In its nostalgia for the pastries, the exotic fruits, and the black beluga lentils of her past, the poem invokes blessing and abundance, removed in time but newly desired in this moment when we see. You know, popular myths that we cleave to as Americans, and there are a lot of poems in this book that have titles that are biblical. Curtis Fox: And the poem ends ominously, as if were about to be kicked out of the Garden of Eden, not only the store but innocence in general. Curtis Fox: Now you hinted at it, but its an erasure poem. Her second collection is titled Duende, a Spanish word that eludes precise translation but denotes a quality of soulful artistic passion and inspiration; perhaps its this same quality that infuses her patiently lucid writing with visceral urgency, yielding lines that stick persistently in a readers heart and mind.Smith has written four poetry collections: The Body's Question, which won the Cave Canem Poetry Prize; Duende, which received the James Laughlin Award; Life on Mars, winner of the 2012 Pulitzer Prize for Poetry; and, most recently, Wade in the Water, published in April by Graywolf Press. 4 (September 2018), RHINO Reviews Vol. In Garden of Eden, the first poem in the collection, Smith remembers shopping at a grocery store in Brooklyn that was actually called the Garden of Eden. For the Garden of Eden 4 (September 2018), Emily Jungmin Yoon, Maya Marshall, RHINO Reviews Vol. Smith continues that it was Brooklyn and everyone she had known was living. And then theres that line in Eternity: as though all of us must be / Buried deep within each other. How does poetry foreground or grapple with distinctions between the self and others? As for imaginative play, maybe that comes from another place. We poor oppressed ones, one writes Lincoln, appeal to you, and ask fair play.Arranged by Smith, these voices, often speaking in nonstandard English, become part of the American literary corpus. Garden of Eden by Tracy K. Smith What a profound longing I feel, just this very instant, For the Garden of Eden On Montague Street Where I seldom shopped, Dang, you hear those birds? Poetry does not really resonate with me. Wade in the Water is, wonderfully, a Poet Laureates booka book that speaks for the poet herself and for us all, at a perilous moment in our history. I think this is a poem thats about, okay, Im just past that, and look what I can almost afford. Curtis Fox: Yeah, its one of those poems, when you read it you think God, somebody should have done this years ago. Poems are so great because they urge you to start thinking in honest and even vulnerable terms about your own life and your own experiences. Over her career, she has published a memoir and four books of poetry, including Life On Mars, which won the Pulitzer Prize several years ago. A tea they refused to carry. But in other events, Ive gone into almost curated spaces, like rehab facilities or churches, or we have an upcoming trip that will take us to a retirement community. Then animals long believed gone crept down. Petitions have been answered only by repeated injury. We often want more from life than is achievable and all-in-all, thats okay. Not only that, several poems were originally written for separate projects: museum exhibitions, an NPR broadcast, an academic conference. That distinction gets complicated once you open the booksbut I wonder if you do see these collections as particularly complementing or speaking to each other? Its about letting the unconscious mind into the process of problem-solving. And whats really exciting is its not a matter of me teaching people about these poems, its really a matter of us listening to each others responses, questions, associations. Educated at Harvard and Columbia, teaching at Princeton, named the US Poet Laureate in 2017, and already freighted with laurels (her previous book, Life on Mars, won the 2012 Pulitzer), Smith is no undiscovered talent. Wade in the Water, by Tracy K. SmithGraywolf Press, 2018. So I did that with this document, and what I found myself doing was deleting the text that was most specific in reference to England, and listening only to the first half, in many cases, of statements. Tracy K. Smith: Well, Ive been going into rural communities in different parts of the country. It felt very much like a plea that could live in the 21st century, around all the instances of violence against unarmed black citizens. You were appointed Poet Laureate in 2017, after Trump was inaugurated. Also, one of the strangest I think, because the role of the Poet Laureate is largely defined by the poet occupying that perch. WebTracy K. Smith is a contemporary American poet who is born in Massachusetts. Tracy K. Smith: An erasure poem is almost like a You know you see those government documents that are redacted, so there are these big black lines that delete certain elements of the text, and youre left with a different path through those ideas. And let it slam me in the face My natural process is to try and distribute the weight of the poem across these mechanisms, but I get very excited when the poem has other plans for itself and leans more toward a rhythmic energy, or toward the rigid structure of rhyme or repetition. Home the paper bags, doing When capital is everything, queasy questions[1] bubble up: Is capitalism compatible with democracy? NCTE, Common Core, & National Core Arts Standards. The poem, titled Garden of Eden begins with Smith acknowledging a profound longing for her Garden of Eden, or moreover her personal paradise. Even if the question animating the poem is a serious one, that sense of being lost in the pursuit is, inevitably, a happy thingit is about finding something that