NORFOLK, Va. — The poet Tim Seibles recently released his latest book, Fast Animal, a collection you should buy and read now.
Back already? Great. I first heard Seibles read about 15 years ago at Virginia Wesleyan College, and it was just amazing. I bought a couple of his books, and have been a fan ever since. Here’s a taste of Seibles’ voice, from a quick reading he did on his deck the evening we spoke. This is “Wound” from Fast Animal:
Seibles’ work has been recognized with an Open Voice Award and a NEA fellowship, among others, and collected in Best American Poetry. He is a professor in the Old Dominion University MFA Creative Writing Program. By way of full disclosure, I’m a student on the fiction side.
This was a long talk, and it has been edited down quite a bit for length and, in a few spots, clarity. In case Mom figures out that Interweb doohickey, I should note that the following conversation contains some potty-mouthery, which is totally a real hyphenated phraselet, which is, in and of itself, wordish. Maybe I’m not selling this. Point being: language.
Seibles was incredibly generous with his time, which I appreciate. He also may be the tallest interviewee yet. That’s an implied milestone right there. Wicked.
Before we get to the interview, here’s some quick housekeeping. I’ve been wrestling with my thesis the past few months, so the posts have been less frequent. However, I have some talks planned through the spring and into summer around my work schedule. Say, did you know that, if you subscribe, the posts come right to you? In the night, baby. When you really need them.
Additionally, the 2012 Fortune Cookie Fortune Writing Contest is underway. Why not come up with an entry of two and email them to email@example.com? That should help you fill that hole in either your schedule or the awesomeness generator you call your soul. And there are prizes, including signed editions of Fast Animal. What synchronicity.
See how this works? When you provide me with free (hopefully) amusing content, everybody wins. Not after third place, actually. The General Counsel to the Imaginary Board of Trustees want me to stress this. What I mean is almost everybody, but still.
Back to Tim Seibles. This portion of the talk deals, in part, with perceived limitations imposed upon art, writing compelling poetry through personas such as the title character of the comic book and film Blade, and connecting with readers.
Q: You opened the book prior to Fast Animal, Buffalo Head Solos (Cleveland State University Poetry Center, 2004), with a preface that talks about … your feelings on limitations. I hoped you could just talk about what you feel when people impose limitations on art.
There are the literal limitations of language. There are all kinds of places you probably can’t go with words. That’s why there’s guitar and saxophone and sculpture and painting. But in terms of the culture we live in … I don’t know that the fact that we’re not a wildly, intensely well-read society really changes how I write. It seems clear that you may not reach as wide an audience as you’d like to with poetry, so you’re limited in the kind of impact you might have in terms of sheer number of engagements with people. But I think about some of the great musicians over the years who played Woodstock and other gigantic festivals, and just having lots and lots and lots of people listening doesn’t really add significance to what you’ve done.
I think every writer wants to do his or her best work and offer it as generously and as often as possible, you know, without losing your mind, and let the resonance be what it is to whomever. You don’t know who you’re going to reach or how deeply. You don’t know what they will make of your work if they’re writers. They may write something they might never have otherwise written because of one poem you wrote. …
I guess all writers are, in some sense, composites. The people who influenced me – like W.S. Merwin, certainly Langston Hughes, the Black Arts poets, certainly Gil Scott-Heron, Pablo Neruda, Anne Sexton … they had no idea what their work was going to do to me. Yet they did the best work they could and they let the impact be what it was. So here I am, just one of their progeny.
Q: You talk in that essay about poets saying some of these things, and that seems almost like a self-marginalization before you’ve even done the art. There are four concerns you talk about in the essay, and one is this idea that poetry shouldn’t be political or argumentative. I can’t think of any way poetry could be other than that.
I agree, but people I’ve had conversations with – some of them have been teachers of mine when I was a younger writer – who have felt that poetry should – capital S – should assume a certain position in relation to the larger society, a more contemplative, don’t-want-to-seem-too-upset kind of position in the culture. Fortunately, I’ve heard all kinds of poets with a huge range of perspectives. Certainly the Black Arts poets were heavily focused on political outrage, for better or worse. That can be a limiting thing, too. It can really put a stranglehold on your subject matter. A writer of any genre has to have room to go anywhere.
Not only do I disagree that poetry has to stay in a particular place or play nice … but I think all of the arts have to have their way of peeing on the rug, as a friend of mine used to say, or demanding a certain kind of attention through rage or even just pure mystical astonishment, I just think poetry, like all the arts, shouldn’t be bound by any particular kind of etiquette. If a poem is rude, let it be rude. All I care about is if it feels like what has been written comes from an honest place. If someone is shocking me just for the hell of shocking me, if someone wants to write ‘shit’ or ‘fuck’ 40 times, I wouldn’t care much about that.
