*The images in this specific piece are granted copyright privilege
by: Public Domain, CCSAL, GNU Free Documentation Licenses, Fair Use Under
The United States Copyright Law, or given copyright privilege by the copyright
holder which is identified beneath the individual photo.
**Some of the links will have to be copied and then posted in
your search engine in order to pull up properly
*** The CRC Blog
welcomes submissions from published and unpublished poets for BACKSTORY OF THE
POEM series. Contact CRC Blog via email
at caccoop@aol.com or personal Facebook messaging at https://www.facebook.com/car.cooper.7
***This is the eighty-eighth in a never-ending series called BACKSTORY
OF THE POEM where the Chris Rice Cooper Blog (CRC) focuses on one
specific poem and how the poet wrote that specific poem. All BACKSTORY
OF THE POEM links are at the end of this piece.
Can you go through the step-by-step process
of writing this poem from the moment the idea was first conceived in your brain
until final form? “Hat” is one of the 81 experimental prose poems,
written between 1984 and 1986 using an experimental method, which are included
in my new book, The House of Grand
Farewells.
Each of us has a pool of words we usually draw upon
when we speak (words that we feel comfortable with and that we use without any
special thought). We also have another
larger pool that we draw upon in a similar way when we write. Usually we use these words (and combine them
with other words) in a certain way.
Each of us has a pool of words we usually draw upon
when we speak (words that we feel comfortable with and that we use without any
special thought). We also have another
larger pool that we draw upon in a similar way when we write. Usually we use these words (and combine them
with other words) in a certain way. 
I would start by opening the book at random,
scanning the words on the facing pages until my eyes landed upon one that
caught my imagination. Then I would open
the book again at random in a different place, and again scan the facing pages
until I found another word that caught my eye and seemed to make a connection
with the first. I’d continue doing this
until the piece seemed complete, formed by combining the random act of opening
the book and scanning the page, with the conscious act of choosing a word that
seemed to “connect” in some way with the previously chosen word(s). In this way
I produced poems that I never would have written under normal
circumstances. The results were often
surprising, even to myself.
What month and year did you start writing
this poem? It was written on March 12, 1985.
How many drafts of this poem did you write
before going to the final? (And can you share a photograph of your rough drafts
with pen markings on it?) It is possible an article or two might have been changed, but it is
essentially how it was originally written.
What do you want readers of this poem to
take from this poem? I would hope they’d take
from this poem a suggestive experience that would stimulate their imaginations,
and perhaps give them a small sense of foreboding.
Which part of the poem was the most
emotional of you to write and why? Because of my method of composition, emotion is
not foremost in the writing of these poems, but implied sense of doom in “Hat”
does have a sort o emotional “charge” for me.
Anything
you would like to add? I consider myself a poet of the imagination, which
frequently invades my writing not only in its subject matter, but also in its
form and approach, and sometimes in the process of its composition.
What my
poems mean is their experience upon the reader or listener (and the way they
perhaps transform the experiencer in some small way). While the poems of The House of Grand Farewells frequently
resemble surrealism, they also often contain obvious or implied narrative
content as well.
HAT
The hat keeps latent midgets from operating on
your paranoia. Monkeys watch from a safe distance, hoping to avenge their
chastisement. The opposite of the mud is always the minister. Their game
founders in the epistemological jungle that implicates our furious beginnings.
The hat mutates into something gigantic that occupies the entire sky. From its
angle something frightening is born.
from The
House of Grand Farewells
His collages have appeared recently in Otoliths,
Caliban, Home Planet News Online, and Clockwise Cat, and
have been exhibited in galleries in Chelsea, D.U.M.B.O., Williamsburg, and the
East Village. During the late 1970s he
was an artist-in-residence at The Brooklyn Museum.
A small collection of
some of his collaborations with Cindy Hochman, titled The Number 5 is Always Suspect, is
upcoming from Presa Press.
BACKSTORY OF THE POEM
LINKS
001 December 29, 2017
Margo
Berdeshevksy’s “12-24”
002 January 08, 2018
Alexis
Rhone Fancher’s “82 Miles From the Beach, We Order The Lobster At Clear Lake
Café”
003 January 12, 2018
Barbara
Crooker’s “Orange”
004 January 22, 2018
Sonia
Saikaley’s “Modern Matsushima”
005 January 29, 2018
Ellen
Foos’s “Side Yard”
006 February 03, 2018
Susan
Sundwall’s “The Ringmaster”
007 February 09, 2018
Leslea
Newman’s “That Night”
008 February 17, 2018
Alexis
Rhone Fancher “June Fairchild Isn’t Dead”
009 February 24, 2018
Charles
Clifford Brooks III “The Gift of the Year With Granny”
010 March 03, 2018
Scott
Thomas Outlar’s “The Natural Reflection of Your Palms”
011 March 10, 2018
Anya
Francesca Jenkins’s “After Diane Beatty’s Photograph “History Abandoned”
012 March 17, 2018
Angela
Narciso Torres’s “What I Learned This Week”
013 March 24, 2018
Jan
Steckel’s “Holiday On ICE”
014 March 31, 2018
Ibrahim
Honjo’s “Colors”
015 April 14, 2018
Marilyn
Kallett’s “Ode to Disappointment”
016 April 27, 2018
Beth
Copeland’s “Reliquary”
017 May 12, 2018
Marlon
L Fick’s “The Swallows of Barcelona”
018 May 25, 2018
Juliet
Cook’s “ARTERIAL DISCOMBOBULATION”
019 June 09, 2018
Alexis
Rhone Fancher’s “Stiletto Killer. . . A Surmise”
020 June 16, 2018
Charles
Rammelkamp’s “At Last I Can Start Suffering”
021 July 05, 2018
Marla
Shaw O’Neill’s “Wind Chimes”
022 July 13, 2018
Julia Gordon-Bramer’s
“Studying Ariel”
023 July 20, 2018
Bill Yarrow’s “Jesus
Zombie”
024 July 27, 2018
Telaina Eriksen’s “Brag
2016”
025 August 01, 2018
Seth Berg’s “It is only
Yourself that Bends – so Wake up!”
