Preface, Farewell, Darkness, Selected Poems

Preface

 What in one is dark Illumine, what is low raise and support

                            —John Milton

 

T

his selection of poems is taken from books and chapbooks I published from 1971 to 2021. When I began writing poetry my themes were the transience of life, family, grief at losing close family members, and romantic love. These many years later I am still writing about the transience of life, family, grief at losing close family members, and romantic love, but giving more emphasis to some and less to others. My experience is that where we begin as poets is where we end. What is our journey as poets? It is the great theme of literature; it is the journey to self-awareness.

1

These poems are presented here without section breaks; this is the model Ken Norris suggested to me, found in Robert Creeley's Selected Poems (1991). The text of Creeley's book has a continuity that is unbroken by titles of books and dates published, as one finds in most selected poems, and I've used the same approach in presenting the poems in this book; it is the book of poems of my life. Of course, bibliographical information is still available in both the Books Published page and the Contents page.

 2

We learn something from every poet we read. In 1967 I read Allen Ginsberg's statement, "Scribble down your nakedness. Be prepared to stand naked because most often it is this nakedness of the soul that the reader finds most interesting"; it was an important insight for me and has influenced my writing to this day. But other poets were also important; these include William Blake; the Romantic poets; Walt Whitman; the Beats; Charles Olson; Louis Dudek; and George Johnston.

3

Poetry isn't antiseptic, it's passion for life. Poetry is love and death and tears of joy and tears of sorrow. It's messy, it's stuff we don't want to talk about, it's betrayal and jealousy, it's love and sex and tenderness and grief and regret and awe and divine inspiration; it's the shadow falling across one's life. Poetry is nothing if not passionate; passion, not the intellect, not fashion, not popularity, not what other people are doing, defines poetry.

4

We all experience darkness in our lives: some of us have descended to the underworld; some have been lost in a dark forest; and some of us have had to begin life again in middle age—we lost everything—for nothing was as we believed. But darkness can be place of creativity, of self-awareness, of meaning, and of rebirth. I found my voice in poetry when I was able to turn the darkness of my life experiences into poems; I affirmed what I had seen and I said, "thank you, darkness" and "farewell, darkness"; and that is the birth of the poet.

5

My wife, the poet Carolyn Zonailo, is always in my thoughts and heart; to her my thanks, my love, and my deepest appreciation for our over thirty years together. I want to thank Richard Olafson for his commitment to publishing—the year 2022 was Ekstasis Editions' fortieth anniversary—he has made an important contribution to our national literary life; he has helped many creative people realize their potential and their dream.

 

                                           Stephen Morrissey

                                           Montreal, Quebec

                                           20 November 2022

Morrissey, Stephen. Farewell, Darkness: Selected Poems. Ekstasis Editions, Victoria, 2023.

Preface, The Green Archetypal Field of Poetry: on poetry, poets, and psyche

 

Preface

 

 

T

he Green Archetypal Field of Poetry: on poetry, poets, and psyche is a collection of essays and short statements on poetry and poetics. This book complements my previous book, A Poet’s Journey: on poetry and what it means to be a poet (2019) also published by Ekstasis Editions. I’ve spent many years in the solitary work of writing poems and thinking about poetry; this book summarizes, explains, and enlarges on that subject. The book is divided into three sections; they are: ideas about poetry and writing poetry; a discussion of several Canadian poets, including F.R. Scott, A.J.M. Smith, Louis Dudek, and the poets I knew from the early days at Véhicule Art Gallery; and shamanism, psyche, or soul in poetry.

 

1          H.W. Garrod in his book, Poetry and the Criticism of Life (1931), writes that it was Seneca “who first said, what Ben Jonson and many others have said after him, that the critic of poetry must be himself a poet.” There is a tradition of poets writing about poetry; Louis Dudek’s writing is full of a contagious enthusiasm for poetry; Irving Layton wrote with bravado about the importance of poetry in Waiting for the Messiah (1985), and there are important statements on poetry in the prefaces of some of his books. Three other books of essays and commentaries on poetry need to be mentioned: co-edited by Louis Dudek and Michael Gnarowski, The Making of Modern Poetry in Canada (1967); An English Canadian Poetics (2009) edited by Robert Hogg; and On Poetry and Poets, Selected Essays of A.J.M. Smith (1977). I also recommend George Whalley’s extraordinary Poetic Process, an essay on poetics (1967).

 

2          In Canada we rarely celebrate our poets, I refer to poets of previous generations; even poets who died only five or ten years ago seem to have never existed judging by their absence from our cultural or daily life, or their being mentioned for their poetry, or their poetry being quoted. We don’t name bridges or airports after our poets, that’s reserved for dead politicians no matter how dubious their contribution to our national life. This collective amnesia does not augur well for our future; if we can't even remember a few dead poets who helped define what Canada means, then what kind of a country will we end up having?    

