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

Deletions from an Introduction for a Selected Poems (3)

 

Deleted:

Creativity has the capacity to heal; some have fallen into the darkness of existence, and writing poetry or making art is one way to find light in the darkness; what is the light? It is the discovery of love in one's life. It is greater than any darkness.

Deletions from an Introduction for a Selected Poems

 

Deletions:

3.  You don’t become a poet expecting to be liked for everything you write, or even for some of what you write. Why do people become poets? It is simple: people become poets because they are called to this work; writing poetry is an act of transcription, writing down what is given to you and, most importantly, writing poetry is to feel that truth is so important that it must be adhered to. This is why freedom of speech is so important; it is essential if literature is to have any meaning or relevance for either the poet or the reader.

4. 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.

5.  In The Green Archetypal Field of Poetry (2022), I described how one's life can be reconfigured to something totally different from what one expected in life; I described this as the Great Reconfiguration. When I was six years old and my father died my old life became redundant, everything changed; I was one person and then I became someone else. His death has preoccupied much of my life, his passing reconfigured my life; this began the relentless journey of grief and understanding, love and loss, that I've been on, and trying to understand this existence and expressing it in poems.

6. To write not parts of a life but a whole life, that is what I have tried to do; it is an impossible task and can be attempted only if one refers to archetypes and a mythological approach to experience as a way to communicate this information. The poet's body of work is all of a piece, a single entity; it's a life that is transformed by poetry, it's the soul speaking through the poet. For John Keats life was a vale of soul-making, not a vale of tears; this was always the direction of my writing, my concern has always been with soul-making and I expressed this in my poems.

 

From Patrick Kavanagh

Patrick Kavanagh

I am always shy of calling myself a poet and I wonder much at those
young men and sometimes old men who boldly declare their poeticality.
If you ask them what they are, they say: Poet.

There is, of course, a poetic movement which sees poetry
materialistically. The writers of this school see no transcendent
nature in the poet; they are practical chaps, excellent technicians.
But somehow or other I have a belief in poetry as a mystical thing,
and a dangerous thing.

A man (I am thinking of myself) innocently dabbles in words and rhymes
and finds that it is his life. Versing activity leads him away from
the paths of conventional happiness. For reasons that I have never
been able to explain, the making of verses has changed the course of
one man's destiny. I could have been as happily unhappy as the
ordinary countryman in Ireland. I might have stayed at the same moral
age all my life. Instead of that, poetry made me a sort of outcast.
And I was abnormally normal.

                --Patrick Kavanagh
                   Author's Note, page xiii
                   Patrick Kavanagh, Collected Poems
                   Martin Brian & O'Keeffe, London, 1972

From Maud Bodkin

Maud Bodkin writes,

When a great poet uses the stories that have taken shape in the fantasy of the community, it is not his individual sensibility alone that he objectifies. Responding with unusual sensitiveness to the words and images which already express the emotional experience of the community, the poet arranges these so as to utilize to the full their evocative power. Thus he attains for himself vision and possession of the experience engendered between his own soul and the life around him, and communicates that experience at once individual and collective, to others, so far as they can respond adequately to the words and images he uses.

We see, then, why, if we wish to contemplate the emotional patterns hidden in our individual lives, we may study them in the mirror of our spontaneous actions, so far as we can recall them, or in dreams and in the flow of waking fantasy; but if we would contemplate the archetypal patterns that we have in common with men of past generations, we do well to study them in the experience communicated by the great poetry that has continued to stir emotional response from age to age.

Maud Bodkin, Archetypal Patterns in Poetry: psychological studies of imagination; Vintage Books, 1958, pages 7-8. First published in 1934