026 August 07, 2018
David Herrle’s “Devil In
the Details”
027 August 13, 2018
Gloria Mindock’s “Carmen
Polo, Lady Necklaces, 2017”
028 August 21, 2018
Connie Post’s “Two
Deaths”
029 August 30, 2018
Mary Harwell Sayler’s
“Faces in a Crowd”
030 September 16, 2018
Larry Jaffe’s “The
Risking Point”
031 September 24,
2018
Mark Lee Webb’s “After
We Drove”
032 October 04, 2018
Melissa Studdard’s
“Astral”
033 October 13, 2018
Robert Craven’s “I Have
A Bass Guitar Called Vanessa”
034 October 17, 2018
David Sullivan’s “Paper Mache
Peaches of Heaven”
035 October 23, 2018
Timothy Gager’s
“Sobriety”
036 October 30, 2018
Gary Glauber’s “The
Second Breakfast”
037 November 04, 2018
Heather Forbes-McKeon’s
“Melania’s Deaf Tone Jacket”
038 November 11, 2018
Andrena Zawinski’s
“Women of the Fields”
039 November 00, 2018
Gordon Hilger’s “Poe”
040 November 16, 2018
Rita Quillen’s “My
Children Question Me About Poetry” and “Deathbed Dreams”
041 November 20, 2018
Jonathan Kevin Rice’s
“Dog Sitting”
042 November 22, 2018
Haroldo Barbosa Filho’s
“Mountain”
043 November 27, 2018
Megan Merchant’s “Grief Flowers”
044 November 30, 2018
Jonathan P Taylor’s
“This poem is too neat”
045 December 03, 2018
Ian Haight’s “Sungmyo
for our Dead Father-in-Law”
046 December 06, 2018
Nancy Dafoe’s “Poem in
the Throat”
047 December 11, 2018
Jeffrey Pearson’s “Memorial
Day”
048 December 14, 2018
Frank Paino’s “Laika”
049 December 15, 2018
Jennifer Martelli’s
“Anniversary”
O50 December 19, 2018
Joseph Ross’s “For Gilberto Ramos, 15, Who Died in
the Texas Desert, June 2014”
051 December 23, 2018
“The Persistence of
Music”
by Anatoly Molotkov
052 December 27, 2018
“Under Surveillance”
by Michael Farry
053 December 28, 2018
“Grand Finale”
by Renuka Raghavan
054 December 29, 2018
“Aftermath”
by Gene Barry
055 January 2, 2019
“&”
by Larissa Shmailo
056 January 7, 2019
“The Seamstress:
by Len Kuntz
057 January 10, 2019
"Natural History"
by Camille T Dungy
058 January 11, 2019
“BLOCKADE”
by Brian Burmeister
059 January 12, 2019
“Lost”
by Clint Margrave
060 January 14, 2019
“Menopause”
by Pat Durmon
061 January 19, 2019
“Neptune’s Choir”
by Linda Imbler
062 January 22, 2019
“Views From the
Driveway”
by Amy Barone
063 January 25, 2019
“The heron leaves her
haunts in the marsh”
by Gail Wronsky
064 January 30, 2019
“Shiprock”
by Terry Lucas
065 February 02, 2019
“Summer 1970, The
University of Virginia Opens to Women in the Fall”
by Alarie Tennille
066 February 05, 2019
“At School They Learn
Nouns”
by Patrick Bizzaro
067 February 06, 2019
“I Must Not Breathe”
by Angela Jackson-Brown
068 February 11, 2019
“Lunch on City Island,
Early June”
by Christine Potter
069 February 12, 2019
“Singing”
by Andrew McFadyen-Ketchum
070 February 14, 2019
“Daily Commute”
by Christopher P. Locke
071 February 18, 2019
“How Silent The Trees”
by Wyn Cooper
072 February 20, 2019
“A New Psalm
of Montreal”
by Sheenagh Pugh
073 February 23, 2019
“Make Me A
Butterfly”
by Amy Barbera
074 February 26, 2019
“Anthem”
by Sandy Coomer
075 March 4, 2019
“Shape of a Violin”
by Kelly Powell
076 March 5, 2019
“Inward Oracle”
by J.P. Dancing Bear
077 March 7, 2019
“I Broke
My Bust Of Jesus”
by Susan Sundwall
078 March 9, 2019
“My Mother
at 19”
by John Guzlowski
079 March 10, 2019
“Paddling”
by Chera Hammons Miller
080 March 12, 2019
“Of Water
and Echo”
by Gillian Cummings
081 082
083 March 14, 2019
“Little
Political Sense” “Crossing Kansas with
Jim
Morrison” “The Land of Sky and Blue Waters”
by Dr. Lindsey
Martin-Bowen
084 March 15, 2019
“A Tune To
Remember”
by Anna Evans
085 March 19, 2019
“At the
End of Time (Wish You Were Here)
by Jeannine Hall Gailey
086 March 20, 2019
“Garden of
Gethsemane”
by Marletta Hemphill
087 March 21, 2019
“Letters
From a War”
by Chelsea Dingman
088 March 26, 2019
“HAT”
“HAT”
by Bob Heman
No comments:
Post a Comment