Books are our first, and sometimes best, teachers. I inherited the books of my older brothers. While they were away at college, I went into their rooms and stacked and arranged the titles by color and letter. My two favorite relics from their childhood were Punt, Pass and Kick and The How and Why Wonder Book of Stars. The diagrams of movement across the gridiron reminded me of the constellation maps. I appreciated that athletic bodies and celestial bodies were in constant motion, and yet might be captured in a single glance. I was years away from the writing instruction of workshops and line edits, or the training of literary analysis. Those early years of reading were charged with the stuff of raw imagination. After I exhausted the books of my brothers, my parents took me to the library and used book sales. I wanted to run and play basketball, but I also wanted to read until I fell asleep, chin planted on open pages. My father had been a college football player who studied theology; my mother read history and poetry and told stories with layers and layers of detail. I was raised to appreciate words and to embrace wonder. It might be because I teach young students, but I am endlessly fascinated by the routes of our reading lives. I seek interviews with writers because I look for their origin stories. I want to pinpoint the moment reading became a life-breathing activity. I am particularly drawn to the memories of writers whose imaginations remains raw and jarring; writers who are “charged,” to borrow the language of Gerard Manley Hopkins. I contacted six writers with such imaginations, and am happy to share their memories about the books that were most formative during their childhoods. 1. Nina McConigley, author of Cowboys and East Indians: It's hard to grow up in the American West and not read Laura Ingalls Wilder. I read all the Little House on the Prairie books at a young age, and I was in love with the whole pioneer narrative. Like Laura, my parents had traveled far to make a home in the West. I also came to love the simplicity of her language and her storytelling. She had no sentimentality. She would so matter-of-factly say the worst news: Mary was blind. The crops failed. It was a sad day though when I realized Laura and I would not have been friends. Her ma hated Indians (albeit the other kind), and the books weren't that kind to others or brown people. But I marveled over her making a lot out of little -- sewing, canning, simple pleasures. But I mostly connected with how Laura loved the land—the prairies and woods, the sky and open-- which were so important to me as a little girl in Wyoming. Since my parents both grew up in colonized countries -- India and Ireland, much of what they read as children was British. So, as a little girl, I was introduced to Enid Blyton, who seemed to be the most prolific writer ever. She wrote several series from the Famous Five and Secret Seven to scores of boarding school narratives like The O'Sullivan Twins or The Naughtiest Girl. But what I loved were her fairy stories. She wrote a trilogy about a magic tree which started with The Enchanted Wood. In the book, three children found a magic tree, and climbed it -- and at the top was a series of ever-changing lands -- The Land of Birthdays, The Land of Sweets. I think as a brown kid living in Wyoming, these books were the ultimate in escapism. I was transported into a forest in England where the world was constantly shifting. I found this extremely comforting. I would often find myself climbing the big cottonwood tree in our backyard, hoping I would be taken away by something bigger than me. 2. William Giraldi, author of Hold the Dark: In the late 1980s, Time-Life Books had a popular, 33-volume series called Mysteries of the Unknown. At 11 years old, I didn’t know enough to be irked by the redundant title -- all mysteries are unknown: that’s the definition of “mystery” -- and so I grabbed the phone (Time-Life advertised on television) and soon began receiving books on UFOs and the Loch Ness Monster, poltergeists and Sasquatch, Atlantis and the Bermuda Triangle and the Great Pyramid of Giza, werewolves and vampires and witches. For a cradle Roman Catholic reared in only one acceptable species of the supernatural, these titles seemed great feats of transgression and betrayal, fonts of the extraordinary and occult, a concussion of the spiritual and the cerebral, the factual and the fantastical. The books were mostly cascades of conjecture and fatuity, of course, but they rubbed against my imagination in all the ways I needed then. Mystery is another word for hope; monsters are how we make sense of ourselves. New Jersey seemed so drab without them. In the years after the Time-Life series, I’d be found by Poe and Stoker, by Stevenson and Wells, and then it was off into the more “serious” stuff: important books, yes, but hardly ever as wondrous. 