Q: I was talking to a friend [who writes poetry] and he said one of the things he forgets to do is write in a way that remembers the word is spoken. I think one of things people who have experience you reading understand, there’s a wonderful ability for these poems to be spoken.
I sure hope so, man. I like to think that when I’m writing I’m hearing the poems. I’m not sure I can explain it exactly, but the lines come to me as spoken things. I hope they have a life on the page, but I’m also thinking about how they might hit the ear, how they might live in someone’s ear.
Q: I wanted to ask about the third thing [in the essay] which is poems that are “too imaginative,” and that this is a complaint some might have. I think people pick up your book, they’ll see the form of the poem on the page. Some are lean and some our stout and some move and change … but also within the words sometimes you write the word not the way it appears in a list in a dictionary, but in a way that you want the reader to feel the word – or that the character would say the word. Could you talk about why you do that?
For the most part, I use the language in a relatively conventional way. Now, what I say may not be conventional, but in terms of syntax and meaning for the most part ‘green’ in a Seibles poem is that color of grass. When I’m bending things or trying to tilt the language a little, I’m hoping it will jar them just a little bit, enough to make them kind of snap out of the trance of normal thinking. I’m hoping that with a particular bend in the language that you can pull someone up short and make them attend in a different way.
It’s the same thing, for example, with the use of similes and metaphors. You’re hoping for a kind of heightened moment that really reestablishes their attentiveness to the text. I don’t think a poem can be a shock and a surprise every second. I don’t think any art does that. You want there to be enough unpredictability, surprise in a piece to keep a reader or a listener on edge. …
I know, for example in Buffalo Head Solos, no one is expecting to hear from [the persona of] a cow. … I want to invite people in with a tempting promise and then I want to sustain their interest by rewarding their attention with fresh ideas, word music, etc.
Q: Especially the ‘persona poems,’ it’s about you giving the voice to something that doesn’t have a voice and talking in a lot of ways – I keep coming back to marginalization, but you talk about creatures that are used, that are consumed, or consume so little, and are punished for doing it.
I hope to be giving voice to things that often have no voice, but also playing out my own strange sensibility. I would never work with a persona that had nothing to do with me. Whatever it is, whomever it is – cartoons, cow, virus, whatever – if I’m trying to develop a persona, that means I’m finding certain aspects of my own voice within that voice. Certain things just compel me. What would a cow say about its predicament? How is the predicament of a cow like the predicament of a person. … My inspirations are necessarily connected to my life as a human being. I don’t have any reason to speak in the voice of, you know, a doily. I’m not moved to speak as a doily. A doily does not know pleasure or suffering.
Q: They’ve got it rough.
[Laughs.] We concede this, their struggle. In terms of persona, I’m drawn to certain characters – animate or inanimate – because they allow me to chew on a predicament that concerns me. I have that poem [“Ambition: Virus Confessional”], which is trying to get at a kind of insidious and secret consumption of life. Culture – it doesn’t matter what culture you’re in. All cultures want to use their members to propagate and promote the culture as it is. That’s why radicals are not welcome. That’s why people who don’t bow to the imperatives of the culture are often marginalized.
So when I’m writing in the voice of a particular persona, I’m often trying to get into territories in that, if I were to try to address them strictly in my ‘own’ voice it would seem maybe too – It wouldn’t be naval gazing exactly, but it would constantly wrestle with certain issues as though my predicament was the central issue. … No one cares about my alienation, you know? People who read poems are more interested in how my sense of alienation or marginalization or joy or erotic insanity speaks to their own fascinations.
Q: Let’s move to Fast Animal, where you have poems about Blade. You read recently at Prince Books in Norfolk, and talked a little bit about some things that were going on around 2007, 2008. What was going on with you then?
I thought 2000 to 2008 was the most disturbing era, socially and politically speaking, in my adult life. As a young man, of course, the 1960s would have been wildly volatile, but in the ‘60s you had people actively engaged in trying to overturn a repressive and generally fucked up society. There were heads butting and people yelling, challenging complacency in the face of what was considered a really well organized evil – racism, sexism, militarism are bad for humanity on a massive scale.
Q: And poetry was part of that.
Q: Even from The Black Panther newspaper to –
Yes. Yeah. Absolutely.
Q: – to “revolutionary art.”
Yes. ‘The Revolution Will Not be Televised’ by Gil Scott-Heron.
Q: Which you reference.
Yes. ‘Ego Tripping” by Nikki Giovanni. That stuff was all about ‘Hey, you can not hold us down, goddamn it.’ You know? What I found most difficult about the Bush era, was that the administration was clearly unethical but people just played along. It’s not that people didn’t care. I knew plenty of people who cared, but it felt as if all resistance was being overrun, carried in the current we hated.
