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[March 8, 2005* On Galway Kinnell as a teacher/poet, something to be grateful for....]
Galway would regularly ask us to do the impossible. Once in a one-on-one conference in the spring of 1999 he was helping me with a poem about the out-of-body travel experience of a thirteen-year-old. I was struggling to show how it was both a transcendent and a sexually arousing experience. He perked up with a great idea, which went something like: ‘Why don’t you show how the spiritual and the sexual are interwoven inevitably in adolescence? I’ve never read a poem about that. Why don’t you do that?’
After the enormity of this sank in, I said something like, ‘Okay.... I guess I could try that....’ (read: Sure, just toss off the answer to a mystery that has baffled thinkers and sages for millennia).
Even though I was stumped for a very long time, the idea Galway planted took root and a year later I wrote the poem that fulfilled that idea, and it was published later in 2000.
I have always felt indebted to Galway for daring to believe in me (and so many of us) with the same kind of ambition that he had in his own work. That was a gift that you could never fully measure. Thank you, Galway!
(The poem that Galway and I were discussing this idea over was called "digression," and it was written as the second part of a series called "out-of-body travel at thirteen." I think he had already seen the third part called "out-of-body travel at thirteen"—that was the most narrative part. The next part, which took a year to write was about the transcendental and sexual elation, and it was called "elation: some variations." I brought this to Sharon's workshop the following year and explained how it came about. I seem to remember Sharon's reaction when I recollected Galway's suggestion to the class as a kind of moment when her jaw dropped open momentarily. Thanks to Ashlie Kauffman, fellow NYU alum for asking about this.)
[The wonderful poet and fellow alum Susan Brennan sent this in to the NYU listserv about Galway:]
Once, in Galway's classroom, he played a tape of animals sounds—I remember the wolves especially and thinking—this is wild, and comforting and—so sexy. In that same class, he explained Whitman as a kind of fertility god who spoke through the lines of Leaves of Grass. I remember cherishing this note especially because the previous semester I was in an English class with doctoral students who just about crucified Whitman.
Reading Galway's work, being his student at NYU, watching him get intense over line-drives at Squaw Valley, having him generously listen to poems that were difficult to write—all these moments have conveyed to me a special knowledge about poetry; that it's a wilderness which poets can graciously and proudly inhabit. Galway has shown my poetry-creature ways to make a home in this wilderness.
A couple of summers ago, I was standing on West Third Street with Humera and we saw Galway crossing the street. He had on a bright, white shirt and it was billowing in the wind. We watched as strangers turned their heads to look at him with an impulsive curiosity. We sighed to each other "he's so beautiful and sexy and wild and free"! Poetry.
[03/12/2005]
[This is from fellow alum Emily Gordon who sent this in to the NYU listserv about Galway:]
This is the Galway story I love to tell. In 2002 on the last day of Craft, he gave out books of his to everyone and talked for a little while about how much having poetry friendships has meant to him. He said, "When you leave, I hope you'll stay in touch with each other, and trade poems. The most marvelous thing is how easy it can be! You don't have to wait for the mail for weeks anymore to find out if your friend liked your poem. Now there's the fax machine, which makes it so that in only a few minutes your friend can see your poem, and send it back, and you can read it! Isn't it wonderful?" And we all burst out laughing in the most affectionate way possible, just about in tears.
[03/14/2005]
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[March 8, 2005* On Galway Kinnell as a teacher/poet, something to be grateful for....]
Galway would regularly ask us to do the impossible. Once in a one-on-one conference in the spring of 1999 he was helping me with a poem about the out-of-body travel experience of a thirteen-year-old. I was struggling to show how it was both a transcendent and a sexually arousing experience. He perked up with a great idea, which went something like: ‘Why don’t you show how the spiritual and the sexual are interwoven inevitably in adolescence? I’ve never read a poem about that. Why don’t you do that?’
After the enormity of this sank in, I said something like, ‘Okay.... I guess I could try that....’ (read: Sure, just toss off the answer to a mystery that has baffled thinkers and sages for millennia).
Even though I was stumped for a very long time, the idea Galway planted took root and a year later I wrote the poem that fulfilled that idea, and it was published later in 2000.
I have always felt indebted to Galway for daring to believe in me (and so many of us) with the same kind of ambition that he had in his own work. That was a gift that you could never fully measure. Thank you, Galway!
(The poem that Galway and I were discussing this idea over was called "digression," and it was written as the second part of a series called "out-of-body travel at thirteen." I think he had already seen the third part called "out-of-body travel at thirteen"—that was the most narrative part. The next part, which took a year to write was about the transcendental and sexual elation, and it was called "elation: some variations." I brought this to Sharon's workshop the following year and explained how it came about. I seem to remember Sharon's reaction when I recollected Galway's suggestion to the class as a kind of moment when her jaw dropped open momentarily. Thanks to Ashlie Kauffman, fellow NYU alum for asking about this.)
[The wonderful poet and fellow alum Susan Brennan sent this in to the NYU listserv about Galway:]
Once, in Galway's classroom, he played a tape of animals sounds—I remember the wolves especially and thinking—this is wild, and comforting and—so sexy. In that same class, he explained Whitman as a kind of fertility god who spoke through the lines of Leaves of Grass. I remember cherishing this note especially because the previous semester I was in an English class with doctoral students who just about crucified Whitman.
Reading Galway's work, being his student at NYU, watching him get intense over line-drives at Squaw Valley, having him generously listen to poems that were difficult to write—all these moments have conveyed to me a special knowledge about poetry; that it's a wilderness which poets can graciously and proudly inhabit. Galway has shown my poetry-creature ways to make a home in this wilderness.
A couple of summers ago, I was standing on West Third Street with Humera and we saw Galway crossing the street. He had on a bright, white shirt and it was billowing in the wind. We watched as strangers turned their heads to look at him with an impulsive curiosity. We sighed to each other "he's so beautiful and sexy and wild and free"! Poetry.
[03/12/2005]
[This is from fellow alum Emily Gordon who sent this in to the NYU listserv about Galway:]
This is the Galway story I love to tell. In 2002 on the last day of Craft, he gave out books of his to everyone and talked for a little while about how much having poetry friendships has meant to him. He said, "When you leave, I hope you'll stay in touch with each other, and trade poems. The most marvelous thing is how easy it can be! You don't have to wait for the mail for weeks anymore to find out if your friend liked your poem. Now there's the fax machine, which makes it so that in only a few minutes your friend can see your poem, and send it back, and you can read it! Isn't it wonderful?" And we all burst out laughing in the most affectionate way possible, just about in tears.
[03/14/2005]
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