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the 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.
#111 Backstory of the
Poem
“Cemetery
Mailbox”
by Jennifer Horne
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?
Driv-
ing home by one of my regular routes, I pass a large cemetery. One day, I noticed for the first time that there is a mailbox at the entrance to the cemetery (Right and Below). Instantly, I began to wonder: what kind of mail goes to the cemetery mailbox? From there, a poem began to form around what kind of letters people would send to a cemetery and specifically what I would write if I sent a letter to such a mailbox.
Driv-
ing home by one of my regular routes, I pass a large cemetery. One day, I noticed for the first time that there is a mailbox at the entrance to the cemetery (Right and Below). Instantly, I began to wonder: what kind of mail goes to the cemetery mailbox? From there, a poem began to form around what kind of letters people would send to a cemetery and specifically what I would write if I sent a letter to such a mailbox.
Where were you when you started to
actually write the poem? And please describe the place in great detail. I came home and began to write notes in my
notebook. I always start poems by hand and only when they seem to have taken
shape do I type them on my computer. I like to keep them fluid for revision in
the early stages, and typing them too early seems to “set” them prematurely.
What month and year did you start writing this poem? I began the poem in June 2014.
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 wrote three or four drafts of this poem, plus some minor editing with my publisher as we prepared the chapbook. The length of the poem and the lines remained fairly constant, but I cut the beginning and added to the end. Initially, the poem ended with the line “before we woke” but I felt it needed something else, and I saw an opportunity to bring the poem back around to the cemetery from the memory of childhood.
It’s common where I live for people to set up fruit and vegetable stands during the summer, and there was one across from the cemetery where we used to occasionally stop and visit with the seller. It occurred to me that he was kind of a guardian of that intersection, and I wrote those lines, and then, after showing the poem to a writers group I’m in, revised them from “guardian angel” to just “guardian.” (Below: Peach Roadside stand in Georgia)
Initially the poem was all one stanza, then I
divided it into six-line and three-line stanzas, and in the final version,
three-line stanzas, or tercets, seemed to work best. This was in part a happy
accident, as when the designer laid out the book, the stanzas as I had them
didn’t work with the layout; when we changed it to tercets, it worked
perfectly. I wouldn’t have changed the poem just for it to work with the layout
if I wasn’t happy with the new version, but as it turned out I was.
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? The poem initially
began:
“Let’s get the joke
out of the way
first: it holds dead
letters.”
What do you want readers of this poem to take from this poem? I’d hope that readers would think about their own departed “dearest ones” and what kind of letter they might write to them, as well as find some comfort in the poem from the images of the memories of childhood and the generosity of the fruit and vegetable seller. I like the idea of keeping the dead in our hearts and of continuing to converse with them as we go through our own lives.
Which part of the poem was the most emotional of you to write and why? I do use the word “weepy” in the third stanza, and so that’s an emotional image in the poem, but I think I felt more in writing the lines having to do with bike riding and jogging at the cemetery: the combination of smiling and sadness that, for me, so often accompanies remembering someone who’s died.
I lost my mother in 1994 (Right), my
father last year, and I think of both of them often, along with grandparents,
cousins, and friends who are no longer here. I think we have to find a balance
between missing and living, and the focus on the fruits of the earth at the end
of the day says, to me, that we can find sustenance in the moment.
The cemetery in the poem is not actually where my family is buried, but the poem elides that distinction for the sake of coherence and consistency.
Has this poem been published before? And if so where? Its first appearance is in this book Borrowed Light
The cemetery in the poem is not actually where my family is buried, but the poem elides that distinction for the sake of coherence and consistency.
Has this poem been published before? And if so where? Its first appearance is in this book Borrowed Light
Anything you would like to add? To give you an idea of how this poem fits into the rest of the book,
here’s a description of Borrowed
Light: “What are the sources of light we live by? How do we sustain
ourselves when times are dark? In Borrowed Light, Jennifer
Horne uses an architectural term that refers to bringing sunlight to rooms
without windows as a metaphor for finding illumination through nature, art,
dreams, and other people. Many different kinds of light appear in this book:
morning light and twilight, porch light and candle light, the glow of fireflies
and the hard clarity of winter light. Seeking “light, perspective, something
new” Horne imagines a world in which both choice and serendipity play their
parts, and writing is the key to the discovery of new ways forward.”
