From 03/23/2009, stuff I’ve been thinking about and talking about for a while now:
That’s it, folks. I am giving myself until the end of this month to finish up my edits on Diwata, as I have done the major revision, and there is no reason not to finish the thing. It’s like going for the final kill. I’ve been fortunate to have readings here and there in the past few weeks, and have taken the opportunity to again read from Diwata, hear the awkward, tongue twisting, mouthful of peanut butter or metal moments in the work. I’ve known intuitively that the words and phrases I struggle over when performing would have to be rethought and reworked, that I’d have to honor enjambments and line breaks. It was timely to hear a couple of authors articulate these common sense items, which I think we conveniently forget when we get stubborn about revision and editing.
Sesshu Foster, in his recent City Lights Books reading (this past April or May) answered Oscar’s question about his use of the prose poem by saying that he didn’t want to be cute about enjambment. When a poet makes that conscious enjambment decision in the writing of the poem, does the poet honor that enjambment in the performance of the poem? If not, then what’s the point?