3. Sara Eliza Johnson, author of Bone Map: I remember loving Black Beauty and A Little Princess, which was my mother’s favorite book as a girl (and one reason for my name, which has no “h!”). I also read a lot of series meant for young girls -- Nancy Drew, The Babysitters Club, the Ramona Quimby books -- though my absolute favorite series was Goosebumps. R.L. Stine wrote the original series in my prime formative reading years, from 1992 (when I was eight years old) to 1997 (when I was 13), and I was always so excited when a new one came out. My early love of Goosebumps (as well as the Scary Stories to Tell in the Dark series) blossomed into the unapologetic affection for the horror genre I have today, a lonely affection to have in adulthood! But my favorite book as a child was probably The Giver, which, like many in my generation, I read for English class at the beginning of sixth grade. It was my first taste of dystopia, and so, in some ways, the first challenge to my world, and the first literary protagonist with whom I truly felt a kinship. When Jonas receives from the Giver the unwieldy collection of memories his monotone community has buried -- of pain, war, starvation, but also pleasure and art -- he becomes isolated and lonely in a way I think that I sometimes felt then, as a shy child without siblings. In the Receiving process, memory is a physical phenomenon literally subsumed and experienced by the body, as when Jonas receives the memory of a broken leg and feels as if his leg is broken -- an early reminder that these entities we often consider purely psychological, such as memory, language, and dream, have physical and even physiological presences. I never read the rest of the books in the series, and I’m glad I didn’t, because I think perhaps one of my favorite aspects of the book -- one of its lessons for even adult authors -- is how it ends, in that it doesn’t quite end, leaves us in the aperture of uncertainty: “Behind him, across the vast distances of space and time, from the place he had left, he thought he heard music too. But perhaps it was only an echo.” 4. Dimitry Elias Léger, author of God Loves Haiti: The books that absolutely rocked my world as a kid, before my 10th grade teacher introduced me to The New York Times Book Review and Great Classic Literature, were a French series dating back to the early 20th century. You see, the first novels I read were in French because I lived in Haiti from ages eight to 14. Somewhere around the age of 10 probably I met Arsene Lupin, the gentleman thief. The clever master of disguise starred in 16 novels and 36 short stories starting in 1905. The novels were thrilling. As befitting a French answer to the cerebral Sherlock Holmes, Lupin was a darkly humorous lady-killer. Come to think of it, he may well indeed be a good precursor to James Bond. I devoured Maurice Leblanc's Lupin stories, and, during summer vacations in New York City, the books that slayed my pre-teen imagination were Chris Claremont's X-Men. The Phoenix Saga may very well be the greatest, most epic comic story of all time, much as the love story of Cyclops, with his death-ray eyes, and Jean Grey, an unsuspecting world consuming telepath, was the most riveting love story. The tragic story of the brooding band of mutants and the stories of a leaping, thieving lover of Parisian rooftops and the jewels of Parisian nobles were my favorite books as a kid. These series' gentle high-low balance rewards rereads to this day. 5. Tony Ardizzone, author of The Whale Chaser: I grew up on the North Side of Chicago, the oldest boy in a large working-class Italian-American family. We lived in a basement flat, then a second-floor flat across the street from a liquor store, and finally in a brick two-flat, with tenants upstairs. I grew up in a house without books. We always had newspapers -- when I was a boy Chicago had four daily newspapers -- because my father sold newspapers. I went to Roman-Catholic schools and read the books they gave us: the Baltimore Catechism (much of which I still know by heart) and Bible stories. In school after lunch each day, the Sister of Christian Charity who taught us read to the class a chapter or so from a series of books about a boy named Tom Playfair, a rough-and-tumble kid sent off to Catholic school, who had to struggle to live up to his name. After we moved to the brick two-flat in Chicago’s Edgewater district, I discovered a mobile library van parked about six blocks away, and I got a library card and checked out as many books as I could carry. The librarian often questioned me, asking if I was sure I could read all the books I wanted in one week. I told her I could, and I did. Reading was a sort of sanctuary to me. Our flat was small and our family had a lot of kids and reading was a way for me to be by