can constitute a productive path through or out of the matter at hand. Home on Earth - Review of Tracy K. Smith's "Wade in The Water" Even a simple poem like The Good Life grew large, for me at least,when the image of a woman journeying for water from a village without a well arrived. For me, the memory of catching a poem in that fashion seeps into the sense of peace the poem contemplates, causing it to feel fleeting, like something it would be easy, if youre not working very deliberately, to lose.WASHINGTON SQUARE: Your poems have a habit of calling chronology into question. She has also written a memoir,Ordinary Light(2015), which was a finalist for the National Book Award in nonfiction. I also advise thesis students who are involved in producing book-length collections of poems. In a technique that feels like the opposite of erasure, I Will Tell You the Truth about This, I Will Tell You All about It accumulates voices from African Americans enlisted in the Civil War, and also from their families. Susanna Langs newest collection of poems,Travel Notes from the River Styx,was released in summer 2017 from Terrapin Books. Have your process and preoccupations changed? For a long time I didnt know what to do with my interest in the Nathaniel Rich article that informs Watershed. Then, after most of the manuscript was finished, I had the idea of marrying the facts from that article, in a found poem, with the narratives of near-death-experience (NDE) survivorspeople whose vocabularies almost across the board invoke the sense of Love as an original animating force, as the logic of the universe. The known sun setting Im listening for possibilities in meaning and emotional tone, and trying to make useful formal decisions, in a way that is more similar than different to what happens when I am writing. The core of the book, because it was the poem I had written earliest in the process, always seemed to me to be the long Civil War poem, I Will Tell You the Truth About This, I Will Tell You All About It. That poem was commissioned for an exhibition of Civil War photographs at the Smithsonians National Portrait Gallery back in 2013. That sometimes comes out in revision, as was the case with Ash. The poem was little more than a list of ideas until I was able to sit down and hear a set of rhythmic parameters begin to assert force. She went on to receive her MFA from Columbia University. Youve talked a bit about Wade in the Waters genesis, but more broadly, how early on do you typically begin to sense a manuscripts overarching themes? She does something trickier and more important: her work conjures up, with vivid particularity, at the level of the individual, what it is like to live under late capitalism. Film awards like the Oscars often have a best-animated film category, and this is dumb. Curtis Fox: Its one of the curiosities of your book, that to grapple with this dawning century you go back into history with poems in the voices of the enslaved and powerless, and you also make interesting use of the Declaration of Independence. Tracy K. Smith: Hi, thanks for having me. Tracy K. Smith begins her poem The Good Life with a subordinate clause: Whenpeople talk (Line 1). The first line introduces the readers to both the casual toneof the poem and draws them in to the discussion with which the poem is concerned, prompting them to read the next line in order to answer the question implicitly posed in the first. Tracy K. Smith: Sure. As a subscriber, you have 10 gift articles to give each month. WASHINGTON SQUARE: Im intrigued by the extent to which youve referred to this poem as an autonomous entity: it seems to be voiced, what I read as fear or hesitation. Are there some poems that seem more or less transparent to you, more or less within your understanding and control, than others?SMITH: Oh, sure. Tracy K. Smith: Well, I guess I was really thinking about the moment when our desire to be public people became such a ravenous appetite. More information available at www.susannalang.com. The final poem, An Old Story, exposes our tendency to destroy our own world by reminding us of the Biblical storm that drowned all life except for Noah, his family, and the pairs of animals he saved on his ark: After the storm, it is song that changes the weather, tempts the animals to come down from the trees where they had shelteredin an ark made of wood but not by us. This is so brilliant, this is such a clear idea. And its a way of bearing witness to what is otherwise unspeakable. For Smith, this is a lavish shop that seems to be selling a very specific selection of goods. It would mean giving space to voices that have long been silenced or distorted. It was Brooklyn. He put the two of them in a garden where they did not have to provide for themselves. Im Curtis Fox. One of the women greeted me.I love you, she said. According to the cultural theorist Mark Fisher, this mental architecture almost inevitablybarring unusual cultural circumstances or great personal fortitudetakes the form of capitalist realism, which consists in the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it (Fishers italics). Curtis Fox: That was An Old Story. Comprehending, and perhaps steering, its history requires love amid the ruins.Unrest in Baton Rouge underscores this. Aside from that, I like your analysis of the poem. But I truly hope its more than that. It comes down to simple math.The beach belongs to none of us, regardlessof color, or money. We thought the birds were singing louder. A friend recently emailed it to me, even though I hadnt read the book yet. Usually only after therapy Poet Laureate Tracy K. Smith (1972-), listen to her read it here. But the point of material