Roger Snell’s The Morning

So here’s what I would propose, if this conversation moves forward: enough, please, certainly enough of the sophomoric insults. But to the extent that we’re all interested in the fate of poetry, why don’t we each post a short poem, either our own or one we admire, and say why we admire it (or what we think it does)?

— Joe Safdie, in comments box of Possum Ego

In the spirit of this post from Joe, a poem from The Morning by Roger Snell:

lost car comes
in on the morning
light, off reflecting pool
of Creeley
quiet as is proper for such places
this space between
each bale of words
a fistful of green shoots
tansy on hill
fissures of blue

What I like here is the poem’s engagement with both sense and reading practice — namely, the sensuality of reading, the way perception of both words and environment can be heightened by the intimacy of a book and one’s attention. It’s a modest poem in its way; doesn’t try to squeeze too much out of the small moment it opens out from, yet bears repeated readings. Also doesn’t try to implicate me in the poem or force my attention towards some overbearing emotion or insight; rather, lets me ride / read along with it. I like that the italicized Creeley line, from his poem “Return,” acts not as as “return” here (in that poem the line’s echoed later, “Quiet as is proper for such people”) but a turn — or hinge — midway through the piece. Thus, while it shares the solitary, reflective tone of that poem, it also challenges, perhaps critiques, the Creeley line (as it’s also the longest line here), and seems to want to go outward, where that poem goes inward (last lines: “Enough for now to be here, and / To know my door is one of these.”). The musical qualities of the poem are, I think, pretty evident — not flashy, highly competent. I’d like to write a fuller consideration of this book, but given Joe’s call, I just wanted to get this quick mention out there. You’re right, Joe; time to start talking about what we like!

Available via Bootstrap Press and SPD.