Erin Noteboom, Poet, is Erin Bow, YA Novelist

Hi all,

The post directly below this one is a reprint of my earlier article, reviewing Erin Noteboom's Ghost Maps. Erin Noteboom also has written another gorgeous book of poetry Seal up the Thunder (Toronto: Wolsack and Wynn, 2005) and a bittersweet memoir, The Mongoose Diaries (2007).

What some readers may not realize is that Erin Noteboom, poet, is also Erin Bow, influential YA novelist. Using her husband's last name, Erin produced the wildly popular YA novel Plain Kate (Scholastic) in 2010. Erin Bow's most recent YA, Sorrow's Knot, was released in October 2013 as a Publisher's Weekly Book of the Week.

Since this is a blog about novels-in-verse, I'll jump to make the connection here. Erin Noteboom's poetic voice was drawn to the long, storytelling form. Erin Bow's YA voice is drawn to the poetic. Strength comes from strength, producing wonders, don't you think?

Check out Erin Bow's website for more info, photos, and contacts. Enjoy!

Erin Noteboom: Ghost Maps

During her visits of April through December 1995, Erin Noteboom recorded her conversations with Carl Hruska, an American veteran of WWII. 

The resultant book of poetry, Ghost Maps: Poems for Carl Hruska, is part oral history and part journey of imagination.  In places she retells his story through her own verse.  In others, Noteboom lets Hruska’s words stand on their own, unadorned.

Hruska had been a homestead-bound Iowa farmer before the war, so his way of interpreting the many strange new experiences is through the language of horse and plow.  From the deck of a troop transport ship he sees the Atlantic Ocean in terms of a field of wheat, (1) and describes the first negro sailor he meets as having a head a “lambswool head.” (2) In the depth of winter in the Ardennes, he speaks of soldiers asleep, braced against each other “like sheaves of wheat.” (3) Killing his first enemy soldier left him with grisly, ambivalent feelings, like chopping “a black snake with a hoe.” (4)

In this selection, from Waste Noteboom records, with third-person detachment, how Hruska lost his leg.

It happened in an orchard.

*

Lying there, he stares

into the ragged holes that wasps have chewed

in windfall apples – soft

as mud, now, brown

as the hand of frost.  Gone

*

to waste.  By that alone

he might have guessed at mines.  This

hungry country. (5)

The lacing of wispy verse around verbatim accounts reminds the reader of handwork, of embroidery with appliqués. Vivian Hruska’s life of waiting back on the farm -- knitting, doing chores – often appears in the form of letters to her husband overseas. These bits of plainspoken rural news relieve the reader from the grisly wartime narrative, just as they surely formed comfortable daydreams into which Hruska could retreat as he fought his way toward that fateful apple orchard. 

In the end, we readers are left with a compelling story of marriage, of people called out from their normal lives, of countryside at peace and war.

1. Noteboom, Erin. Ghost Maps: Poems for Carl Hruska. (Toronto:  Wolsak and Wynn.  2003.) 17.

2. ibid.

3. ibid., 26

4. ibid., 21

5. ibid., 50

For more information about the poetry of war, and other related topics, please scroll down to my posts on  

• History: A Home Movie, 
• The Unraveling Strangeness
• Les Murray’s Fredy Neptune

For poetry that most closely resembles Vivian Hruska’s memories, please visit Kyrie and Tamsen Donner: A Woman’s Journey in the article "The Way-Back Machine."

Sam Savage: The Criminal Life of Effie O

Illustrated poem, novel-in-verse, Sam Savage has written a children’s book for adults.  With simple, deft verse he sketched out characters readers can really care about.

***

In his introduction to The Criminal Life of Effie O, Sam Savage (a.k.a. The Old Rat) explains that he wanted to write a children’s book for his kids, but they grew up. This hilarious and touching illustrated novel-in-verse is what he wrote instead.  It is composed in rhyme by a skillful hand, and illustrated with charming line drawings by Virginia Beverley. 

As is the case in folk tales and children’s stories, simple shorthand is employed.  Substitute “suburbs” for “dark woods” and “the city” for “the enchanted castle.” This urban/suburban, good/bad equation is employed without comment. For his purposes Savage needs “Wal-Mart,” “subdivision” and assorted familiars to stand in for the stultifying malaise that often overcomes relationships, and individuals.

He might even say that “suburbs” have happened to both of Savage’s main characters. The eponymous Effie O is the love child souvenir of her mother Janet’s wide-ranging youth. Janet settled down from life on the road in order to raise and support Effie, yet 15 years later neither are happy with the life stability and prosperity has brought. Janet expresses her frustration in overwork and alcohol. Effie takes hers out on walls, benches, toilet stalls, and anything else she can hit with a can of spray paint.  Effie steals to support her graffiti habit, and is caught. 