myself for a while. I read every book the mobile van had about dinosaurs. I also read what were considered the classics at the time: The Adventures of Tom Sawyer, Robinson Crusoe, an edited version of Moby Dick. I supplemented these books by reading every Classic Illustrated comic I could get my hands on. Treasure Island, The Count of Monte Cristo, and The Time Machine were among my favorites. I often read these while standing around those circular comic book displays in a neighborhood drugstore. When the owner yelled for me to quit browsing, I’d do my best to remember my place, then pick up the comic the next time I was in the store. A middle-aged woman cashier in the grocery store where I was often sent to buy milk and eggs took a liking to me and one day gave me a big, marvelous hardback anthology of dog stories. The book had a blue cover. I wish I still had it. I read and re-read every story in the book several times. Best of all, it was my book, not one I’d have to return to the mobile library van on Saturday morning. My turning point came years later when I was in high school. On Saturdays my friends and I would go down to Chicago’s Old Town, where we’d knock around the neighborhood. I always ended up spending hours in Barbara’s Bookstore on Wells Street. It was a big, wonderful place, full of books and posters and poetry on placards and broadsides up on the walls. It was there in Barbara’s Bookstore that I saw a copy of Lawrence Ferlinghetti’s book of poetry, Coney Island of the Mind. It knocked me out. I never before realized that poetry could be written this way. The book made me truly want to be writer. 6. Christa Parravani, author of Her: Most every street of our Tarawa Terrace neighborhood on Camp Lejeune was named after a battle: Bougainville drive. Inchon Street. Iowa Jima Boulevard. The battle of Tarawa was for a small Pacific atoll in 1943. The battle of growing up with a Marine stepfather, was he believed that children should be seen and not heard. Marines have a way of saying things. Houses are housing. Dinner is chow. A bed is a rack. Teeth are fangs. But get lost was still get lost. I escaped silently into books. I read whatever my teachers gave me. I was 13 the summer my stepfather left. The Persian Gulf War was televised that January. I read Tim O’Brien’s The Things They Carried not too long after. The novel was live in my hands, my first real touch of literature’s flame. The story of Vietnam, how it haunted every military family I knew, how its lure was part of me like my family’s story was. My stepfather may not have loved me, but I had to love him, and those years on Lejeune gave me a love of country, of the fighter. O’Brien opened my heart with a story that arguably has nothing to do with a teenage girl. But I’d shut up for far too long. The war was alive in me.
This was the year in which I first became aware of my annual Holy Trinity of reading: End Zone by Don DeLillo, Mariette in Ecstasy by Ron Hansen, and In the Heart of the Heart of the Country by William Gass. Whatever happens to me during any given year, these are the three books I re-read, front to back, like ritual. But this year those books began to speak to each other during my reading experience. Perhaps appropriate to their respective content, I read End Zone during the summer, sufficiently inspired to do sprints on wooded trails during thick July afternoons. I settled into Gass’s book, particularly “The Pedersen Kid,” while the snow piled and piled. Hansen’s story of a stigmatic novitiate was fodder for Lent. This year I noticed that each book values atmosphere over plot, mystery over clarity. Those books are likely brothers. I returned to The Stories of Breece D’J Pancake. I still wonder over the narrative economy of “The Way It Has to Be.” Perhaps moved by similar nostalgia -- I began reading Pancake as an undergraduate, around the time I spent most mornings fishing -- I read The Art of Angling and Fishing Stories, two rich pocket books with words that will reawaken the souls of even the most cynical anglers. Not to mention that you can find a poem by Ron Rash about a fisherman who hooks his own eye: “My hair sweeps back like an evangelist’s, / as I cross the heart of the lake / toward Swaney’s Landing where I will testify / to those sunburned old drunks / of careless moments that scar us forever.” I was able to review a few books this year for The Millions, and they are certainly worth revisiting in future years: Its Day Being Gone by Rose McLarney, Hold the Dark by William Giraldi, The Second Sex by Michael Robbins, 300,000,000 by Blake Butler, and Fat Man and Little Boy by Mike Meginnis. Each left a mark on me. My reading year ended with two gorgeous new books of poetry, both debuts, both formed in the shadow of Roman Catholic culture and thought. Reliquaria by R.A. Villanueva offers shades of