 

3          What are the perennial qualities of poetry? There is the dichotomy between two approaches to poetry, two types of poets, Apollonian and Dionysian, classical and romantic, formal and informal, cosmopolitan and nativist. No matter which group of poets one falls into one of the things that makes for great poetry is if the poet has found his or her authentic voice: has the poet written something that is true to their inner being and is insightful of the human condition; and the corollary of this: does the poem move us emotionally, spiritually, or intellectually? This is the type of poetry that interests me; these perennial qualities make for great poetry.

 

4          My approach to poetry has always been intuitive. Intuitive people know that intuition gives us knowing but without proof, while intellectual knowledge is substantive but often lacks the insight and originality of intuition. When intuition precedes intellectual understanding, as it does, then it is necessary to find evidence for one’s intuitions. Most of my insights into poetry—for instance, and I’m obviously not the first to say it, that poetry is the voice of the human soul—originated intuitively. In this book I am trying to substantiate my intuitive insights into poetry, this has helped me to better understand my thinking on poetry and, I hope, it is of interest to readers.

 

5          No real poet ever decided to be a poet, it doesn’t work that way; if it was a decision they probably didn’t last long writing poetry. I answered a call to do this work and now I ask, is there closure on this activity that has dominated my life? This book is closure for my writing about the meaning of poetry but, as for writing new poems, I don’t want to end up as some old poets do, and that is publishing perfectly written but meaningless poetry. I hope I will be long gone before that happens. Of course, there may still be a few poems to write, and a few odds and ends to write about poetry; there is no age for retirement for poets, there is just the slow act of disappearing.   

 

 

                                                                                                Stephen Morrissey

                                                                                                Montreal, Canada

                                                                                                16 November 2021

Morrissey, Stephen. The Green Archetypal Field of Poetry: on poetry, poets, and psyche. Ekstasis Editions, Victoria, 2022.

Preface, A Poet's Journey: on poetry and what it means to be a poet

 

Preface

  

This is a compilation of some of the essays and reviews I wrote from 1975 to 2018. My main concern in these essays is with two aspects of poetry, the poet's journey and the art of poetry; indeed, these topics have fascinated me from when I began writing poetry in my early teens. Visual or concrete poetry also interests me and I have included some examples of my experimental poetry. 

            Whether poets are born or made every poet is on a unique journey, this is the journey to writing original poems in an authentic voice. This journey includes poets who are one's mentors; the poet friends of one's youth; the poets who are an influence on one's work and thinking; and the varied experiences of life that are important to the development of the poet. The art of poetry includes ideas about poetry; poetry as the voice of the human soul; visionary poetry; the purpose of experimental poetry; confessional poetry; and finding an authentic voice in poetry.

            Some aspects of the poet's journey have changed over the years. We have more people today writing poetry, giving poetry readings, and trying to publish their poems than possibly ever before. Most of these people aren't reading or buying poetry books but poetry is still very much alive, it's just not the same type of involvement as it was in the past. The poetry scene today is less sophisticated than it was forty years ago; back then there were fewer poets, fewer prizes and awards, and fewer creative writing courses. I remember when new books by Robert Lowell, John Berryman, Elizabeth Bishop and others were given extensive and serious reviews in newspapers and periodicals.  New books by Canadian poets, for instance Irving Layton, P.K. Page, and Earle Birney, were also given serious and intelligent reviews in newspapers and periodicals. These poets from a previous generation had an important place in our culture but there are no poets today with the same cultural relevance and prominence that poets once had. This does not signal the end or even the diminishment of poetry. Poetry endures for one specific reason: poetry is the voice of the human soul and it gives access to the inner life both when reading poetry and when writing poetry. For this reason, as well, poetry will never die.

             Many things have changed in this post-postmodern world in which we live; however,  some things will never change. Are people really all that different now than they were five hundred or five thousand years ago? The human spirit endures, human kindness and human malice endure, and the fundamental vision of art endures when it is acknowledges the human spirit. All art is an expression of the visionary capacity to see what is below the mundane surface of things; indeed, all art is vision in its transformation of the complexity and depth of the unconscious mind. All poets who have set forth on this extraordinary journey of self-discovery, creativity, and writing poetry know they must find their authentic voice and that this voice is an expression of the poet's vision, and this expression has a perennial place in the consciousness of humanity.

             

        

                                                                                    Stephen Morrissey

                                                                                    Montreal, Quebec

                                                                                    December 2018

Morrissey, Stephen. A Poet's Journey: on poetry and what it means to be a poet. Ekstasis Editions, Victoria. 2019