The poet Joie Bose is also a professor. But she writes like—a poet.
The American 2016 presidential election, which, thanks to both major party candidates, is a mud wrestle, has not yet become amateur. Professionals are ever present in politics, in business, in war, and always will be.
Poetry, however, is now an amateur activity through and through.
Love poems on the internet these days give more pleasure than the obscure, indecipherable poems published in the New York Times.
The poet John Keats, a Romantic Titan, easily one of the ten greatest poets writing in English who ever lived, once a fixture in the American college curriculum, and now growing less known every day—I imagine you could stop a thousand people on the street and none would know the name Keats—once remarked that there was something beautiful about a quarrel, and we all know what he means; you can find energy and drama alive among the homeless in the streets, such that it rivals anything got up, professionally, on the stage, in terms of body language and dialogue.
The same beauty, for me, applies to amateur love poems written by respectable women.
We recently lost the distinguished (if perhaps overrated) British poet Geoffrey Hill. The sudden demise of Hill’s Editorial Institute at Boston University, ended by a BU provost and a dean, as the Institute’s co-founder, and highly respected critic, and professor at BU, Christopher Ricks, helplessly watched, might signal, to some, the death of poetry as a professional pursuit.
But poetry lost its professional standing a long time ago.
There’s two underlying reasons for this, and it has to do with a perception of professionalism itself.
First. Professionalism has nothing to do with elitism—it is that which best allows mundane daily life to carry on: the concert in which Mozart is played well enough to make us feel warm inside; the democratic election process which defies a revolution or a coup; the smooth functioning of trains and planes; the vaccination given without too much inconvenience, or pain. Politics, the fussing about the economy and the law, is professional by default. It has to be. It defines professional, and once that’s gone, civilization is gone.
And second. There are some glorious things which were never meant to be professional, like a sudden outbreak of a passing quarrel, or a passing love affair, or a passing poem. And when they become professionalized, they die.
The glorious amateur. The mundane professional. Sometimes friends. Sometimes enemies. Always two very different things.
Poetry ceased being glorious the instant it tried to be professional.
When it became a “You Can Be A Writer! And Be Published!”course advertised in a newspaper.When it became swallowed up by the university as a creative writing program.
The greatest poetry has always been written by men and women getting in trouble, living busy lives, doing other things: climbing the Alps with Byron, sailing the Mediterranean with Shelley, dying with Keats, escaping a tyrannical father with Elizabeth Barrett, writing offensive reviews and fiction with Poe, busily hiding away with Dickinson, busily falling apart with Plath, busily falling in love with Millay.
The great 19th century poets, Barrett, Byron, Shelley, Keats, Poe, Dickinson, and Tennyson, were love poets—because poetry belongs, first and foremost, to love, and this is what makes poetry fully and gloriously amateur, and, in the most actual terms imaginable, glorious.
There is always—and we see this a great deal in the 20th century, up to our present day—the deeply earnest attempt to make poetry professional—which means making poetry a vehicle for politics (racism the new brash poetry topic)—an attempt which fails, not because of insincerity, or a lack of talent or education, but simply because poetry’s glory does not lie in the political, professional realm; the attempts to immerse poetry in frank, political rhetoric inevitably produces boring poems. The newspaper is for boring topics, frankly discussed; the poem is for something else. Some get this. Most don’t.
The best poem is the one which exists in the private sphere, which is written because a private citizen, contemplating their own experience, bursts forth with it, and tells a truth simultaneously private and universal, because it has to be written—not a poem which will be written, because the contemporary and the political demand it.
Politics, the professional river, unclean and unstoppable, will not have its course altered by poetry; many politicians these days are sexual predators or war predators; in the political realm these predators exist, and poetry has no chance if it attempts to invade the political realm; poetry belongs to the realm of love, and love is the atmosphere in which the sexual predator will be exposed and die. And who will speak up for love, if not poetry? Don’t expect it from speeches on racism or the economy, or from sex-joke sitcoms. Poetry is the true “policeman” of love.
We see poems published all the time which address thorny subjects, obscure subjects, political subjects, which attempt to address political wrongs, and though some of them, if they are explicitly indignant enough, elicit cheers, none of them, frankly, change anything, and, in the meantime, amateur poetry of private love and wisdom withers, and is ignored.
Well, not quite. And this is the good news.
Amateur poetry of private love and wisdom lives. It lives on the Internet.
Even as professional attempts at poetry continue with their pointy-headed, ineffective, obtuseness and obscurity.
Reading the web, I find the best poems are self-published, appearing on my feed without ceremony, and rarely the ones “linked” to an institutional, vast, cliquey, ostentatious tower.
Why is that? For the reasons given in this essay.
Here’s an example from Daipayan Nair, a short but effective poem:
I cannot smell
anything new, any longer.
It’s all me
in different places.
This short work by Nair falls under the category of insightful, self-aware, private wisdom, rather than love. Wisdom is a topic India does not fear, and private wisdom, or honesty, is very close to private love. India right now, in English, on the internet, is producing better work than England or the United States in their professional guises, which may be a remarkable claim, and all the more remarkable because it’s true. Perhaps this is because the West, in its post-modernism frenzy, simply has no belief in wisdom anymore, or a belief in love; and America, especially, has backed itself into a corner, turning its back on its relatively short history, abandoning the 19th century, in its 20th century modernist revolution—leaving itself very little that is traditional or time-honored; while India, with a much longer history, is more relaxed and assimilative, and much less historically cynical, and can still bring the accessible magic. So you have Indian poets self-publishing in English, out-performing the “professional” Americans.