parochial school and the Meadowlands and how “my brother told us about the Cemetery of the Holy Sepulchre, / cut in half by the Parkway.” Villanueva’s volume is a lyric documentation of, among other themes, Filipino faith, a belief absolutely bound in the corporeal. Saints populate this book. Bodies, living and dead, real and imagined, are broken. It is also a book of the venial dissensions of childhood: a botched biology class dissection that turns heretical, and when the narrator dares a friend to “throw a bottle of Wite-Out at Christ’s face.” Any book authentic to the Catholic tradition will have its eye toward ashes, and Villanueva’s elegiac moments are sharp: “When you bury me, fold / my arms, neat // over the plateau of a double-breasted suit”; “I promise my ghost will find you / should you want someone else to love.” Villanueva’s book wonders about childhood, family, the distance from original culture, and of things eternal: “So what is it we’ve saved? Skull? Soul? Vulture? / Maybe this earth, turned in on itself and made.” The second book, Bone Map by Sara Eliza Johnson, is well-paired with Reliquaria (what minor miracle of publishing that two secular presses -- University of Nebraska Press and Milkweed Editions -- release exquisitely crafted, meditative books about God and absence during the same year). I’ve been a fan of Johnson’s verse in literary magazines for some time; her poems have the ability to clear the air, to pause the mind. I am preternaturally disposed to love a book that begins with an epigraph of that wracked, devoted disbeliever, Ingmar Bergman. I thought of Bergman’s Hour of the Wolf while reading many of her pieces, including “Deer Rub.” A deer rubs its forelock and antlers against a tree, and the “velvet that covers the antlers // unwinds into straps, like bandages.” And then she manages quite the poetic turn; rain falls, “washes the antlers / of blood, like a curator cleaning the bones // of a saint in the crypt beneath a church / at the end of a century, when the people // have begun to think of the bodies / as truly dead and unraiseable.” This is why I read poetry: to see how words transfigure, how associations bring new life. By the end of the poem, the deer is dead. The bark has regrown. But the scene has a permanence “long after this morning / when the country wakes to another way, // when two people wake in a house / and do not touch each other.” Johnson’s poems feel like a series of engravings discovered in an abandoned cabin deep in the forest; each is its own folkloric song. In “Confession,” one of the few prose poems in the book, a dream becomes a myth: “I hide under a thought of light, not incineration. The thought is a cloak I wake into gently; it is cold in the room, and I am hungry but whole.” I thought also of “Sea Psalm,” which begins so powerfully: “Lord, this is not your world. I am not yours / but also not mine. Not your passenger. Not your saint at the helm, the machinery // of my hands turning like clocks.” These moments of distance become full when the collection ventures further and further into the cold, as in “Letter from the Ice Field, January,” which is beautifully grotesque, Catholic gothic: “I stopped, and walked down into the crypt, knowing a saint had lain there for centuries. Her mouth lay open, as if to ferry over the word of a messenger. The saint had my face. The saint woke and rose from her coffin, and gave me her skin, which is a map of the earth, and her eyes, which see every planet. I took out my eyes and put hers in, then climbed into her empty coffin, my body glowing as hers had: like a femur in a fire, its marrow burning across the length of me.” The poem ends “Inside me you have learned to speak impossibly.” Bone Map was a reminder of how it felt to be devastated, made new by poetry. I can’t expect much more from a book. 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“Elected silence, sing to me / And beat upon my whorlèd ear, / Pipe me to pastures still and be / The music that I care to hear.” In Gerard Manley Hopkins’s “The Habit of Perfection,” that “elected silence” becomes spiritual song. A Jesuit whose entire canon reveals the tension between artist and priest, between temptation and temperance, Hopkins found that silence could sing. In “Listening for Silence,” Mark Slouka considers the ubiquity of sounds, how “we’ve grown adept...at blocking them out with sounds of our own, at forcing a privacy where none exists.” He quotes Henry David Thoreau’s soft words of contemplation -- “I love a wide margin to my life” -- before admitting his own fear of a perfect silence. And yet “if silence is the enemy of art, it is also its motivation and medium: the greatest works not only draw on silence for inspiration but use it, flirt with it, turn it, for a time, against itself.” Tucked away in a quiet room or hunched