restitution isnt to create new hoards of capital or to employ it in fresh exploitative ventures; rather, the money these people are owed for their service to what was once a Republic is a form of human acknowledgement, a way of saying that their lives mattered. Tracy K. Smith, "Dusk" from Wade in the Water. My thirties.Everyone I knew was livingThe same desolate luxury,Each ashamed of the same things:Innocence and privacy. WebTracy K. Smith was born in Falmouth, Massachusetts, on April 16, 1972, and raised in Fairfield, California. Onto the darkening dusk. Is it strange to say love is a languageFew practice, but all, or near all speak?Even the men in black armor, the onesJangling handcuffs and keys, what elseAre they so buffered against, if not loves bladeSizing up the hearts familiar meat? Tracy K. Smith, I hope your poem is a prophecy. Bouncing balls, the kind that lifts nothing. Its not that I dont like it because Ew, poetry, but rather because I just dont understand a majority of it. And then our singing. Yes, these are black voices that have been effaced from history, buried in government archives and exhumed by a few scholars on whose work Smith draws. taken Captive I was dreaming that I was reading aloud a mural that had been made of a Carl Phillips poem, when suddenly my waking mind broke in to say: Thats not a Carl Phillips poembut if you write it down it can be yours! I woke up and struggled to remember and reconstruct the lines Id read in the dream. I dreamt that I was in a hotel where there was a mural of that poem, which was by him, painted on a wall, and I was reading it aloud to somebody who was with me. Jill: That's a really cool origin story. The gesture of writing an appeal and appending ones name to it parallels her lyric recuperations, because both replace capitalisms terms (where individuals are parts of a vast machine dedicated to profit) with the changeable conditions of authentic selfhood, where every breath matters even if it produces nothing that can be monetized. It was so strange. I dont think the poems lay out answers to any of that, incidentally, but their manner of exploring these questions feels fruitful.WASHINGTON SQUARE: One of the most striking pieces in the book is the long poem you mentioned, I Will Tell You the Truth About This, I Will Tell You All About It. Im curious about the research that goes into a piece like thishow did you come across the source documents, and when did you realize they could constitute a poem? The something climbs, leaps, isFalling now across us like the prank of an icy, brainyLord. WASHINGTON SQUARE: Your work notably embraces questioningboth via interrogatives and through other formulations that reject single, easy truths (e.g., New Road Station names four things history metaphorically isnt, along with at least three that it perhaps might be). I love you,I love you, as You flinch. But I also felt that, okay, this is a kind of service that I would be doing for the country. I think it urges the viewer to submit to the terms and values of the subjects rather than cling to any pre-existing sense of what dignity or autonomy ought to look like. From short lyrics to erasures to sectioned, multi-form elegies, all of Smiths work feels radically alivetraversing space and time; rife with cultural and historical references (to, for example, rock music; scientific research; classic movie scenes); and always illuminating with great care the complexities of consciousness and embodiment. I suppose those two choices speak to some of the overarching themes I consciously wanted the book to cleave to.WASHINGTON SQUARE: This last comment makes me wonder about your process assembling a book. WebTracy K. Smith was born in Falmouth, Massachusetts, on April 16, 1972, and raised in Fairfield, California. And as many have observed since capitalism emerged (see William Blakes Satanic mills or Upton Sinclairs meatpacking plants), this tends to have baleful effects on how we conceive of social relationships and our own selves. Some do a lot, some very little. On the dawning century. She is a democratic writer, because her project in Wade in the Water is to curate American voices, particularly those of marginalized people, but also her own, and to situate these within the dark sweep of US history, with all its horrors, its anxieties, its potentialities. To say that shes very goodthat her poetry is not screwing aroundis to state what has become increasingly obvious over the past decade. Im really happy I stumbled upon Tracy K. Smith and I look forward to reading more of her work. I love the ways their other academic pursuits sometimes surface in their poems. Her poems pose fundamental questionsabout love, time, mortality, and faith (Is It us, or what contains us? she asks in Life on Mars)and pursue them with imagination, rigor, a bold comfort with uncertainty, and an unswerving commitment to candor and humaneness. Many of the poems focus on history, whether spiritual or political. I think its because i'm not very artistic that it doesn't come so easy. Tracy K. Smith has her head in the stars. Her writing contests the deeply isolating structures of capitalism by imagining self and nation as a collaborative condition, one that must be endlessly reconstructed and defended in the face of xenophobia, sexual violence, economic ruin, social anomie, and political disintegration. Its current occupant is Tracy K. Smith, who was named Poet Laureate in 2017. I am always asking poems to show me who we are, what we are connected to, what our actions and choices set into motion, and whether it might somehow be possible to become better at being human. I am thunderstruck by the human care of these last