++ THE MINUSES ++

Continuing, dear reader, with the pluses congregating around The Minuses. You may be wondering what are “the minuses” and how do the poems of the book address and express them… To satisfy your wondering, here’s an encapsulation of what the poems take on and talk up:

The Minuses beckons attention to ecological and feminist issues and the co-incidence of eating disorders, sexual harassment, family and intimate partner violence, homelessness, suicide, environmental destruction, and other forms of endangerment. Seeking escape from relationship, belief and self, multi-perspective survivors claim voice as contemplators of natural splendors, and as seekers of incarnate desires. These voices amplify the precariousness that predicates women’s lives and the natural world, laying bare the struggle and faith required to endure with integrity and spirit intact.

from the back cover of The Minuses

The duality between “the minuses” and “the pluses” is an aspect of the physical word being lived and survived within the poems of The Minuses.

That there are pluses occurring around the poems of The Minuses and in a continuum of readers and their responses given to the poems. Well, that’s everything to a poet. By which I mean: an expansiveness, transcending the physical world and belonging to the spiritual world.

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One such person giving his spirit and attention to The Minuses is Paul Nelson, founder of Seattle Poetics LAB (SPLAB), the Cascadia Poetry Festival, and POetry POstcard Fest (PoPo). As well as a spiritual practitioner and a maker of community-based projects, Paul is the author of Organic Poetry: North American Field Poetics, a collection of essays, and A Time Before Slaughter, a serial poem, re-enacting the history of Auburn, WA, among others. I hope you will give some of your special attention to Paul’s creative and community work.

Here, I give you an excerpt of Paul’s “Some Notes on The Minuses,” which he posted on his site on July 10, 2020. Click on Paul’s blog title or the date to read his notes in full; it’s worth the click (!) because of the context he offers on Postmodern poetics and Charles Olson’s “dodge of discourse.” Here’s the excerpt of Paul’s “Notes”:

Notes on The Minuses: Paul Nelson

To celebrate that 5% of North American poetry (a number I simply pulled out of some wet, warm place) one must savor the books that go beyond the dodges of discourse. One which came across my desk a couple of months ago is The Minuses by Jami Macarty…

As I was reading The Minuses I took some notes as if I were going to interview her. So, this is not a “review” which is not my forte, but some notes on The Minuses.

First note is from the poem Two-way:

Part (page 9) of the poem, “Two-way,” from The Minuses; image by Paul Nelson.

In many North American indigenous cultures Raven is associated with death, or transformation. A trickster like coyote in some traditions. In J.C. Cooper’s book An Illustrated Encyclopaedia of Traditional Symbols (a go-to book for me) Raven represents prophecy, is a symbol of “blackening and mortification” in alchemy and also “The raven sent out from the Ark by Noah represents wandering, unrest and the unclean.” Here’s where we remember the allusion to violence in the back blurb and recognize the divinity the author sees missing from the situation. I love how she ends the poem, referring to a helicopter taking off, leaving “the earth-abandoned swirl.”

There is the poem Site Record:

The poem, “Site Record” (page 19) from The Minuses; image by Paul Nelson.

Take THAT you SOB!

And one could go on like this, pointing out the very sharp perceptions, the moments where one feels aligned with the poet, perhaps re-experiencing the worst moments of relationship (though as a straight man, I am much less likely to experience physical abuse or violence in a relationship) … In the notes at the end of the book, which are helpful and not “here’s what this poem means” which is what you might find in a book of naïve or “workshop” poetry, she writes that the poem is “indebted to Leslie Scalapino and Rosemarie Waldrop.” Here are two poets that are both well known in “outsider” North American poetry circles and gives you some sense of the poetry ancestors she has allied herself with...

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I feel very lucky to have Paul’s “Notes”; these are the sort of thoughts-in-action, reader’s response most precious to a poet. You are most cordially invited to go directly to Paul Nelson’s site and read the entirety of “Some Notes on The Minuses.”

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Also on July 10, as luck would have it, Talking Poetics #22: How Poems Begin, a piece I offered to ottawa poetry newsletter, curated by rob mclennan, was published.

How does a poet begin a poem? Does the poet begin a poem or does the poem begin itself? These questions are the basis of my inquiry on how “my” poems begin and from where, from what energy and impulse. Read what I wrote on the matter of beginnings:

Talking Poetics #22 : Jami Macarty

How poems begin

Nuts and bolts. Which comes first? The answer interests me. Sometimes bolts; almost always nuts! At other times, especially when writing is happening in real time, the question is forgotten…. When a poem is beginning or middling or ending then there’s no need for the question. Questions about how a poem begins seem especially instrumental as points of departure when no poem is forthcoming or beginning. If I can know how a poem begins, then maybe I can begin one. A poem, it seems to me, is always beginning.

From another angle, who knows how a poem gets started? When confronted with this question, I don’t. In so many ways and a lot of the time, the beginning arises out of mystery. Some immaculateness.

If a poem’s a living thing like a plant, then its beginning is a seed. Or, the beginning is a bird that eats and passes the seed on, somewhat fortified, to a locale where conditions are more favorable and growth more likely.