in a hushed library, writers crave silence. Silence is an escape from daily noise, from frustrations and obligations and distractions. Silence might equal solitude, a residency of the mind, but often silence is analogous to the sense of control needed for writers to create and craft. These are romantic conceptions of art, but in both practical and creative senses, writers must discover conditions that support focus and production. For poet Catherine Pierce, silence reigns: “I don’t -- can’t -- listen to any kind of music while writing. I learned long ago that when I listen to music, not only am I unable to focus on language in the way I need to, but -- even worse! -- I also tend to get a false sense of the work’s quality. If I’m listening to Tom Waits, I think I’m writing a tough, gutted, whiskey-soaked poem; if I’m listening to Joni Mitchell, I think I’m doing something elegant, sad, and strange. Then I read the poems sans soundtrack and am sorely disappointed. I first learned this lesson in high school, when, in full-on angst mode, I churned out what I was pretty sure was a genius short story while listening to the Violent Femmes. When I read the story the next day in the quiet of my bedroom, I recognized that the story was plotless and, worse, toothless -- only the songs had any bite. These days I strive for total aural deprivation -- silence in my home if at all possible, white noise on headphones in the coffee shop if not. After years of trying to trick myself into believing I could have music while writing, I’ve finally learned my limitations.” Yet from the days of poems accompanied by lyre, verse has always been wedded to music. Poets have written about music, and they have considered songs that can compliment their art. Some, like Terrance Hayes in "Liner Notes for an Imaginary Playlist," see songs as locations for the insights of poetic narrative. But I am most interested in how poetry relates to composition; how some poets, like Pierce, require silence, while others are fulfilled by sound. In my own experience, sound complements prose well; in fact, while writing and revising my novella, “Ember Days,” I listened to Gordon Lightfoot’s “Sundown” on repeat. I wrote after midnight, and that looping contributed to a somber atmosphere; the story is about atomic bomb testing and opium trafficking, but it also follows how one man’s lust for a woman leads to betrayal. Lightfoot’s guitar opening sets a folk-ominous mood, and the lyrics follow suit. After a few times at the desk, I needed Lightfoot’s music to sustain the story. It was a way to return to the words I'd left during the previous darkness. Poet Michael Earl Craig has explained to Zachary Schomburg that he is “too engrossed and/or confused for music in the beginning stages of a poem.” Once he gets a “handle” on the work, when he can see a sense of “direction emerging,” he can later return to the poem with music “not distracting but more like a breeze at my back.” He has written with the soundtrack to David Lynch’s Fire Walk With Me playing, and doesn’t listen to it in “any other context. I don’t put that on while driving, or chopping parsley. The feel of that album just suits me perfectly. Poems should be dipped in it.” I have never written a poem while listening to music, but am curious about the intersection of those artistic worlds. Poetry and music share a word of process -- composition -- and are linked by negotiations of melody, harmony, rhythm, proportion, and discord. I contacted some of my favorite poets and asked if they listen to music while planning, drafting, revising, or finishing poems. Here is a poetry playlist: 10 poets offer their composition soundtracks. Enjoy their reflections on craft, and links to the poems and tunes that formed beautiful marriages of word and sound. Track 1 Rebecca Gayle Howell “I Don’t Know Why I Love You” by Stevie Wonder [youtube http://www.youtube.com/watch?v=vUqVmulfXfk?rel=0] While I was writing Render /An Apocalypse, I listened to a lot of old Motown -- The Supremes, The Jackson 5 -- it's that beat, that drive, that hammer. It doesn't quit. Doesn't let you quit. But this Stevie Wonder song is the one. The man rides the climax until he falls off. He’ll scream before he’ll pretend something’s over when it’s not. Render is a Southern agrarian myth. The protagonist wakes up in a landscape he's forgotten how to survive, and the poems act as his instruction manual. “How to Kill a Rooster.” “How to Kill a Hog.” “How to Be a Man." Mostly what the protagonist has forgotten is tenderness, but the animals try to remind him of it, even as he slits their throats. Reviewers have called the poems “brutal,” “gruesome,” “religious.” Maybe so. Unrequited love often is. “How to Cure,” from Render / An Apocalypse (Cleveland State University) Track 2 Terry Kennedy “The Only Living Boy in New York” by