I’ve found myself in one of the most unfortunate situations any writer can find themselves in: stuck. I am, simply, stuck. There’s no other way to say it. Stuck. On the witch poem project. On the project of poem-ing altogether. Stuck. Over here, a rock. Over there, a hard place. Between them? Me. Stuck.
I’m doing all that I can do, in this situation: I’m looking backwards, so that I may look forward. I’ve spent much of the past few days with the witch poems, carefully combing them over for clues, hoping that they will become maps to show me the path I should take — or, at least, to show me where the sink holes are, so that I can fill them. I’ve also begun the grimy work of revising, filling in chips and chinks with mortar in order to create a strong foundation for the poems to come. Mostly, I’ve been tinkering with verb tense, and with voice — I’ve found that many of the poems are written in that strange “you”-that’s-actually-an-”I” voice, as if I was so unsure of myself at the beginning that I wanted to create some kind of distance. I think the poems, however, require a sense of immediacy, and very little distance, and perhaps that’s why I’m finding it so difficult to write new ones. For now, at least, I work and work on the old, and Gertrude Stein sits patiently in the rocking chair in the corner, occasionally meowing to remind me that even though I have work to do, she still requires treats.



Emma Bolden is the author of How To Recognize A Lady, a chapbook of poems published as part of Edge by Edge, the third in Toadlily Press' Quartet Series, and The Mariner's Wife, a chapbook published by Finishing Line Press. Her third chapbook, The Sad Epistles, is forthcoming from Dancing Girl Press. She was the recipient of a Tennessee Williams Scholarship to the Sewanee Writers' Conference and was named a Finalist for a Ruth Lilly Fellowship by the Poetry Foundation/Poetry magazine. Her work has been published or is forthcoming in such journals as Prairie Schooner, the Indiana Review, Feminist Studies, The Journal, Redivider, The Greensboro Review, and Verse. Her manuscript was a semi-finalist for the Perugia Press Prize. She is a Visiting Assistant Professor of English at Georgetown College, where she also serves as the poetry editor of the Georgetown Review.



4 comments
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May 23, 2008 at 2:34 am
mariegauthier
My dear Emma, you wrote 30 poems in 30 days! Traditionally, I believe a poem-vacation follows — May is a lost month for poem-making after such exertions. Be kind to yourself!
Said rocking chair resembles nothing so much as a throne…
May 23, 2008 at 3:36 pm
jessiecarty
I agree with the first comment
But then again I am in the same situtation without a poetic thought it my mind. It always scares but doesn’t it always shake out in the end?
I know it will shake out. Like Shake and Bake.
May 26, 2008 at 9:37 pm
emmabolden
Marie — ugh, I wish I could be kinder about my process — I know I should be. Things are picking up now, after a twenty six day vacation. I attribute this solely to time spent poolside.
May 26, 2008 at 9:37 pm
emmabolden
Jessie — Oh, Shake and Bake. Poem-y deliciousness.