Who can know the dancer from the dance? (Among School Children, WB Yeats)
The ‘Knowing the Dance’ project has taken quantam leaps (as it were) this past couple of months and I am stockpiling blog post ideas to share and document what has been happening. Before I start, because this project from the perspective of my own poetry writing practice is one of an expanded understanding of where and how the breadth and body are located within the poems in order to make better decisions when writing, I wanted to talk a bit about editing.
Accentuate the positive
Poems are never finished, just abandoned Paul Valery
This post is prompted by a 7 hour edit (examination, exploration are possibly more biddable words) with two others using breath, mark-making and movement, of three lines of a fifteen year old, previously published poem of mine – which gave me an insight into what was/wasn’t working – but also about the situation I was writing about itself. To terrifying, but in a good way, effect.
…And then a slew of conversations with those enthusiastic to write but slower to engage in a ‘robust’ (my word of the week) editing process.
For me, poetry writing has two big hits of delight. First, the magical, mystical, inspiration-driven, breathtaking first write, and then the slower relationship building, discovering, exploring and generally getting to know better what had caught my attention so mesmerisingly in the first write (the second delight is a gift that keeps on giving) with a view to sharing this in the clearest way that I can – and that means, for me, understanding as well as I can the full world of poetry (‘what is poetry’ who can say but yet we still seek to understand). To not engage fully with this second bit, is to miss some of the most exciting parts of the whole process. And the second bit is, my opinion, companiable and where I certainly have found met some of my best friends.
Eliminate the Negative
As an aside, before going further I need to show my hand and say I adore the whole world of poetry and editing is, for me, one of the most engaging, intuitive, extending parts. I can be a bit vehement on one particular subject of it – and I am thrilled to have found and be able to channel Meryl from a scene from ‘The Devil Wears Prada’ (a film which I otherwise don’t like at all except for Meryl Streep and Stanley Tucci being in it) which I wish I could recite off by heart in response to those who think the the wider context of poetry has nothing to do with their writing…
Mess with Mister Inbetween
And so it is, that editing for me is a kind of enthusiastic, intuitive, reflective, often inspiration-driven-but-in-a-quieter-way, process with company in mind. Sort of a mix of dressing for the beloved, while making selections which may, if I am lucky, also provoke admiration from those quicker, or in a position, to judge.
In terms of my own poetry development, the ‘Knowing the Dance’ project has come, in part (not entirely) from seeing a lot of natural movement occuring in my poetry and wanting to know more about the meeting place between movement and poetry so that I have a toolkit of sorts to really examine the moving parts of it so that I can comunicate it with better effect for both me and the reader/hearer. A new way of editing that is very exciting to me.
I am hoping to share some of this one way or another, and hoping that might be useful to you as well.
Knowing the Dance
‘Knowing the Dance’ is a yearlong project exploring the meeting place between movement/dance and poetry and is supported by the Arts Council of Northern Ireland’s Artist Career Enhancement Scheme (ACES). Looking at movement in the work for the purposes of editing is just one aspect of the project – I am currently working on a body of poems, and a dance/poetry collaboration performance (first performance to take place early September 17) among other things.