Paul Simon [youtube http://www.youtube.com/watch?v=EAJfMHh6RJw?rel=0] This song contains the epigraph to my collection of poems, New River Breakdown, and I listened to it a lot while composing the book, a collection of poems dealing with a couple who are, at times, separated by both physical and/or emotional distances during the narrative. We often hear about the difficulties of long-distance relationships, but what really resonates with me in “The Only Living Boy in New York” is the line “half of the time we're gone but we don't know where” because it also speaks to how we, as people, can be “with” each other but really apart, and not even realize it -- like when you come home from work, but you're really still at the office in your head -- making lists, reliving arguments, remembering paperwork you didn't turn in, etc. “The Surrendered” from New River Breakdown (Unicorn Press) Track 3 Kerrin McCadden "One More Time with Feeling" by Regina Spektor [youtube http://www.youtube.com/watch?v=ysuns_3Qweo?rel=0] Regina Spektor was ambient in my new house just after my divorce. My daughter decreed her music the soundtrack of our new life. Spektor’s music was jarring and beautiful at the same time -- which was sort of like our lives. I’m serious -- whenever music was on, it was Regina Spektor, or the Regina Spektor Pandora station. The tone of her song “One More Time with Feeling” resonated with me, so I stole a line to use as an engine for a new poem, thinking I would later cut the line. “Breathing’s just a rhythm” stuck, however, and appears, slightly altered, in my poem “How to Miss a Man.” Both deal with the loneliness of the other side of something -- the slogging. My poem appears in PANK, and in my collection, Landscape with Plywood Silhouettes, with permission of this great artist, who arguably helped my daughter, and me, gain footing. “How to Miss a Man,” from Landscape with Plywood Silhouettes (New Issues Poetry & Prose) Track 4 Tomás Q. Morin “Christo Redemptor” by Charlie Musselwhite [youtube http://www.youtube.com/watch?v=8UDJSy2zyz0?rel=0] I usually don't listen to music when I'm writing or revising. I'm very easily distracted so I prefer silence. However, once I think a piece is done or I'm going over a book manuscript for what feels like it should be the last time, I will listen to Charlie Musselwhite's "Christo Redemptor." I've listened to this song so many times that I can enjoy it and yet it can still be the equivalent of background noise that won't distract me. The interplay between harmonica and piano is fantastic and it feels like the song could go on forever without ever losing any of its potency. One way in which the song helps me during this final, final stage of editing is that if anything seems off in the poem/book then it'll immediately interrupt the spell of the song and I'll have to stop the song and examine what's going on. If I can play the song uninterrupted throughout the whole editing process then I know the piece is done. “Miles Davis Stole My Soul” from A Larger Country (American Poetry Review) Track 5 Erica Wright "Up to the Mountain" by Patty Griffin [youtube http://www.youtube.com/watch?v=F8ZC8VZLk54?rel=0] I listened to Patty Griffin's album Children Running Through -- specifically her tribute to Martin Luther King Jr., “Up to the Mountain” -- on repeat while writing “Greece Is This Run-Down.” Something about Griffin's understated lyrics and soaring voice made it possible to confront my own fears at the time, specifically the escalation of the Iraq War and whispers of reinstating the draft. Listening to the same music helped me get back to the same mood each time I worked on the poem, my longest to date. “Greece Is This Run-Down” from Instructions for Killing the Jackal (Black Lawrence Press) Track 6 Adrian Matejka "Gymnopédies No. 1" by Erik Satie [youtube http://www.youtube.com/watch?v=S-Xm7s9eGxU?rel=0] For me, poems begin as combinations of sounds -- words or phrases that are sonically magnetic and eventually attach themselves to some kind of meaning. Erik Satie’s elegant Gymnopédies work the same way. The pieces subvert traditional piano composition by giving preference to individual notes -- and the atmosphere created by the order of those notes -- over conventional melody. In my poem “Gymnopédies No. 1,” I tried to connect words in narrative and imagistic shapes that emulate Satie’s arresting phrasings in the Gymnopédies. “Gymnopédies No. 1” appeared in the January 2014 issue of Poetry. (I also highly recommend Matejka’s most recent collection, The Big Smoke, a finalist for the National Book Award -- Nick). Track 7 Tyler Mills Tchaikovsky's “Violin Concerto in D major,” 1st movement [youtube http://www.youtube.com/watch?v=JM8erHpNJ2Q?list=PLDD42E4BDC8816EAE] YouTube compresses some of the sound and splits the first movement into two parts. But my favorite