TOP71-DES68
This Old Poem #71:
The Poets Laureate Special Edition #9:
Stanley Kunitz’s Touch Me
Copyright © by Dan Schneider, 11/7/03
Finally a Poet Laureate that it could actually be argued that deserved the nod. So, why do a TOP on him? Because despite early successes, old- & I mean OLD- Stanley Kunitz has gone the way of almost all poets, by getting worse as he got older. 1st the obligatory bio, culled from online:
Stanley Kunitz was born in Worcester, Massachusetts, in 1905. His many books of poetry include The Collected Poems of Stanley Kunitz (W. W. Norton, 2000); Passing Through: The Later Poems, New and Selected (1995), which won the National Book Award; Next-to-Last Things: New Poems and Essays (1985); The Poems of Stanley Kunitz, 1928-1978, which won the Lenore Marshall Poetry Prize; Passport to the War (1940); Selected Poems, 1928-1958, which won the Pulitzer Prize; The Testing-Tree (1971); and Intellectual Things (1930). He also co-translated Orchard Lamps by Ivan Drach (1978), Story Under Full Sail by Andrei Voznesensky (1974), and Poems of Akhmatova (1973), and edited The Essential Blake (1987), Poems of John Keats (1964), and The Yale Series of Younger Poets (1969-77).
His honors include the Bollingen Prize, a Ford Foundation grant, a Guggenheim Foundation fellowship, Harvard's Centennial Medal, the Levinson Prize, the Harriet Monroe Poetry Award, a senior fellowship from the National Endowment for the Arts, the National Medal of the Arts, and the Shelley Memorial Award. He served for two years as Consultant in Poetry to the Library of Congress, was designated State Poet of New York, and is a Chancellor Emeritus of The Academy of American Poets. In 2000 he was named United States Poet Laureate. A founder of the Fine Arts Work Center in Provincetown, Massachusetts, and Poets House in New York City, he taught for many years in the graduate writing program at Columbia University. He lives in New York City and Provincetown, Massachusetts.
Let’s gander at a poem from his 1st book, in 1930- Intellectual Things:
Single Vision
Before I am completely shriven
Cancel my eyes, and, standing, sink
Memory down. The banner of
Only the pity and the pride
When I have utterly refined
Shaped language of my marrow till
Suffered the leaf of my heart to fall
The tender blanket from my bone,
I shall have risen to disown
Directly risen with the stain
Which I shall shake against my ghost
Gladly as any poison, yield
Infect him, since we live but once,
I'll shed the tear of souls, the true
Before I am resigned to slip
Nice taut poem structure, formal-
of course, yet with a great ending. This was typical of the early SK oeuvre.
Thematically it niftily combines the intellectual & the spiritual. Here’s
another from the same book:
Master And Mistress
As if I were composed of dust and air,
From my mouth to beat the standing heart, I cried
Not quite as
good as the 1st poem- but still a good poem that is fairly lacking in
triteness. Yet, SK- as with many poets- made the cardinal sin of mistaking
laxness in his writing style for growth. His poems got more flab & became
more free verse. The move from formal to free verse is not necessarily a bad
thing, but in SK’s case it was, because he is a poet with a limited ken, &
stricture brought focus to his poetry. Look at this poem from the New Poems
section of his 1958 Selected Poems:
The Science Of The Night
I touch you in the night, whose gift was you,
And even should I track you to your birth
From hooded powers and from abstract flight
Note how the poem is longer, less
focused, & has a handful of clichés within, plus the whole poem’s trope
is trite. By 1971’s The Testing Tree (when he was already 66!) SK was
delving into Confessional banality:
The Portrait
My mother never forgave my father
Notice
the mediocre line breaks, the lack of tautness. The whole poem has an OK setup,
& the end image is good, but it drags compared to Single Vision- a
poem of similar length & style. Here’s some poems from his post-1978 Selected Poems:
Passing
Through
Nobody in the widow's household
ever celebrated anniversaries.
In the secrecy of my room
I would not admit I cared
that my friends were given parties.
Before I left town for school
my birthday went up in smoke
in a fire at City Hall that gutted
the Department of Vital Statistics.
