“There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, […]
Extract from chapter in Cambridge Companion to Creative Writing
“The line,” as James Logenbach contends, “is what distinguishes our experience of poetry as poetry”. Whenever we see, or more importantly hear, language arranged in lines we know we are entering the gallery of the poem. White space and silence frame the poem and alert us to its language. Consider the difference between William Carlos William’s “The Red Wheelbarrow” set as prose – “so much depends upon a red wheel barrow glazed with rain water beside the white chickens” – and the same words set in lines.
First published in Blue Dog: Australian Poetry
“Meditation at Lagunitas” rides, as Robert Frost says a poem must, on its own melting: “like a piece of ice on a hot stove”. It is perhaps my favourite poem. But writing about favourite poems — as Robert Hass himself notes in his collection of essays, Twentieth Century Pleasures — “is probably a hopeless matter.” You can analyze the music of the poem, he writes, “but it’s difficult to conduct an argument about its value, especially when it’s gotten into the blood. It becomes autobiography there”. I first read “Lagunitas” in 1991 — almost twenty years after Hass first published it — and there was so little in it of what I see now, that it amazes me to remember what it was I originally saw.