moment occurs at right around 8:17, where you can really hear the sound of the violin and the orchestra hitting the back wall of the concert hall. When I’m drafting poems, I most often don’t listen to music. But when I do, it can be pretty eclectic: anything from Jay-Z to Beethoven is fair game. When I’m working on prose, I listen to music constantly. Sometimes I play a game where I type bands into YouTube and see what is recommended to me. (That’s how I learned of Kid Koala, a DJ that dresses in a koala suit and spins records: I found him because I was listening to Emily Wells.) However, the piece that I listen to most -- because I am obsessed with it, capital O -- and that influenced many of the poems of Tongue Lyre (but one in particular) is the first movement of Tchaikovsky’s violin concerto, performed by the 20th century violinist Jascha Heifetz and the Chicago Symphony Orchestra (conducted by Fritz Reiner in April 1957). I wrote “Performance” when I had a fever: I drafted it in bed, and I remember that in between reading, naps that led to bizarre dreams, drafting this poem, and tea, I listened to this piece. There is a Johnny Cash reference in the poem, so it might be surprising that I wasn’t listening to the Man in Black. But no. “Performance” was influenced by Heifetz’s performance of Tchaikovsky’s violin concerto, the first movement in particular. The poem moves rapidly through constructed spaces: “I would be caught, like now, when I am nowhere but pretending to be / standing in the Pittsburgh Aviary watching flamingos.” When I listen to Heifetz playing Tchaikovsky, I am amazed at how quickly and elegantly he makes and re-makes the landscape of the concerto -- as though conjuring it out of nothing. I wanted to try attempting something similar in a poem. “Performance” from Tongue Lyre (Southern Illinois University Press) Track 8 Wendy Chin-Tanner “She Came in Through the Bathroom Window” by The Beatles [youtube http://www.youtube.com/watch?v=m3cxkYu4NyA?rel=0] There’s a recursive quality to the song both in its lyrical and musical motifs that fed into the dialectical structure I was developing in my manuscript overall and that captured for me something specific about being the new mother of a baby girl. The poem “Through the Bathroom Door” is a direct consequence of listening to “She Came in Through the Bathroom Window” on repeat and reflects my thoughts about the existence of the child in the adult and the adult in the child, the shifting but omnipresent shadow of the past upon the present, the constant vigilance that is necessary in marriage and parenting to separate the self from the other, and the fact that vigilance is an inadequate safeguard against living. The lines, “Didn’t anybody tell her? / Didn’t anybody see?” just kill me. “Through the Bathroom Door” from Turn (Sibling Rivalry Press). Track 9 Mary Biddinger “I'm Waiting for the Man” by Velvet Underground [youtube http://www.youtube.com/watch?v=MOmZimH00oo?rel=0] I write about memory and from memories, so I need to listen to music that takes me back. “I'm Waiting for the Man” grabs me by the shoulders and commands me to write a poem, and pushes me into the gritty landscape where poems come from. At first this poem, “Risk Management Memo: Here Comes Your Man,” might appear to allude to The Pixies, but in fact it is an homage to “I'm Waiting for the Man” by The Velvet Underground, and was written in attempt to imitate the song's arc and pace, as well as relating to its subject. It also includes the title of a fake Velvet Underground song, as a wink to the reader. “Risk Management Memo: Here Comes Your Man” from her forthcoming book, Small Enterprise (Black Lawrence Press) (Fans of this poem will also enjoy Biddinger’s previous books, including O Holy Insurgency -- Nick). Track 10 Sara Eliza Johnson Elgar’s Cello Concerto, 1st movement (Jacqueline du Pré’s performance) [youtube http://www.youtube.com/watch?v=UUgdbqt2ON0?rel=0] I listened to Jacqueline du Pré’s rendition of this piece often while writing the poems that would become the “Archipelago” sequence in my book, Bone Map, which is a group of poems inspired in part by the seafaring pilgrimage Saint Brendan undertook in the 6th century. The atmosphere of the piece is, for me, oceanic, and powerful in that way, like great swells of water rising and falling through the ear, threatening storm, and then shipwreck. In the video, you can see the way Jacqueline throws her whole body into the cello, and I think you can hear that in the intensity of her performance; while writing I tend to listen to music with intensity, with whatever will get me fevered and feeling unreal, and transport me away from thoughts of obligations and deadlines. In that way I suppose the practice is escapist. Three “Archipelago” poems from Bone Map (Milkweed Editions) Image Credit: Flickr/MaxiuB