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I no longer feel I'll be dead by thirty; now it's sixty. I suppose these deadlines we set for ourselves are really a way of saying we appreciate time, and want to use all of it. I'm still writing, I'm still writing poetry, I still can't explain why, and I'm still running out of time. Wordsworth was sort of right when he said, "Poets in their youth begin in gladness/ But thereof comes in the end despondency and madness." Except that sometimes poets skip the gladness and go straight to the despondency. Why is that? Part of it is the conditions under which poets work — giving all, receiving little in return from an age that by and large ignores them — and part of it is cultural expectation — "The lunatic, the lover and the poet," says Shakespeare, and notice which comes first. My own theory is that poetry is composed with the melancholy side of the brain, and that if you do nothing but, you may find yourself going slowly down a long dark tunnel with no exit. I have avoided this by being ambidextrous: I write novels too. But when I find myself writing poetry again, it always has the surprise of that first unexpected and anonymous gift.
I think so often how people, particularly poets, begin first writing out of heartbreak, out of loss. Like I think most people’s early poems are because they are so emotional over something and this is the only form that feels safe, I can get it out on paper, at least that is how I remember writing and when I often encounter a young poet it is because of a thing that they are almost trying to exercise out of themselves and writing is the way to turn… and that does feel like creating from crisis.
To correct the tribe of our younger poets we shall soon require the aid of a physician, not of a critic. Their history may be told in a few words. A young man educated, or rather mis-educated, without experience, without study, without any definite tendency, without the power of exertion, or of tasting any genuine enjoyment, becomes conscious of his miserable oscillation between existence and non-existence —between not having lived and not being about to live—between a barren past and a barren future. He now takes to novel reading, frequents the theatres, compares himself to heroes or poets, and makes verses. All on a sudden the thought flashes across his mind that his unhappy condition is connected with the unfilled profundity of his feelings—with an unsatisfied yearning of the soul. He rushes headlong into the ocean of melancholy, and indulges in expressions with which the poetic springs of latter years have inundated us; he bathes in these waters, and contemplates his own image reflected from their surface.
The bad poet is likely to have suffered and felt joy as deeply as the poet reckoned first class, but he has not somehow been given the power of translating experience into images and emblems, or of melting words in the furnace of his mind and making them flow into the channels prepared to take them.
Poets shouldn't commit suicide. That would leave the world to those without imaginations or hearts. That would bequeath to the world a mangled syntax and no love of champagne. Poets must live in misery and ecstasy, to sing a song with the katydids. Poets should be ashamed to die before they kiss the sun.
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