I thought Bush and company were just bloodsuckers of a kind, a psychic kind. Blade, you know … When I saw the first movie, I thought he had a certain purity of intention, a recognition that there are certain evils that cannot be tolerated, that must be confronted directly. … I mean, there had to be some place I could go with the kind of anger in my gut. And with that first poem, ‘Blade, The Daywalker,’ I thought, ‘Yes, this is the mind I can step inside that will allow me to say what I mean with a kind of controlled fury.’ I mean, I am not going to kill anybody.
Q: At least, don’t put it on tape.
[Laughter.] Right. But Blade will, Blade has, and knows exactly why. I don’t want to promote violence. Violence doesn’t seem like a great help. At times, perhaps it’s necessary, but to be avoided if possible. … When I was using Blade as a persona, I wanted to get at a certain kind of anger that I couldn’t articulate otherwise.
Now there’s a poem in Buffalo Head Solos, that poem called ‘Really Breathing.’ That’s in a voice that people might consider my voice – that is certainly not a persona. That poem also is about a kind of rage. It’s got playfulness, as well, but it’s a really stormy voice that is complaining and pointing fingers and taking names. The Blade poems allow me a kind of purity of voice. He kills vampires. There are no literal vampires in the world, but we are consumed. We are fed upon in various ways by ideologies and institutions that are not especially humane.
Q: Blade is an outsider, as a character, but Blade is a very successful comic book that was turned into a very successful movie with, at the time, one of the biggest stars in the country. Made a lot of money, sold a lot of popcorn. And it is a piece of pop culture. It’s an entertainment. It’s to be consumed. But what you’ve done is taken that figure and used it to express something else, and I think that’s interesting.
I hope so. There was a kind of clarity of purpose in that character. I mean, even if I just wanted to run around and punch everyone I thought was evil, I’d either be dead or in jail in a few minutes. But Blade could develop a life around fighting evil. Does Blade have a job? No. Blade doesn’t have rent due or credit cards to deal with. Blade is someone who fights evil. That’s what he does. Blade doesn’t have vacations. He doesn’t say, ‘Boy this is getting old. I think I’ll go to Six Flags this weekend.’ [Laughter.]
Even if there’s no way to defeat an enemy, you still have to fight. That’s the way I feel about it as an artist. You have to sing your song, whether it’s to one person or a thousand. At times, I try to use poetry as a shield and as a blade.
Q: I was trying to think of things I see repeated in your poems, because I’m simple that way.
No. In this book, you may have noticed it, certain phrases recur in different poems, in different contexts. I’m consciously trying to knit the book together. It’s really built [the collection] to make certain patterns emerge, certain thoughts and arguments between the poems.
Q: I keep thinking about, you know, it’s meaningful what’s on TV and you come back to “The Revolution Will Not Be Televised.” And then it strikes me, there’s this idea in your previous collection [Buffalo Head Solos] in “Visions.” It’s a poem about a man and a conversation with his cat, and then in the end he’s killed.
He’s killed intellectually, spiritually.
Q: And they find him. The TV’s on.
Basically he’s paralyzed staring at the television, and the nonsense that’s on.
Q: So what do you think of TV?
I think its purpose is distraction. I think people are invited to watch television so they will be less aware of the things that are chewing up our lives. It can also be a legitimate source of entertainment. We cannot attend to the difficulties of the world every waking second. Our heads would just blow up. I do think for most people it’s a substitute for actual thinking and feeling. …
This kind of idea that we can just consume the world, and we’ll always have more stuff to build and buy and sell to other people, there’s just a fundamental wrongheadedness about that approach to our lives. [TV] is constantly saying, ‘You will find meaning by consuming. In fact, the only real meaning is consumption.’ I think that’s a terrible way to subvert human beings and the impulse – the better impulse – of the human heart. …
You hope, because it seems that we have the potential for a certain kind of compassionate attentiveness that we have yet to find the institutions to support it, enact it. I like to think that poetry is a vehicle for compassionate attention. It matters that we feel grave despair and great delight and great longing and that we’re stunned by beauty, that we’re not just paychecks and car loans and mortgages. We’re these complex creatures that can do better, see more clearly, live more heartfully, and hurt each other less.
This is not a culture where people are beating themselves up to get to a gallery or read poetry or hear jazz or Bach. This isn’t a culture where people are killing themselves to get to a reading, you know? Most people don’t know that poetry can be something that triggers a larger grasp of the world they live in. …
If people heard more poems, read more poems, I think they would be far less willing to live without it.
The talk continues at this link.