The Poetry of Activism We Witness

By Sara M. Robinson

I’ve been asked by many friends and associates why they haven’t seen any activist poetry from me. How do I write about current events? Or will I write about current events? Using poetry, I remarked that this is a very good and timely question. I struggled to provide an adequate answer, however. My hesitation is based on the major stumbling block for me: Where in the world would I start?

To write about world events and our own home country events is a challenge. We are compelled (theoretically, I think) as poets to be the witnesses of our surroundings then write about events in creative ways that provide thought provocation for our readers.

In a future Southern Writers Magazine column, titled “The Poetry of Witness,” I credit the amazing Carolyn Forché with coining that term. She describes in her writings what she sees as inequities of life around her. Another greatly admired poet, is Nikki Giovanni. Her memorable convocation after the Virginia Tech massacre of 2017 was and remains a powerful poetic statement and reminder about our history. 

So, how does all this come back to me? For one thing, as a poet, I constantly remind myself to be observant of all I can see. I take notes in my faithful companion journal. I talk to people and engage them to talk. One of my greatest pleasures is meeting weekly with senior citizen residents at a local retirement community. I use poetry from lots of sources to engage my attendees in conversation about their feelings and impressions. This is activism, using poetry as a “tool” to engage what I see as elderly folks wanting to stay relevant. Many of our weekly meetings inspire me to write poetry about the process of aging and the longevity of love. Often, I write poems for some of the attendees, to mark a birthday or some special event. Sometimes I’ve written poems as eulogy when the group has lost a member. In this way I suppose I have witnessed.

Now, back to the original question. While I may not be currently writing about politics or world events, I believe I write about life. I am a witness to life around me, and I use my poetry to advocate the beauty of living and the respect of aging; and lastly the hope I have gained wisdom of language to express all this in remarkable ways. A key component of my writing is to the creative use of language. After all, it is the basis for all that is human. Without language, we could only witness, we could not share.

______________________________________________________________________ 

Sara M. Robinson, award-winning poet, founder of the Lonesome Mountain Pro(s)e Writers’ Workshop, and former Instructor of a course on Contemporary American Poets at UVA-OLLI, is poetry columnist for Southern Writers Magazine and poetry editor for Virginia Literary Journal. In addition to publication in various anthologies, including We Grew Wings and Flew (2014), Scratching Against the Fabric (2015), and Virginia Writer’s Club Centennial Anthology (2017); journals: Loch Raven Review, The Virginia Literary Journal, vox poetica, Jimson Weed, 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), and Stones for Words (2014). Her latest poetry book, Sometimes the Little Town, released in February 2016, was a finalist for the Poetry Society of Virginia’s 2017 Book Award.

How I Describe My Particular Craft: Composition of Poetry

By Sara M. Robinson

For me it is a misnomer to say I write poetry. It’s not like I set out to write an essay or even a fictional prose piece. I have to cast about my thoughts in such a way that my lines and stanzas provide pauses for the reader to stop and think about what I have written. This is actually tough for me as I have always been a “gabber” with my mantra of “why say in 30 words when 300 will work. So, I say I work at” composing” poetry. This has served me to learn more about the discipline of careful selection and contemplation of what to write, and say.

As in any craft in which the artist has a strong emotional investment, practice is a key component. If I am not writing, then I use the time for reading. I allocate a block of time to write and think, at least 2 hours a day. I have a dedicated writing space, which is my domain on good days, my catacomb on dark days. But I have a great view of a big oak tree rising above our apricot tree, which stands guard over the lilacs and this view never

fails to keep me grounded. Even when I can watch an approaching storm I can sense a

transfer of energy.

Many artists start their craft or their creative passion(s) early in their lives. I was not that lucky. Poetry came late to me, after I turned 65. Many of my poetry contemporaries had at least a 40-year head-start. I’ve had a lot of catching up to do in a short time. I am only 70 now. And the flip side of this is that I want my poetry to be relevant to the younger writers, too. One way I do this is by attending conferences at colleges and spending time on campus in English departments interacting with emerging writers. Young people today are smart and savvy. I have to be as good a wordsmith as I can be to keep up with them, compete with them, and be included with them.

For active poets, newly-minted poets, and even those who simply want to read poetry, I would offer that my regular column, Poetry Matters, in Southern Writers Magazine, could be a useful tool. The major focus of the column is to present the art of writing poetry in a user-friendly manner without the intimidation of academic scrutiny. I am a community poet so I work on the accessibility of poetry to mainstream readers. After all this is where poetry started. Poetry can be and should be accessible to everyone and anyone who enjoys reading.

So, as I compose poetry, I want to be a witness to the world, whether it is nature, society, or the big area in between. Then give this witness to readers. The reader then determines if the poems give enlightenment, education, entertainment, or all three.

__________________________________________________________________

Sara M. Robinson, award-winning poet, founder of the Lonesome Mountain Pros(e) Writers’ Workshop, and Instructor of a course on Contemporary American Poets at UVA-OLLI, is poetry columnist for Southern Writers Magazine and poetry editor for Virginia Literary Journal. In addition to publication in various anthologies, including We Grew Wings and Flew (2014) and Scratching Against the Fabric (2015), and journals: Loch Raven Review, The Virginia Literary Journal, vox poetica, 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), and Stones for Words (2014). Her latest poetry book, Sometimes the Little Town, released in February 2016, is a finalist for the Poetry Society of Virginia’s 2017 Book Award.