If it weren't for a census report
of a five-year-old White Male
sharing my mother's address
at the Green Street tenement in Worcester
I'd have no documentary proof
that I exist. You are the first,
my dear, to bully me
into these festive occasions.
Sometimes, you say, I wear
an abstracted look that drives you
up the wall, as though it signified
distress or disaffection.
Don't take it so to heart.
Maybe I enjoy not-being as much
as being who I am. Maybe
it's time for me to practice
growing old. The way I look
at it, I'm passing through a phase:
gradually I'm changing to a word.
Whatever you choose to claim
of me is always yours:
nothing is truly mine
except my name. I only
borrowed this dust.
A lot of fat, & the cliché ratio increases. This next poem is from the American Poetry Review. As Felix Unger might moan, “Stanley, Stanley, Stanley….”
The Quarrel
The
word I spoke in anger
Better than most poets might do
with the subject matter, but this is abominable writing: ‘Half-way I'm dead
enough,/strayed from my own nature/and my fierce hold on life./If I could cry,
I'd cry,/but I'm too old to be/anybody's child./Liebchen’.
This 1 is from
Passing Through: The Later Poems, New and Selected:
The
Round
Light splashed this morning
on the shell-pink anemones
swaying on their tall stems;
down blue-spiked veronica
light flowed in rivulets
over the humps of the honeybees;
this morning I saw light kiss
the silk of the roses
in their second flowering,
my late bloomers
flushed with their brandy.
A curious gladness shook me.
So I have shut the doors of my
house,
so I have trudged downstairs to my cell,
so I am sitting in semi-dark
hunched over my desk
with nothing for a view
to tempt me
but a bloated compost heap,
steamy old stinkpile,
under my window;
and I pick my notebook up
and I start to read aloud
the still-wet words I scribbled
on the blotted page:
"Light splashed . . ."
I
can scarcely wait till tomorrow
when a new life begins for me,
as it does each day,
as it does each day.
Not a bad play on the idea of a canon/round. But, the young SK would have
known to end the poem at the penultimate stanza’s end. The last 4 lines are
superfluous- especially the repetition of the last 2 lines. On to the poem that
is this essay’s subject:
Touch Me
Summer is late, my heart.
Words plucked out of the air
some forty years ago
when I was wild with love
and torn almost in two
scatter like leaves this night
of whistling wind and rain.
It is my heart that's late,
it is my song that's flown.
Outdoors all afternoon
under a gunmetal sky
staking my garden down,
I kneeled to the crickets trilling
underfoot as if about
to burst from their crusty shells;
and like a child again
marveled to hear so clear
and brave a music pour
from such a small machine.
What makes the engine go?
Desire, desire, desire.
The longing for the dance
stirs in the buried life.
One season only,
and it's done.
So let the battered old willow
thrash against the windowpanes
and the house timbers creak.
Darling, do you remember
the man you married? Touch me,
remind me who I am.
I recall seeing SK read this clichéd tripe (clichés are underlined!) on some TV show- perhaps a (ugh!) Bill Moyers PBS crapfest? It was especially painful when he got to the ‘Desire, desire, desire’ part, & even worse when the bathetic Saving Private Ryanesque ‘Touch me,/remind me who I am.’ end comes. SK’s verse has traveled a long way from the novel & taut early poetry. In some ways SK’s steep descent from near-greatness to maudlin mediocrity reminds me most of the terrible descent the poetry of Gwendolyn Brooks took from its tight, early near-greatness to its poorly-wrought & trite ‘politically aware’ later ‘Black Power’ mode. Natheless, let’s try to rewrite it more like the early SK might.
Touch Me
Words plucked out of the air
some forty years ago
scatter leaves of whistling.
Under a gunmetal sky
staking my garden down,
I kneeled to the crickets trilling
to burst from their crusty shells;
and marveled a music pour.
What makes the engine go?
The longing for stirs.
The old willow thrashes.
Do you remember who I am?
The clichés have been excised & the poem is sharper & clearer. The images now pique & leave the reader a bit unsettled. Instead of a Beloved we now have either a request to another (beloved or not) or an interior monologue. I would add some elements, but this is a good place to start the rewrite from. & not a bad little poem by its lonesome!
Final Score: (1-100):
Stanley Kunitz’s Touch Me: 55
TOP’s
Touch Me: 75
Return to TOP