In this selection, Child Psychologist Dr. Zell and Effie have an encounter.

After a dis-

harmonious hour

with Effie in his office,

Zell has a diagnosis

of the odd moroseness

that has her lately

so peaked and pasty.

*

He asked her questions (pried)

and Effie answered (lied).

*

He knew that she was lying.

She knew what he was trying. (1)

From therapist’s office Effie’s story careens through DSS, the courts, and eventually a juvenile correctional facility. Janet is having her own problems both at work and in the gated community where her how-did-I-end-up-here-from-where-I-started mid-life crisis is putting her at odds with the status quo. 

While in real life these events would be troubling, in the hands of a wise and benevolent poet this is the thread from which an uplifting story is woven. Savage understands and respects both troubled youth and middle-aged bureaucrat. He even issues an apology to hard-working teachers and social workers who might feel insulted by their analogs in the book. One comes away from The Criminal Life of Effie O with renewed compassion for self and others.  Well done.

1) Savage, Sam. The Criminal Life of Effie O. (Madison: Papas and Nellie Press. 2005.) 75-76.

For more information about illustration of poetry, image in poetry, and other related topics, please visit my articles on Journal: the short life and mysterious death of Amy Zoe Mason, Illustrated Poetry, and Janet Holmes' The Green Tuxedo.

Which Book Would You Buy Based on Title Alone?

Of the five poetry books in our selection, which would you buy on title alone? The final vote numbers are as follows:

The Lost Lunar Baedeker (21.43%) by Mina Loy

To Repel Ghosts (28.57%) by Kevin Young

Nights of Fire, Nights of Rain (35.71%) by Amy Uyematsu

The Flute Ship Castricum (14.29%) by Amy England

The Book of Orgasms (0.00%) by Nin Andrews

Poor Nin Andrews lost out. I recall The Book of Orgasms as funny and far, far better that I feared it might be, given the over-ambitious title.

Follow up thoughts: Does your vote change when you consider the authors? Number of pages? Price?

Biography and Lying in Poetry

Where is the dividing line between “cultivated narratives,” and those which simply grow up wild and organic from the lives of their creators?

There is still another kind of linking narrative which we haven’t discussed yet.  It is the inadvertent one, the one which corresponds most closely to prose biography. I know, I know, this sounds like I’m talking about confessional poetry again, and perhaps I have come full circle from my original argument. 

Enter David Weigl, who in book after book returns to the jungles of Southeast Asia.

A bouncing betty comes up waist high –
cuts you in half.
One man’s legs were laid
alongside him in the Dustoff:
he asked for a chairback, morphine.
He screamed he wanted to give
his eyes away, his kidneys,
his heart.... (1)

Weigl does not abandon his readers in Vietnam, though. His many books have given him time (his first was published in 1976) and pages enough to explore different chapters of life – marriage, parenting, spirituality, and recovery. 

Note how the voice in this piece based on childhood, 

Mr. Brown

            was my teacher

of the sums in the sixth grade

and he saw the beautiful

figures in everything.  (2)

differs from this, in which a man looks back on the years since childhood:

All morning long in the rain,

            I drove through the street of my boyhood

past the falling-down houses,

with my friend from my boyhood

            who is a man now, like me. (3)

The nature of how poets write when they’re writing their own lives -- and poets are always writing their own lives, even when they costume it in fiction -- leads poets to create unintentional narratives.

In Bruce Weigl’s thirteen books he has returned again and again to American soldiers in Vietnam, but also spends lots of time with the Vietnamese people themselves, as well as with American veterans at home. The whole of his work taken together weaves a life story, just as volumes of a private journal or a stack of personal letters would. Weigl has said in interviews that not everything in his poems happened exactly the way it was written, that imagination has altered the way he has written events.(4) Even so, if it were prose we would call it biography.

So, where is the dividing line between intentional linking narratives – “cultivated narratives,” -- and those which simply grow up wild and organic from the lives of their creators? 

1. Weigl, Bruce. Executioner. (Small Press Distribution: Berkeley. 1976.)

2. Weigl, Bruce. The Unraveling Strangeness. (Grove Press: New York, 2002) 28.

3. Weigl, Bruce. The Unraveling Strangeness. (Grove Press: New York, 2002) 37.
4. Dameshek, Brandon, "An Interviews with Bruce Weigl," Memorious: A Forum for New Verse and Poetics, Issue No. 2, July 2004, 3 May 2006. http://memorious.org/?id=58.

Ann Carson's Autobiography of Red

Q: In her novel-in-verse, Autobiography of Red, why has Anne Carson harnessed creatures from Ancient Greece to tell a story of adolescent love in modern Canada?

 

A careful reader may have noticed that none of the books we’re using in this series is set in the present moment.  Even Ultima Thule in which Davis McCombs introduces a second, contemporary speaker late in the book, he still uses a speaker from the mid-nineteenth century for the main narrative. 

