A Note from Jorge: I did not want to make any personal assessments regarding these poets, their poetry or why they were chosen by me. But if you need me to, I will keep it extremely simple. These are four American poets of various ages and backgrounds who published a volume of poems in 2013 whose books, out of much else I also read in 2013, I either enjoyed or found much in to ponder about. I did not choose to publish them here to advance aesthetics and/or processes, but to look and listen back at a few voices that added to America’s and the world’s orchestration of poetic music and images in the about-to-be past year. I will let each poet and his/her words speak or sing for them.
Megan Burns, whose “River Song” and “Profit/Margin” from her Sound and Basin (Lavender Ink, 2013) are highlighted this week, reflects briefly on these poems, the process that led to their creation as well as a few poets who inform her life and/or craft.
Q: 1) Can you briefly describe how you came to these poems; or how they came to you; or how you came to each other?
Megan Burns: The poems in this section of the book Sound and Basin called “Gulf” are all from a project I did from March 2011-August 2011, in which I wrote every day about the river and the waters surrounding Louisiana. I wrote about 300 hand written pages of text in those months and particularly wanted to document the one year anniversary of the Deepwater Horizon Disaster. The poems in this section including “Profit/Margin” and “River Song” deal directly with the BP disaster and its lingering effects on the people of the coastal area as well as the environmental factors as a result of the damage. All of the poems in this section about the Gulf and the damage done to our waters as a result of oil drilling and pollution build upon the work I did in my first book concerning disasters. Both books are concerned with how we respond and bear witness to these atrocities in our lives. In comparison to Hurricane Katrina and the flooding of New Orleans that I address in my first collection, Memorial and Sight Lines, I feel in this book that the disaster of destroying our water is an even more urgent and unfortunately more pervasive form of disaster that threatens the extinction of life on this planet.
Q: 2) Please comment upon voice and the necessity for that/of that voice in your poems highlighted here.
Megan Burns: I think there is a distinct voice of showing up and being aware throughout these poems in this project because I did show up every day and meditate and think on the aspects of water in our lives and specifically in the region that I live in and how it shapes the people of Louisiana. The voice then is aware of a constellation of events in each poem and how all is interconnected. There is a awareness to the very specific motion of how the oil spill “disaster” seeps into not only the water permanently changing that environment, but also metaphorically into our world order with the ability to permanently alter our relationship to the world in which we live.
Q: 3) How do these poems reveal in microcosm what you and your poetry are up to in macrocosm? If they sound or draw out a story, if they sing of vision/visions, yours, what impression/s do you hope they make in that endeavor?
Megan Burns: I think these poems like the poem in my first book attempt to speak from a place of bearing witness to these disasters and being able to give a name to what is occurring, to be able to capture what is happening and to contemplate the effects of these events. I think again the specifics of our personal disasters mirror our interconnectedness to the world around us; it is in facing and recognizing our place in these events that we learn about ourselves but also learn that we are made up of a network that is so interconnected that we cannot simply live in ignorance of this fact. I hope that the language I use jars people, makes them stop and think about the impact that we have in the world. I think language can do that; it can enter our brains and fire certain neurons that set in motion a desire for change, and it is that desire that can have the most fruitful impact on our world.
Q: 4) Recommend two age-old poets/writers and two contemporary poets/writers you feel are vital in your own life and work. Briefly state why.
Megan Burns: Contemporary poets I often return to and have for years would include Alice Notley and Anne Carson; I think because both tend to tell stories and to include a wide range of allusions and history connecting the dots of how language and poetry is always about this creative force that builds and builds outward. I think they also rely a lot on rhythm to carry their lines and that is something that happens for me as well when writing. Older influences would have to be H.D. and Mina Loy, both poets who really broke with tradition and tried to push what language could do for them. I think they both had a particular vision for how they wanted to express themselves and they altered what they knew and what they were seeing happening in poetry in order to really get at what they needed to say. I think of both Loy and H.D. as poets who wrote for themselves first and foremost, and I feel I am the same way. I have a tendency to do these projects and these experiments mostly because I want to see if I can and the result of it being successful or publishable is less important to me than where I end up in the work and what I learned as a result of doing it.
a “catch” of time
out of fishing in a bayou of human cares
marrow steeped in fallen soldiers/ toxic waters
how you can never go home
a bit of killing off/ doing that already
in the listings of animals to be protected
humans turn up : the great uncounted
I’m eating solutions for you
I basket the pieces
I strophe/ antistrophe/tear down the walls of your trilogy
sweet adherent____this wheel of war____turning
towards ________the hostage embrace, thunder my waters
our net-work: made to keep us occupied
clustered as stars in a limited heaven
the bee’s dance is not for us
at which point the sky, its vast fingerwork
rivers in its own conversation, a measure of meander
and dip where once I walked these waters
where once and now the cement flows
hell, too, crosses a river to collect its dead
one year out__________to begin more drilling
one way of drawing an owl is all feathers
face hidden [mouth sealed up]
permanent solutions____nesting ground
the river bends not once but twice
and there is more than one body
by now hidden
we move delicately from one sphere of tragedy to another
oil to hurricane season: water to water
fishing boats empty along the docks
the casinos never close
panda bears eat all day for nutrients
we feed and call it necessity
to put food on the table/ a job for a father/ to provide now
and save for the later/ a child’s way/ entering the day
Megan Burns is the publisher at Trembling Pillow Press and edits the poetry magazine, Solid Quarter (solidquarter.blogspot.com). She has been most recently published in Jacket Magazine, Callaloo, New Laurel Review, Trickhouse, and the Big Bridge New Orleans Anthology. Her poetry and prose reviews have been published in Tarpaulin Sky, Gently Read Lit, Entrepot, and Rain Taxi. Her book Memorial + Sight Lines was published in 2008 by Lavender Ink. Recent chapbooks include: irrational knowledge (Fell Swoop, 2012), and a city/ bottle boned (Dancing Girl Press, 2012). She lives in New Orleans where she has helped run the weekly 17 Poets! Literary & Performance Series, (www.17poets.com).