for me.
To be honest, the was the sloppiest of all my poems. For the project I preferred to work from photocopies that could travel with me, that I could pick up and toy with while commuting or wherever I happened to have a few moments’ free time. For this particular poem I worked at home, straight from the book, trying to be as spontaneous as possible. I had edited and saved but failed to post this on the day it was due, only realizing it was still in “draft’ form the next day. As for the poem itself, I was intrigued by the portrait that emerged early on and felt determined to make the end line up.
This is, I think, the very first found poem I completed back in January. I was looking for patterns in language to play with, repetition that I could bounce off of, and when “over” and its multiple meanings came into play I knew I had found what I was looking for. I had three different ways of formatting the poem in mind before finally deciding on a very measured approach.
Outside of dialog, Cheever wrote very little first-person narratives, so when I landed on his (and my) opening line I knew I had to use it. And when you look at that blunt line you realize there’s no flowery prose that you can hide behind; what follows must be equally terse. Again, I take no credit for Cheever’s dark demons.
I walked away from and came back to “The Enormous Radio” several times because I wasn’t able to make found poetic sense of it. Each time I thought I’d found something I could build on, only to have it diverge into a yellow wood and leave me at the fork. Then I realized the two-part structure, the first with its emotions and the second with its repercussions. The word “it” became pivotal and where I had been shying away from the word “love” throughout I realized I had to use it here. In the end it becomes a farewell to the project, a tribute to all who ventured along this journey, and a sad commentary about Cheever himself.
Where I had my fears about committing to so huge a project going in, I’m happy to see those fears we unfound… okay, I freaked out a little half way through. I had some gaps and doubts that I could keep pulling out poems of a decent quality. I was buoyed along by fellow remixers in the comments who, when i was sure I had just posted the worst dreck imaginable, were able to find glimmering facets I hadn’t even noticed. Though I wasn’t part of the facebook group I really felt like we were a solid clan, working the edges of our found efforts from ragged to crystalline. I’m proud to have been a part of such a huge and committed bunch of participants and to whatever comes next.
A chapbook maybe?
So here we are, post-National Poetry Month (or ponapomo, if you will) and as much as I’d like to keep going I do have some other pressing writerly deadlines and project to finish. I hope you’ll take the time to visit not only my links but to check out some of the other 2400+ poems at the Pulitzer Remix site and see what I’ve been talking about.
And in the kidlitosphere, Poetry Friday continues, hosted this week by Elizabeth Steinglass. Plenty of goodness there, probably none of it based on the work of John Cheever.