By contrast, Anne Carson’s Autobiography of Red uses Geryon and Herakles as a romantic pair of teenagers in contemporary Canada.  Here is a bit of the backstory: Young Geryon discovers his older brother masturbating in the bunk below:

Why do you pull on your stick?

Geryon asked. None of your business let’s see yours, said his brother.

No.

Bet you don’t have one. Geryon checked. Yes I do.

You’re so ugly I bet it fell off.

Geryon remained silent.  He knew the difference between facts and brother hatred.(1)

Several questions come to mind.

• Why has Anne Carson taken on creatures with such gravitas, and then let their story unfold through the most mundane events? 
• Has Carson wasted the archetypal potential of these Greek mythological characters?
• Using the guise of a red chthonic creature with wings, is Carson writing about her own life?

Perhaps the last question should be, “how does using the guise of a winged red creature help Carson write about the life she knows?” We will discuss a poet’s way of knowing in a subsequent article, but for now let’s focus on how Carson’s story is shaded by the use of Geryon. Many have argued that this technique only appropriates gravitas otherwise unearned by actors who, in this case, spend a good deal of time squabbling and necking in cafés.

Another interpretation, however, is that Carson is making creative use of a template. By employing characters we already know, she is free to tell her story without the clutter of lengthy dissertations on Eros and Thanatos and the seductiveness of beautiful destroyers. Upon this prepared emotional field, Carson is free to overlay a nuanced narrative about gay youth, the explorations of love, relationships with eccentric but loving parents, and the symbiotic nature of art in life.

Exercise: Think about your most recent poem.  Consider what historical or mythological figure might represent the speaker and others in the poem. If you make these substitutions, how does your poem feel/mean something different?

1. Carson, Anne. Autobiography of Red. Vintage Books: New York. 1998.

Verse Novel Beginnings IV: Davis McCombs and Ultima Thule

It is an accepted tenet in poetry circles today that each poem must be self-contained; the inclusion of notes or other background information is widely considered tacky. In Ultima Thule, however, poet Davis McCombs creates a delicate and sophisticated novel-in-verse by breaking the rule that says poems should be unnoted and self-contained.

We previously discussed how in The Descent of Alette, Louise in Love and Fredy Neptune nothing is explained prior to their first line of poetry. Now let us look at a book in which the other road is taken. In his Yale Series of Younger Poets winning book, Ultima Thule, , Davis McCombs seems intent upon giving the reader adequate background knowledge before letting them see the first poem. With good reason, as the first poem, “Candlewriting,” seems nicely composed but tepid when read “clean”:

I remember the wind and how the sounds
it carried were my name, meant me, Stephen…
called out over the cornfield where I hid.
there was no sound when candlesmoke
met limestone – just this: seven characters
I learned to write with a taper on a stick. (1)

At first reading one might picture a contemporary youth, hiding from his mother in the fields near his home, and graffitiing his name on the walls of a nearby cave. Upon returning to the front material of the book, however, which includes a lengthy forward, a brief biography of the main character, a list of sources, and an 1845 map of Stephen Bishop’s explorations into Mammoth Caves, one rereads the poem with more appreciation.

The main speaker throughout the book is the mapmaker and explorer Stephen Bishop, who lived from about 1820 to 1847. He was the slave of Dr. John Croghan, owner of Mammoth Caves for a decade prior to the American Civil War. For his explorations of the cave complex Bishop enjoyed world-wide fame through newspaper articles and books. (2)

Given this new information one understands that the person calling out to the boy across the cornfield was not necessarily his mother, but the Doctor or perhaps a member of the household staff. The sound of his name carrying out across the sheltering cornfield suddenly takes on a different tenor. With the timeline adjusted, we have to acknowledge a wild and frontier-style Kentucky, which would have only been a state for about 18 years at the time of Bishop’s birth.

Wealthy guests paid Bishop to guide them through the caverns. The forward tells us that Bishop learned to write by smoking their names into ceilings of the cave. Readers can no longer imagine a bored boy smudging his own name on a wall.

Social and legal status, economic status, and a host of other issues are just as much a part of this poem as the poetry itself. Instead of trying to weave these things into the text, McCombs elected to supply preparatory information in the front material of the book. Without having to weight the introductory poems with information, he was free to write a far more delicate and suggestive first poem than would have been possible otherwise.

Exercise: Write four lines about a historical figure of your choice, including as much information on their life as you can. Write four lines about the same person, assuming your reader already knows all the important facts of the historical figure’s life. What do you include in the poem when the data are omitted?

1. McCombs, Davis.Ultima Thule.Yale University Press. 2000. p.3.
ibid., x.

Article first published in Suite 101 as: Beginnings IV: Davis McCombs and Ultima Thule.