What we like about Nair’s poem, beyond the fact that it is instantly comprehensible, and trades in none of this elitist, “difficulty” nonsense, and has none of the prickly, obscure language which ruins so many American poems, is that it fits the poem we described above—it feels like something written while the poet was busy doing other things; it does not feel professional and slaved over, even as it feels—somehow—necessary and important, that it had to be written. We like it. We like it very much. And we’ll put it up against the lengthier rig-a-marole of an Ashbery, for instance, any day. Perhaps this is comparing apples and oranges. But we like these apples.
Daipayan Nair is a wry, witty and highly prolific poet. He’s on the right track. The amateur one.
The housewives of India who write their impassioned verses on Facebook live remarkable, impassioned, beautiful lives, and their poems spring directly from their lives, not from any guarded, post-modern sensibility learned in college. These modern Elizabeth Barrett Brownings give immense pleasure from a world of timeless living put quickly and casually into poems. These are not workshop poems squeezed out into a box labeled 2016; these are poems that are poems not because of when they were written, but because they are—poems. Elizabeth Barrett made the 19th century better by her poems; the time didn’t write the poems; she did.
Joie Bose, not belonging to any school or movement or political party or university department, just puts up sonnet after sonnet on the Internet. Here’s one. Not perfectly written. Dashed off, perhaps. But God, if this isn’t an expression of genius:
Let’s count the stars, it’s dark now;
Let’s just count nothing else,
Not the lies that became thorns and pierced us,
No not that string of red pearls, glistening.
Let’s not count one by one all the alibis,
Those bouquets in those crystal vases,
Paint smiles on every eyes that look upon;
What else do we have left to give them?
The sun set on us, our work is done,
Our flaming heat gives way to the cold,
All eyes will shut, sleep shall descend,
We had been, what dreams were made of.
Know now this is eternal night, memories glitter
Let’s just count nothing else, just the stars.
18th September, 2016
And if you think this is an accident, here’s more of the sequence—which appears a couple of days later, on September 20th:
I will pray before I leave the earth
As I pray every time I leave my body,
I will leave a shadow as I leave the stage
As I leave a poem after every act.
I will pray that you will understand
As I pray every time you misunderstand,
I will leave you a shade in a bright tomorrow
As I leave you shade under this blazing sun.
You will talk of me as you do of history
You will be kind and the bitterness will be gone,
You will hold me in your tear-strewn heart
You will herald me as your guiding star.
Age will give me what my youth has sought
And I will give you then, what I now cannot.
Sushmita Gupta, like Joie Bose, is a mother from India, I am familiar with her only from Facebook; she is a painter, designer, and an amateur poet. Which means you probably won’t see her poetry in The New Yorker any time soon. Which also happens to mean she is very good. She writes the kind of poetry which, without any fuss or intellection, fills up your heart. Her lovely blog is called Sushness. This recent poem of hers reminds me of Goethe. Her unorthodox use of the comma slows things down even more, as the poem moves slowly over us, and into us. Almost like something God had passed along:
I was all high strung,
And craving speed,
And burning passion,
And electrifying drama,
And singular attention,
And sedate clouds,
Places and peoples,
It had already touched,
All at once,
I was calmed,
By the cool,
On my face,
All at once,
I was naked.
I was bared,
Into a being,
In not wanting.
Nalini Priyadarshni is also a mother, who explores love poetry as an art in itself, where love feeds poetry—and poety feeds love—in a mutual feedback loop of pure ideal experiment; the passion is willed; this may be considered naive poetry, and the topic (love poetry) might be seen as common and simple. But that is the point. A true intellectual is not afraid to be common and simple.
Words born in the recesses of your heart, I treasure
even before they rise in your throat
or find release from your lips
I know them from another place, another time
All that you say or leave unsaid for another day
I catch in my cupped palms and drink deep
I know its taste from another place, another time
Your silence, when it breathes heavy on my neck
I weave a song along its tendrils
I know its melody from another place, another time
There is no putting in words what can only be felt
live it and trust it will find its way to me
I know its footsteps from another place, another time
This poem by Priyadarshni expresses a fanatical faith in love. The sensual “throat,” “lips,” “neck” and “tendrils” are heightened in their sensuality precisely because the poem as a whole is a beautiful desert of hope—love is absent, even as it is intimately present. There is a thrill as the poet strains to transcend love in the poem—a poem remarkable in the manner it expresses love in a faithful underlying of absence/presence. Her book is Doppelgänger in my House, published by the Poetry Society of India.
So ends our brief survey of Bollyverses, available on the Internet, which lives under the radar of professional American poetry, and yet rivals, and even surpasses, American contemporary and academic/program writing, as significant and pleasurable English speaking poetry.
Daipayan Nair, Joie Bose, Sushmita Gupta, and Nalini Priyadarshni are four of the more remarkable poets who have randomly come to Scarriet’s attention—and we are very glad they have.