For
the last two weeks, a big chunk of my time has been spent writing: writing poems
and writing grant proposals. There are
some similarities: for both, a lot of the writing is in the revision; you seek for
a unity and flow in a poem and in a proposal; and for both, years of practice
may not make perfect, but they do matter a lot in developing the craft.
On
the other hand, they are really different, particularly when it comes to the
mind and heart (and even the body) process of creating. Especially when it relates to outcomes.
When
you write a grant proposal, you have to tell what you expect your outcomes to
be, the steps you will take to get there, how you will evaluate whether you’ve
been successful, not to mention who’s going to do it, when it’s going to get
done, how much will it cost, how will you promote it, what data will you
collect, et cetera.
When
I write a poem—or at least, when I’m at my best and least distracted—I may
start with an image, a story, an idea, and I may have an idea of where I want
the poem to go. But woe to me if I
insist on the ending or even the path I have in my mind! When I was just starting to write poems (40
years ago!), I usually had an idea what I wanted the poem to be, to promote, to
say. Thank God, most of the time now, I
am more interested in exploring where the poem will go, not deciding where it will
go. There are still a lot of decisions I
make in the creative process: word choice, line and stanza breaks, and so
on. But there is more surprise, more
gift in my writing when I let go and let things happen as I write.
Sometimes,
that means letting go of some pretty cherished words and lines. And every now and then—rare, but deliciously
rare like a steak—what I cut out or kill in one poem becomes the seed for
another.
Much
of the first lines of this poem came from a poem I was writing about my father,
how the Depression came early to farm country with drought and the despair of
the land to provide what families depended on.
I was riffing on the process of nitrogen fixation in the soil, and was
enjoying it. But it really didn’t belong
in that poem. So I took them out, cleaned
them up a lit, and started to explore where the poem was leading me. It wasn’t until I had written almost all of
the poem that I saw what it was “about”—or rather who it was “to”: a 6th
grade science class at Hans Christian Andersen United School in Minneapolis,
where I taught community gardening two springs ago. Here’s the risen poem:
TO MY 6TH
GRADE SCIENCE CLASS
At
the root, in the dark, in
tandem
with rhizome and wish,
bacteria
beg nitrogen
from
the soil. It is lifted
up
the xylem like a psalm:
some
days lament, some
days
praise. Seeds die
and
stems are born. Leaflets
appear
as wings out of
a
chrysalis. Sun kisses
chloroplasts
into sugar,
and
the stamen and pistil
bathe
in the nectar that
sirens
in the bees. It’s
all
done without an eye,
without
a brain, and yet
deep
in the deep, roots
burrow
like moles: ancient
rock
has bedded down there,
ancient
ice is flowing. Taste
and
see: this tomato, this corn
has
been waiting for you.
Be
beauty. Be justice. Taste and see.
Patrick