It’s About Me? Or Is It?

Sara Robinson

It’s About Me? Or Is It?

In a recent New York Review of Books, I read an extended essay titled, “The Illusion of the First Person.” I was quite intrigued by the contents and saw that much of what the article contained applied to poetry. In fact, some of the types of essays can be compared to types of poetry.



For instance: structural essay is similar to a sonnet in that both present an argument or premise, then conclude or resolve. The formal/impersonal essay is meant to inform or persuade. This is similar to a lyric poem which also can be compared to a personal essay. In poetry, contrasting to the prose of the essay, the poet is using poetic forms to state the case, as it were.

There are just as many poems that have the plural form, “we” to present the personal essay. In this case the writer wants to pluralize as if there are many who feel the same way. For instance, the acclaimed poet, Nikki Giovanni, started her notable speech/ poem, “We are Virginia Tech” with the lines “we are sad today and we will be sad for quite a while…” Often the use of “we” can bring comforting inclusiveness.

The challenge for us poets in the use of First Person is to ensure our writing does not become petty or show a lack of poetic finesse. We don’t want to come across as preachy or sanctimonious; but we want our wordsmithing to capture attention and commitment from the reader. Consider your poetry as an offering of your “self.”

So the question is: Poetry in the First Person; It’s About Me? Or Is It?

We strive to be the best we can!


Until next time…

Sara M. Robinson, founder of the Lonesome Mountain Pro(s)e Writers’ Workshop, and former Instructor of a course on Contemporary American Poets at UVA-OLLI, was poetry columnist for Southern Writers Magazine and inagural poetry editor for Virginia Literary Journal. She has served as guest lecturer at UVA’s College at Wise, Wise, VA. Her poetry has appeared in various anthologies, including We Grew Wings and Flew (2014), Scratching Against the Fabric (2015), Virginia Writer’s Club Centennial Anthology (2017), Blue Ridge Anthologies and Mizmor Anthology (2018). Journals include: Loch Raven Review, The Virginia Literary Journal, vox poetica, Jimson Weed, Whisky Advocate, and Poetica. She is poet and author of Love Always, Hobby and Jessie (2009), Two Little Girls in a Wading Pool (2012), A Cruise in Rare Waters (2013 Stones for Words (2014), Sometimes the Little Town (2016), a finalist for the Poetry Society of Virginia’s 2017 Book Award. In 2019, Needville, her poetry about effects of coal mining on SW Virginia was released and in 2020 debuted as play in Charlottesville. Her most recent publication is Simple River (2020, Cyberwit).

Poetry and Assumptions

Sara Robinson

Let’s start with the definition: Per Webster’s New World Dictionary (College Edition, 1964).

Before you go, “how old is that,” let me tell you that this particular dictionary is the best literary

friend I have ever had. Both of us are aging well together. So, the definition as it applies to

secular uses: anything taken for granted; supposition; presumption. One could add that

assumption implies taking into association something, or supposing something could be a fact.

Maybe even taking on a pretense can be an assumption.

What does this have to do with poetry? For starters assumptions are the backbones of most

writing. We let our minds folly off into weird or unusual thoughts and as they congeal into lines

and pictures, we now see a composition start to form. We may pull a line from a magazine or

online and now, we have a trigger. Think of yourself as an “assuming thief poet.” Take this line

from Shelley:

“… Memory gave me all of her / That even fancy dares to claim.— / Her presence had

made weak and tame…” //

What can you do with this line? I, for example, could start something like memory is a fool for

me. I always loved her more than she loved me. But my life dwelled in another place & time in

which she didn’t even know of me. Such are dreams converted to new memory. The lines don’t

have to be good to start; get them down and let your mind wander.

How about a few other assumptions to contemplate: The train is always on time. He always

orders tuna salad. She never thanks me. July is always hot. North is always north.

Underlying every poem ever written is a basic assumption. Sometimes it is a secret only the poet

knows. Sometimes the poet gives us hints as the revelation of some truth. Or supposition.

My favorite poem to illustrate this is Maxine Kumin’s “Woodchucks.” Look this poem up and

you will know why I love it. I’ll just say this about it: Never assume anything!

Look in the mirror and see your reflection. You assume it is you. Write about it.

