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***This is the fifty-ninth
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.
Below Title Photo: Clint Margrave in January of 2019. Copyright granted by Clint Margrave for this CRC Blog Post Only
Below Title Photo: Clint Margrave in January of 2019. Copyright granted by Clint Margrave for this CRC Blog Post Only
by Clint Margrave
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?) I can’t say for sure because I didn’t keep files of the early drafts. Sometimes, once a poem is published or I feel it’s finished or it ends up in a book, I usually delete all the earlier drafts, unless I’m lazy. In general, though, once I take the initial handwritten free-write (see picture ABOVE LEFT) and type it on the computer, it can typically go through anywhere from 10-50 drafts. However, my hunch in this case, is that this was one of those rare poems that probably took only a few drafts. Having had a lot of experience with making my free-writes into poems, I see this one was pretty well-formed by the time I begin to work on it, evident by the end already being in place. Usually, that’s a sign I can move through revision pretty fast. If the end is not there, then I’m in trouble.
The
only marking is the check at the top which means I’ve taken this free-write and
made it into a poem.
Were there any lines in any of your rough drafts of this
poem that were not in the final version? And can you share them with us? These were in the
initial free-write before I began to form the poem:
“She went home, made dinner, then called me to eat, when she suddenly realized her error.”
“She went home, made dinner, then called me to eat, when she suddenly realized her error.”
“After a while, I gave up and looked
at magazines.”
“My
mom called the store and asked them if they’d seen a
little boy who looked lost. “There are a lot of little lost boys,” the
manager said.
What do you want readers of this poem to take from this
poem? I
can’t say I’ve written a poem knowing this objective or even setting such an
objective. I think I was trying to convey something about aging and loss. The
loss of time, the loss of memory, the loss of childhood, the loss of my father,
the loss of my mother before tragedy and dementia. (Left)
Which part of the poem was the most emotional of you to write and why? The end. I don’t know if I felt it right away when I wrote it, but I feel it every time I read it to an audience.
Which part of the poem was the most emotional of you to write and why? The end. I don’t know if I felt it right away when I wrote it, but I feel it every time I read it to an audience.
Has this poem been published before? And if so where? Yes. It was first
published in Ragazine (Nov/Dec 2014) and included in my book Salute the
Wreckage (NYQ, 2016). Anything
you would like to add? Thank you.
Lost
I
was ten when my mother left me
at
the grocery store.
It
must have only been a couple hours.
I
didn’t take it personally,
spent
the time looking for a coin
so
I could call her
on
the payphone.
Now,
thirty years later,
it’s
she who feels left somewhere,
when
she asks me
to
pick her up from my sister’s house,
where
she’s lived
the
past five years.
“I
want to go home,” she tells me.
“But
you are,” I insist,
knowing
she means back to that place
before
old age and dementia
and
the death of her husband.
“I
am?” she says. “I thought I lived
somewhere
else.”
It’s
not likely she’d remember
ever
leaving me at the grocery store,
or
how when she finally realized it,
she
called the manager in a panic,
asking
if he’d seen a little lost boy
roaming
down the aisles,
wondering
where
Clint Margrave is the author of Salute the Wreckage(2016)
and The Early Death of Men (2012),both published by NYQ Books. His work has appeared or is
forthcoming in The Threepenny
Review, New York Quarterly, The
Writer’s Almanac, Rattle,
Cimarron Review, Verse Daily, The American Journal of Poetry, and Ambit (UK),among others. He lives in
Los Angeles, CA.
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
https://chrisricecooper.blogspot.com/2019/01/59-backstory-of-poem-lost-by-clint.html
“Lost”
by Clint Margrave
https://chrisricecooper.blogspot.com/2019/01/59-backstory-of-poem-lost-by-clint.html