written and posted by members of Lancashire Dead Good Poets' Society

Showing posts with label self-doubt. Show all posts
Showing posts with label self-doubt. Show all posts

Tuesday, 28 February 2012

The 'Sleeping' Poet


The poet exists in two states: awake and ‘asleep’, and these two conditions are influenced/ determined by a singular act, or rather the lack of it.  If a poet is not writing is she still a poet?  Is a difference present; is she different when she is writing to when she is not?

I don’t think I could live without it.  It’s like water or bread or something absolutely essential to me.  I find myself absolutely fulfilled when I have written a poem, when I am writing one...  Having written one, well then, you fall away very rapidly from having been a poet to becoming a sort of poet in rest.
(From an interview with Sylvia Plath)
On a grammatical level, the difference is caused by the verb usage: the poet is writing a poem or the poet has written a poem.  The latter utterance, with its past tense transitive verb, does not comment upon a current activity, but rather an activity that has since lapsed.  However, to state that one is ‘writing’ would mean that the present participle is in application, and thus is very much active.  Therefore, the poet fluctuates from past to present, ‘sleeping’ to awake, and it is writing that stirs her into full consciousness. 
However, fullness is lost when the pen slips from her grip – a semi half-life envelops her and her finger is pierced by a needle; the same sharpness and severity as that found upon the spinning wheel – sending her hand into a motionless sleep.  The poet is no longer directly engaged in writing, her present has fallen suddenly and sadly into the past – and she wonders, will she stay there?  Questioning if she will ever find writing again, or whether she will merely remember the poems she once wrote.
In some respects, when she is not writing, she becomes a victim of the past; a Sleeping Beauty trapped and devalued by the singular past tense form of the verb to be.  And during these moments there is no third person singular present tense, no knight on white horse, no ‘magic’ that sees words transposing themselves upon paper, and no complete self.  She was a poet, but what or who is she now?  An empty bottle that had its purpose drained by fear...  If there is no poet there is no poem, and what becomes of the poem’s identity?  A transparent bottle smashed – void of contents and form...  And without the poem there is no poet.  Each relies upon the other; the poet and poem must co-exist, and the loss of one is a wound which will markedly impact on what remains.
She makes a prediction with a negative modal auxiliary and foresees that she won’t be a poet; her future won’t be poetry and the slumbering figure will never wake onto yellow paper – ever again.  But she has not died, she is merely ‘sleeping’, and in the dreams and nightmares of her mind ideas still formulate, thinking still deviates and manipulates, and she hears a pen weeping for its owner.  Thus, the mind of a poet still remains...

*          *          *

Self-doubt is the apple and perfectionism its poison.  She cannot be a poet because she cannot believe it, and she cannot write poetry (again) because it will never be what the previous poem was.  There is a voice whose tones drone with improbability, and spit with impossible conclusions...
However, she probably would not alter the day – a distant, long ago time in her childhood – when an apple pip was planted and which eventually became a tree that bore one poisoned apple.  There were times when she had wished that she could chop the tree down, and send the solitary apple falling from the branches like the giant from the beanstalk.  But would she be the same person without it?  Perhaps she would not have needed writing, and even if they had still found each other the poem would inevitably be unrecognisable.

And your doubt can become a good quality if you train it.  It must become knowing, it must become criticism.  Ask it, whenever it wants to spoil something for you, why something is ugly, demand proof from it, test it, and you will find it perhaps bewildered and embarrassed, perhaps also protesting.  But don’t give in, insist on arguments, and act in this way, attentive and persistent, every single time, and the day will come when, instead of being a destroyer, it will become one of your best workers – perhaps the most intelligent of all the ones that are building your life.  (Letters to A Young Poet, R. M.Rilke)




If I didn’t write I would always be ‘asleep’ –
                                                       never knowing what it means, or is like, to be awake


Thank you for reading,
Lara

Tuesday, 11 October 2011

First Day Nerves

I couldn’t write this post last night, nor could I write it this morning. I couldn’t write it for one reason: I was panicking, fretting, worrying, and was even convinced for a moment that I was about to die suddenly from a heart attack. Obviously, I didn’t die – I’m not writing this from beyond the grave – and my anxiety has now quietened to a mere mumble. Therefore, I feel able to write again...

Today I started back at Lancaster (this is what caused the shortness of breath and rapid heart rate), and I was filled with both a sense of excitement and one of dread. I’m not very good at change. I’m not very good at meeting new people. I’m not very good at being sociable. Therefore, first days are always difficult. I mention this because – as I drove back from Lancaster, having survived the first day – it struck me that my antonymic emotions are not dissimilar to the way in which I feel before writing a poem. There is often an element of enthusiasm – a new idea, a single line, or even just a title is enough to unlock smile-faced serotonins. But at the same time there’s an injection of trepidation, and this always seems to steal away any opportunity of writing a poem that is solely fuelled by untarnished excitement. However, I’ve learnt (sort of) to appreciate both the favoured and unfavoured; to realise that enthusiasm inspires me, while the doubt is the force that moves me, causes things to happen, creates a ‘final’ draft. If I was less self-doubting, I’m almost certain that I wouldn’t write.

This week’s theme is ‘best resource’ and for me, personally, I’d have to say that self-doubt belongs in my top five resources. Yes, I realise it isn’t concrete. It can’t be acquired at the library. It doesn’t have a website that you can visit, and you can’t subscribe to it monthly. But, in terms of poetry, I believe that it is the main thing that pushes me to be the poet that I’d like to be. It’s the editor that I don’t have to pay for. It’s the critic, who keeps me grounded and always asks that I give more.

Alongside the slightly odd choice of ‘self-doubt’, there are also a few more conventional resources on my list: my Roget’s thesaurus, my dictionary, photographs and, when all else fails, ‘Thinking Putty’ (thanks Katy).

Thank you for reading my Tuesday afternoon post,

Lar