This process may suggest silence, but monitor for heartrate and you’ll hear one. Ah ha! That seems to be the way a poem gets started for me—auditorily. Via a seed sound, word, or phrase. I hear something whispered, overhear speech or a birdsong or a gate creak—flints that spark my mind or serve like a hand shot straight up inquiry.

As I think about these spokens and overheards some qualities emerge. They are typically the most obvious things said: Something is not right here. Often declarative. Ambiguous. A double entendre. Often paratactic: I’ll be mercy if you be a killer whale. Sometimes mishearings: Age of Aquariums. Alliterations. Assonances. Aphorisms given new life. Chiasmic reversals and antimetabolic turn abouts—Let me go, so I can come back, my mother said.  Repetitive echophenonomena like the Gila woodpecker beak-banging the corrugated roof. Syllogistic.

So, there’s a sound, a phrase, a statement, an utterance of varying qualities whose wind thrums my mind. I use a notebook. The words get written down. Often there is more listening and recording on the page. Collages of meaning and tone. If not then, later.

A parallel visual process may also unfold. Instead of hearing the phrase, it’s read or misread. It gets written down. That may lead to an on-the-spot erasure or mining of language, words, word pairings. More phrases written down.

Mood may dictate. Mood of listener, reader. Mood of what’s heard and read. Or, is that intuition talking. Both filter and factor the selection process while ‘I’ stays in the background. One part of the brain is occupied with listening or looking, the other finding. If the spell breaks and self-consciousness or willfulness interrupts this program, then it’s over for that sitting.

There isn’t necessarily sitting to make this happen or even with the intention for it to happen. There’s only openness to happening, then noticing when it does. A going with that.

It has always been like this. Since I was a kid, writing things down as if transcribing the sounded world. Writing things down because of how they sound. The pleasure of sounds coming together in meaning, in a way that interests. Of course, this implies that there’s an awareness of interest. An awakening alertness to sound, to how something sounds.

When considering starting a poem with a “loose structure” it takes a while for an example to arise. It happens, but not often. When it has, the structure is anaphoric: I’ll be… if you be…; I’ll be… if you be… “Ideas” tend not to be my flints either. If ideas, then they tend to reference subject matter. Maybe I’ll write about bees… Honestly, though, I can’t make anything happen in the beginning or ever. If I try or force bees, I get stung. Writing and beginning to write work in flow and flight and if I get out of the way of words. Plenty of sparks from words themselves. Their sounds unbound and bounding.

At the beginning, in it, there’s not the presence of knowing whether it’s the middle, beginning, or end. Order is a thing later discovered. The beginning is often the end, and then writing that proceeds is often writing to a beginning. Knowing where, when, what next, that can be a thing in the revision process. Often what feels satisfying is only so to no one else.

Reading. Reading takes place to sprout language, tone. To get in word mood. To warm up eyes and ears. To see if the conditions for writing arise. It’s the ears again; they have to hear something. When they do, the language boat is underway. Could be a short writing-reading spell or a day or night.

Bits, pieces, get assembled. Reorder can be a thing. What comes out is often disrupted on the way, so attention is given over to discovering what’s backward, diagonal, and sideways. From there line breaks.

At first, when typing from notebooks, assembling fragments onto a screen page, line breaks and lengths are left as is. In subsequent drafts and the more the assemblage is heard, the more apt the breaks and length are to be changed.

There’s a favoring of line as unit of meaning. One that adds to or contradicts the conveyance of the whole. Lines tend to accumulate via caesura and hemistich. All line lengths are to be loved equally. For breath rhythm and visual intrigue, a poem may mix line lengths. Love sentence as much as line, but sentences save themselves for prose poems. Delineated poems tend not to be made up of sentences. When they are the sentence is disrupted, disguised, an intervenor and sometime conscious objector.

Some of this is true. Some contradictory. Unkempt. Am I always excavating language? Not always. I think of relative. I think of instinct. I know that place. You know that place. You’ve been there. We recognize the artifacts.

I like beginnings, but can’t pretend I understand or know them. I think there may be a simple answer to the question how my poems begin—they just begin—but I only just thought of that—at the ending.

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I hope you will check out rob mclennan and his various projects supporting poetry in North America, including his ottawa poetry newsletter and Talking Poetics series. There, you will find, a cornucopia of inspiration! You may also read my contribution to Talking Poetics #22: How Poems Begin, in situ there.

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+ Thank you bows to Paul Nelson for reading The Minuses, offering his beautifully personal, contextualizing reading “Notes” on the poems, and for featuring The Minuses on his Cascadia interviews blog.

+ Thank you bows to rob mclennan for including me in the Talking Poetics series in ottawa poetry newsletter and for publishing my Talking Poetics #22: How Poems Begin.

+ Thank you bows (continuous!) to publisher Stephanie G’Schwind, editor Donald Revell, et al interns at the Center for Literary Publishing (CLP) for making The Minuses with me.

+ Thank you bows to you, dear reader, for the gift of your attention! If you have any questions about how poems begin or anything else poetry-related, write me!

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