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Showing posts with label manuscript blues. Show all posts
Showing posts with label manuscript blues. Show all posts

manuscript blues (bits)

yesterday, i sent off my ms to a contest. i'm sending it off again tomorrow. and a few more times in mid-november.
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david welch: you are my favorite hipster of the corn. thank you once again.
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today i found an interview with carl phillips via c. dale young's blog. in the interview mr. phillips talks about his upcoming yale judging duties, unbiased readings, what he expects in a collection. but the last paragraph of the interview really caught my eye:

...I believe the biggest problem with the majority of manuscripts that are sent out is that the writers themselves know they have not yet put together a manuscript of work that they entirely believe in. They have often been convinced by many of their teachers that they should put the best work up front, hide the lesser work in the middle, then close with a bang. But why submit a manuscript where you feel any of the work is lesser? I recently spoke with a poet who was pleased to have read a book in which five of the poems were wonderful. That isn’t enough, for me. I want everything to be wonderful. There are many who would say I’m expecting too much. But lower expectations are, to my mind, the reason why there are so many unsatisfying books of poems in the world.

poet after poet, teachers and peers, have told me to put the good poems upfront, to put the so-so poems in the middle, and close with more good poems. i've always thought this was crazy and stupid advice: i don't want so-so or weak poems in my ms. that's one reason it took me so long to put a ms together. i kept tossing out the weaker poems, the poems that didnt' fit. which meant that i had to write new poems. and i'm a slow writer, people. slow, slow, slow.
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the ms i sent out is pretty slim: 51 pages, and i've organized it like this:

1st section: 23 pages
2nd section: 9 pages
3rd section: 19 pages

the middle section is my code-switching poem, my best (I think) and most "difficult" poem. a poem full of spanish slang, of references to mexican history and narco culture, a poem that steals language from robert hayden and border corridos. i did not place my lesser work in the middle. gosh, that sounds so grandiose! but i believe it.
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i still can't believe i sent out my ms. i got real nervous when i handed it over to the clerk at the post office. i almost yanked it out of the clerk's hands. but instead, i closed my eyes until i heard the package drop into a bin. yes, i'm that pathetic.
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are you reading sandy longhorn's blog? i am really enjoying her posts.
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godspeed, my little poems.

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manuscript update

i sent my manuscript to a few people. i am, like usual, consumed by self-doubt: it took a lot of mental strength to click the "send" button.

some folks are just going to read it; some will offer feedback. i asked those people to read the ms through the lens of these three questions/ concerns:

1. are some of these poems overworked? i think some of them suffer from my always-editing-disease. i'm thinking about the last seven lines of 'to alexei..." and the last couplet of "saint anthony's church" and the third section of "temple in a teapot..."

2. does this ms need a glossary?

3. does this ms feel like a weaving of two different manuscripts? i've tossed out so many older poems, and inserted newer poems. i think i've changed somewhat as a poet in the last five years. the older poems owe a debt to robert hayden, donald justice, gary soto, derek walcott, rita dove, david st. john. the newer poems owe a debt to c.d. wright, henri cole, bei dao, jean valentine, octavio paz. is the voice consistent? do the imagistic and thematic obsessions unit the older and newer poems?

maybe i'm asking the wrong questions.

sigh.

the madness continues.

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manuscript update

total pages: 51
number of sections: 0

i've tossed out the section breaks! the table of contents looks odd, but it feels right: an unbroken column of titles. no gaps between the titles. just a column of nouns, adjectives, and verbs, etc.

i am nervous about the change. it's drastic. i've spent years working on an order, and that work always included section breaks. i never once thought about getting rid of the section breaks.

until now.

section breaks weren't working for my manuscript; they were segregating my poems: surreal poems here, border poems there, family poems here. yes, yes, i know that's my fault. i couldn't find a way to cluster the themes/ motifs/ obsessions in my poems into sections that enhanced the reading of the collection. i failed.

once i took out the section breaks something happened: all the walls disappeared: i placed a border poem next a surreal poem and i saw for the first time (!!) the links between the poems. i saw how one poem lead the reader to the next. this happpened again and again.

but in a sense i still have section breaks. i'm using jarring juxtapositions as breaks in my manuscript. by placing a fragment poem right after a family lyric, i'm hoping to rupture the flow, to disrupt the reader's expectations.

i think it's working.

ha. famous last words.

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