How Poems Get Written

(This is an expanded and revised version of a column published in Outlook last year around this time)

HOW POEMS GET WRITTEN

There is not a single answer to that premise. There is not a single answer to anything regarding poetry. Nevertheless, for myself, there is what might be called a pattern that the construction of a poem often follows.

Often, what later becomes a poem begins with a single phrase, line, or image.

In the case of the poem below, it was the image of an otherwise non-descript field behind a run-down finishing plant being brought to life by a blossoming of purple flowers. I saw this image while driving Highway 70 between Conover and Claremont, NC, one day. It struck me as visually appealing, so I made a u-turn, pulled off the road where I could see it, and wrote it down in my notebook.

That phrase, line, or image is then carried around for days, weeks, or months in my notebook, or in my head (admittedly a more risky approach) if I don’t get it written down.

In this case, the sentence “Behind the finishing plant a field is bursting open with purple flowers” sat in my notebook for several months. I tried several times to finish the poem, each time without satisfaction. I tried making it a haiku – no good. I tried expanding on the redemption spring offers us. That resulted in a different poem, but this line and image were still unused.

Over time, the phrase, line, or image accumulates other phrases, lines, or images until a sense of weightiness or significance or cohesion develops. Sometimes that happens gradually, sometimes in a burst, and sometimes not at all.

In this case, it was finally a burst. I was actually standing on a dock outside the Comfort Suites in New Bern, NC, listening to the sounds of several types of birds. I closed my eyes to listen, suggesting both that this noise was somehow significant, somehow meaningful, and that we hear such noise better with our eyes closed. I quickly jotted down the phrase “How can you be on this earth and not close your eyes on occasion to listen to the sounds of birds chattering their meaningful noise?” As I looked at that phrase, the idea of “meaningful noise” clicked with the idea that those purple flowers I had noticed months ago were also a sort of synaesthetic meaningful noise that I had “closed my eyes,” in this case to the routine obligations I was on my way to fulfill, to better perceive. So I put the two phrases together.

How can you be on this earth
and not close your eyes on occasion
to listen to the sounds of birds
chattering their meaningful noise?
Behind the finishing plant a field
is bursting open with purple flowers.

Then the shaping and refining begin, but the creating doesn’t stop either.

I liked those six lines, but I realized the third line was vague, so I brainstormed a list of birds whose songs I felt comfortable describing and added them to the poem.

How can you be on this earth
and not close your eyes on occasion
to listen to the sounds of birds
chattering their meaningful noise?
Laugh of crow,
annunciation of blue jay,
high-pitched twitter of chickadee,
moan of mourning dove.
Behind the finishing plant a field
is bursting open with purple flowers.

Again I liked it, but I knew it was too off-balance and I needed to add details to the flower image, so I closed my eyes to recall what I had seen in greater detail. I did another cluster listing out more detail than I knew I could use. Somehow the nature of the place I had seen those flowers (the contrast of humanity’s temporality next to the eternal beauty of nature) seemed important, so I chose those details and added them in.

How can you be on this earth
and not close your eyes on occasion
to listen to the sounds of birds
chattering their meaningful noise?
Laugh of crow,
annunciation of blue jay,
high-pitched twitter of chickadee,
moan of mourning dove.
Behind the finishing plant
off the run-down road
between failing furniture towns,
a field is bursting with purple flowers.

Again, I liked it, but reading it through I realized that the connection between the flowers and the birds was not apparent and that I hadn’t named the flowers. I knew immediately that I wanted to create the link by strengthening the suggestion of synaesthesia since that was how the two images seemed related in my head. I didn’t know what the flowers were, but I chose cosmos for the possibility of double meaning it involved. I added the last two lines.

How can you be on this earth
and not close your eyes on occasion
to listen to the sounds of birds
chattering their meaningful noise?
Laugh of crow,
annunciation of blue jay,
high-pitched twitter of chickadee,
moan of mourning dove.
Behind the finishing plant
off the run-down road
between failing furniture towns,
a field is bursting with purple flowers.
If you close your eyes
you can hear the cosmos blooming.

Once again, I liked it. And I kept it that way for a long time. In fact, it was published that way, but after seeing it in print, I realized I had my reader listening too much to the sound of birds rather than considering the act of listening, so I changed it one final time and because I added a line to take the focus a bit off the birds, I also had to sacrifice a line to retain the “shadow” of a sonnet in its structure. And finally, I decided making the final word “opening” rather than “blooming” would assist the double sense of “cosmos” in the poem. Here is the end result

All the Meaningful Noise
by Scott Owens

How can you be on this earth
and not close your eyes on occasion
and listen to leaves give voice to wind,
hear the laugh of crow,
annunciation of blue jay,
moan of mourning dove,
all the meaningful noise
of another spring day?

Behind the finishing plant
off the run-down road
between failing furniture towns,
a field is bursting with purple flowers.
If you close your eyes
you can hear the cosmos opening.