So, the 61 submissions I needed to read yesterday was actually 81. I didn't realize an entire other batch was under the three I could see. So, in the end, I read about 365 poems. The good thing was that I found 8 to publish. 8! That is a pretty good yield. And the 8 are really wonderful. A good day, even if it took longer to get through it all because of the extra 20 submissions I hadn't banked on. And I dropped off 160 submissions to one of my readers, so now the poor lad has about 720 poems to read. My apartment is now cleared of submissions, for now. I am sure another box or two will arrive from Middlebury this week.
I spent the last hour re-reading some of the poems in
Derek Walcott's
Midsummer. I still find some of those poems to be beyond gorgeous. I know there are those who find his work overly baroque and uninviting, but I still love many of his poems, so many of them. Take the following:
XXIV
What broke the green lianas' ropes? Scaled armor.
What folded the bittern in midflight? One arrow.
What flapped the mackerel agape into quiet? A lancer.
Who flew level as morning? The sea sparrow.
Yes, the sea swift flew nameless that wordless summer
in the leafy silence before their christening language.
The berry leaf died of its own accord, as always, and
the parakeet screeched its own question and answer,
the right verb leapt like a fish from its element,
the tadpole wriggled like an eager comma,
and the snake coiled round its trunk in an ampersand.
It was the snake that linked the two hemispheres,
since in the world's bitter half of churches and domes
another new epoch groaned, opening on its hinge;
from his balcony another monarch pronounced a new age
as gargoyles shifted their haunches with a fixed grimace;
in an alley another throat was opened by a cutpurse
like the valve of an oyster. Was evil brought to this place
with language? Did the sea worm bury that secret in clear sand,
in the coral cathedrals, the submarine catacombs
where the jellyfish trails its purple, imperial fringe?
I love the opening questions and answers in this poem and the fact the end of the poem poses questions that aren't answered at all. I love the fact each and every word seems selected so that no matter how baroque this may seem, nothing seems extraneous when you really take it apart. I love the way evil enters the poem. Walcott has a gift for introducing evil in his poems. It is quiet and sinister. And how does he get away with using all those terms about writing and reading in a poem? We get "verb", "comma", and "ampersand" in rapid succession. Many other poets couldn't carry this off. Walcott's poems brim with history, whether it is always apparent or not. What he can bring to a poem is a history of the Caribbean and its terrible occupations, the ways in which a people can restructure a landscape not just with guns and shovels but with their own language.
It makes me happy there are poems like this in the world.