Until next time…

Sara M. Robinson, founder of the Lonesome Mountain Pro(s)e Writers’ Workshop, and former Instructor of a course on Contemporary American Poets at UVA-OLLI, was poetry columnist for Southern Writers Magazine and inagural poetry editor for Virginia Literary Journal. She has served as guest lecturer at UVA’s College at Wise, Wise, VA. Her poetry has appeared in various anthologies, including We Grew Wings and Flew (2014), Scratching Against the Fabric (2015), Virginia Writer’s Club Centennial Anthology (2017), Blue Ridge Anthologies and Mizmor Anthology (2018). Journals include: Loch Raven Review, The Virginia Literary Journal, vox poetica, Jimson Weed, Whisky Advocate, and Poetica. She is poet and author of Love Always, Hobby and Jessie (2009), Two Little Girls in a Wading Pool (2012), A Cruise in Rare Waters (2013 Stones for Words (2014), Sometimes the Little Town (2016), a finalist for the Poetry Society of Virginia’s 2017 Book Award. In 2019, Needville, her poetry about effects of coal mining on SW Virginia was released and in 2020 debuted as play in Charlottesville. Her most recent publication is Simple River (2020, Cyberwit).

What is Cowboy Poetry?

 Sara M. Robinson

Recently I discussed cowboy poetry with my weekly poetry critique group. This was a lively discussion as most had not heard of it, or the recently-deceased and beloved Baxter Black.

He was the major contributor to that sub-genre and would richly contribute his verse to late night hosts.

So, what makes this poetry type so interesting? 

Well, for starters, the main topics are near and dear to most hearts: horses, the West, saddles, chuckwagon steak and beans, prairie dogs, and cattle. Cowboy life is a life of rugged independence that we have seen portrayed by the likes of Randolph Scott, Alan Ladd, Clint Eastwood, Gene Autry, and Roy Rogers. The West wasn’t always about bandits and Indians either. 

Many of the poems had a romantic lure which mostly focused on being away from family, the loss of a dear spouse, and longing for a pretty girl. As you can guess by now there weren’t many cowgirls noted, but we have to mention Dale Evans, Annie Oakley, Calamity Jane, and Sandra Day O’Connor. Yes, that one, the Supreme Court Justice who grew up being a cowgirl.

What would be the kind of lines and language we would expect to see? Here are a few to consider:

“I like to think I’m good with cows, / A pretty fair hand with a horse / But am I a surefire

 cowboy? / I’m dodgin’ the answer, of course. // …”. (Baxter Black. Washington Post June 2022)

 

“They don’t call it Death Valley for nuthin’

And coyotes don’t make a good pet 

But livin’ out here with the griz and the deer you pretty much take what you get” (Baxter Black)

“I know there's some ponies that I cannot ride

Some of them living, they haven't all died.

But I bet all money there's no man alive

That can ride Old Strawberry when he makes that high dive.” (Curley Fletcher)

And here is my contribution, as I thought, why not try?

Bull Rider’s Waltz 

Come jump with me in moonlight

Both of us tied to each other so tight

We’ll jump and careen ever so light

All day and well into the night

 

Come ride with me on the plains

And we’ll head toward sunset before it rains

We’ll hoop it up and holler out loud

Then laugh at the bull shaped like a cloud

 

Come live with me and we’ll face the weather

Free of ropes and rough raw leather

We’ll graze in lush green fields

And spend our lives in total pleasure

(Sara Robinson)

 

Sometimes when we write, we should give ourselves a chance to be totally silly. This is exactly what I did. It doesn’t matter whether it’s good or not. Cowboys didn’t really care either. They were content to entertain themselves and give their occupation a kind of pointless dignity. The point of their work was the work itself. Their poetry was a gift to us.

Keep writing!

This is Sara's newest book. A delightful read!

Sara M. Robinson, founder of the Lonesome Mountain Pro(s)e Writers’ Workshop, and former Instructor of a course on Contemporary American Poets at UVA-OLLI, was poetry columnist for Southern Writers Magazine and inagural poetry editor for Virginia Literary Journal. She has served as guest lecturer at UVA’s College at Wise, Wise, VA. Her poetry has appeared in various anthologies, including We Grew Wings and Flew (2014), Scratching Against the Fabric (2015), Virginia Writer’s Club Centennial Anthology (2017), Blue Ridge Anthologies and Mizmor Anthology (2018). Journals include: Loch Raven Review, The Virginia Literary Journal, vox poetica, Jimson Weed, Whisky Advocate, and Poetica. She is poet and author of Love Always, Hobby and Jessie (2009), Two Little Girls in a Wading Pool (2012), A Cruise in Rare Waters (2013 Stones for Words (2014), Sometimes the Little Town (2016), a finalist for the Poetry Society of Virginia’s 2017 Book Award. In 2019, Needville, her poetry about effects of coal mining on SW Virginia was released and in 2020 debuted as play in Charlottesville. Her most recent publication is Simple River (2020, Cyberwit).

https://saramrobinson.com/