“Cemetery Mailbox,” by Jennifer Horne, from her chapbook Borrowed Light (Mule on a
Ferris Wheel Press, 2019 (Available by mail from the publisher at: http://bonnierobertspoetry.com/press_mule_on_a_ferris_wheel and
online at: https://smile.amazon.com/Borrowed-Light-Jennifer-Horne/dp/0984276475/ref=sr_1_fkmrnull_1?keywords=borrowed+light+jennifer+horne&qid=1552064915&s=books&sr=1-1-fkmrnull)
Cemetery Mailbox
My letter,
addressed to them all,
written by hand, would begin:
Dear dearest ones,
Some days I miss
you so much
I get weepy
at the drugstore
among the greeting cards.
Driving past innocuous
manicured graves,
I think how you might laugh
to see children riding bikes,
a jogger making use of paved
pathways
among your upright stones.
Oh, those summer evenings
filled with fireflies, low
murmurs.
You kept death
at arm’s length,
letting our childhood linger,
lit with small glows.
Mornings, you disposed of
the darkened jars
before we woke.
Across from the graves,
the guardian of the
intersection
at Keene’s Mill and 216,
eyes rheumy from watching,
departs at dusk.
He leaves behind
peaches and tomatoes which he
sells
on the honor system
for five dollars a generous
basket.
My short story collection, Tell
the World You’re a Wildflower is a series of loosely interwoven
stories in the voices of southern women and girls. I love to edit collections as well.
My first book, Working the Dirt:
An Anthology of Southern Poets,
brought together over 100 poems about farming and gardening in the South.
The two books I co-edited with
Wendy Reed, All Out of Faith: Southern
Women on Spirituality and Circling Faith: Southern Women on Spirituality, have
received acclaim for the high quality of the essays and their contribution to
discussions about religion and spirituality in the American South.
My most recent edited book, Belles’ Letters II, I
co-edited with my husband, Don Noble; it’s a collection of short stories by
Alabama women.
My next book will be a biography of
the writer Sara Mayfield (Below), an Alabamian who was childhood friends with Zelda
Sayre Fitzgerald.
https://jennifer-horne.blogspot.com/
https://www.
facebook.com/for.
jen.horne
@ALPoetLaureate on Twitter
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”
by Bob Heman
089 March 27, 2019
“Clay for
the Potter”
by Belinda Bourgeois
#090 March 30, 2019
“The Pose”
by John Hicks
#091 April 2, 2019
“Last
Night at the Wursthaus”
by Doug Holder
#092 April 4, 2019
“Original
Sin”
by Diane Lockward
#093 April 5, 2019
“A Father
Calls to his child on liveleak”
by Stephen Byrne
#094 April 8, 2019
“XX”
by Marc Zegans
#095 April 12, 2019
“Landscape
and Still Life”
by Marjorie Maddox
#096 April 16, 2019
“Strawberries
Have Been Growing Here for Hundreds of
Years”
by Mary Ellen Lough
#097 April 17, 2019
“The New
Science of Slippery Surfaces”
by Donna Spruijt-Metz
#098 April 19, 2019
“Tennessee
Epithalamium”
by Alyse Knorr
#099 April 20, 2019
“Mermaid,
1969”
by Tameca L. Coleman
#100 April 21, 2019
“How Do
You Know?”
by Stephanie
#101 April 23, 2019
“Rare Book
and Reader”
by Ned Balbo
#102 April 26, 2019
“THUNDER”
by Jefferson Carter
#103 May 01, 2019
“The sight
of a million angels”
by Jenneth Graser
#104 May 09, 2019
“How to
tell my dog I’m dying”
by Richard Fox
#105 May 17, 2019
“Promises
Had Been Made”
by Sarah Sarai
#106 June 01, 2019
“i sold
your car today”
by Pamela Twining
#107 June 02, 2019
“Abandoned
Stable”
by Nancy Susanna Breen
#108 June 05, 2019
“Cupcake”
by Julene Tripp Weaver
#109 June 6, 2019
“Bobby’s
Story”
by Jimmy Pappas
#110 June 10, 2019
“When You
Ask Me to Tell You About My Father”
by Pauletta Hansel
#111 Backstory of the
Poem’s
“Cemetery
Mailbox”
by Jennifer Horne
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