lines. In a 2016 interview for The Iowa Review, you commented, I never have figured out how to talk about race in my poetry in a way that feels authentic and organic, and Ordinary Light is a book in which Im thinking so much about race. Wade in the Water seems to engage this topic compellingly and with great assurance. From a handbasket filled What is it that I could do in this role that would be different and useful. SMITH: I wanted to open the book by invoking a sense of the eternal, to start with a nod to that scale. And then we find a way to have a conversation. destroyed the lives of our And I remember, I was sitting reading this document, and suddenly I got to the region where all of these complaints against England were being raised, and I felt that they were speaking so clearly to the history of black life in this country, and suddenly everything else that I was working on, that I thought I wanted to gather around the idea of Jefferson, just went away. After all, it supposedly makes nothing happen, according to Auden (indeed, imagine a poem changing President Trumps mind on immigration), and it is the literary form for which capitalism has the least use, judging by its small contemporary readership.But poetry that tries to represent individual subjectivity is well positioned to depict life under capitalism and to render possible post- or anti-capitalist alternatives. Ive been sharing work by other American poets, and readings of my own poems as well, and just asking a very simple question, which is, what do you notice? Anyone can read what you share. I know its a huge honor, and thats the first thing that I felt when Dr Hayden called me. RHINO Poetry is supported in part by the Illinois Arts Council, a state agency, Poets &Writers, Inc, The Poetry Foundation, and by The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation. I feel, just this very instant, I discovered Tracy K. Smiths work early in my first year of college. Tracy K. Smith: Right. She earned a BA from Harvard University and an MFA in creative writing from Columbia University. Buy RHINO MagazineDonate to RHINOPoemsReviewsEvents Submissions InternshipsAbout RHINOMasthead. How does Political Poem complement and converse with the books more overtly, explicitly political poems? I often find that, after working on several new translations, I am driven to write. Life On Mars By Tracy K. Smith Analysis. The collections final poem, An Old Story, also feels faintly Biblical. Maybe what I really want to know is what stands between us and such a possibility. The fact that indelible images of water lived in both Richs article and several memorable NDEs also suggested that this poem might engage in a useful conversation with the title poem. Poems, like movies, are good at indulging this wish. Poetry wasnt really on my radar thenat least nothing contemporarybut I was taking a required composition course, and in the classroom I spotted a poster bearing some lines from a poem. What do you try to impart as a teacher, and what, if anything, has teaching poetry taught you about writing it? Capitalism, Fisher intones, is what is left when beliefs have collapsed at the level of ritual or symbolic elaboration, and all that is left is the consumer-spectator, trudging through the ruins and the relics.Is there any alternative to the morose conviction that nothing new can ever happen (Fisher again)? I think it is the shift in vocabulary that reads loudest in the books, and that is really a private attempt at finding something newly engaging in my usual conundrums.WASHINGTON SQUARE: You direct the undergraduate Creative Writing Program at Princeton University; though youre currently taking time off to focus on Laureate duties, youve taught and advised student poets for years. This is a poem thats kind of looking back toward the moment when we might have known but didnt care. The last lines of the poems final section point this up with staggering intensity: My full name is Dick Lewis Barnett.I am the applicant for pensionon account of having servedunder the name Lewis Smithwhich was the name I wore beforethe days of slavery were overMy correct name is Hiram Kirkland.Some persons call me Harry and others call me Henrybut neither is my correct name. On making the appointment, Dr. Hayden said: It gives me great pleasure to appoint Tracy K. Smith, a poet of searching. In part, I think its true to say that the selves Im most committed to in that book are the ones our culture continues to make most vulnerable: women, people of color, the lonely and disenfranchised. Her term will be up in April of 2019. Its current occupant is Tracy K. Smith, who was named Poet Laureate in 2017. I think the title, which came after Id finished the poem, enlarged the initial scope of the poem. Capitalism has made a nightmare world, and we can either resist its pressures or chill with our smartphones and wait for climate change to kill us.Along comes Tracy K. Smiths new book, Wade in the Water (Graywolf). His arms churn the air. I dont yet know how to classify Wade in the Water. Wade in the Water in particular enlists a whole chorus of voices, including historical ones resurrected almost verbatim in collages and erasures. We have reminded them of the circumstances of our emigration I wanted to draw-in the sense of the living spirit at the heart of that nights encounter, and at the heart of the tradition of the ring shout itself: the sense of love and deliverance, of faith and compassion, of justice and survival.Watershed was a poem I knew I wanted to write. Enlists a whole chorus of voices, including historical ones resurrected almost verbatim in and... 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