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Vol 9 Issue 3-Winter A Newsletter For Poets & Poetry Volume 9, Issue 3 – Winter 2004-05 Stafford Studies: Experiencing the Gift By Sulima Malzin Open your mind and let the wind The Gift pass through those corridors where Time wants to show you a different country. It's the one minutes equal centuries. Stand here. that your life conceals, the one waiting outside It’s real. You’ll hear it. (WS) journal when curtains are drawn, the one Grandmother hinted at d r entry, July 12, 1993 o f f in her crochet design, the one almost found a t S t over at the edge of the music, after the sermon. i K On the morning of July 12, 2004, / o t o these words greeted us, nine eager h It's the way life is, and you have it, a few years given. P students, all writers, some teachers, You get killed now and then, violated as we arrived on the Lewis & Clark in various ways. (And sometimes it's turn about.) BOARD OF TRUSTEES: College campus to immerse ourselves Chair: Joseph Soldati, Portland You get tired of that. Long-suffering, you wait in the Northwest Writing Institute’s Nan Atzen, Sherwood and pray, and maybe good things come—maybe five-day summer program titled Elizabeth Barton, Vancouver the hurt slackens and you hardly feel it any more. “Stafford Studies.” Patricia Carver, Lake Oswego You have a breath without pain. It is called happiness. Don Colburn, Portland The registration packet included It's a balance, the taking and passing along, Martha Gatchell, Drain Stafford's poem, “The Gift,” and a the composting of where you've been and how people Sulima Malzin, Portland copy of a 1969 lecture, “Today’s and weather treated you. It's a country where Paulann Petersen, Portland Poets and the Language of Everyday you already are, bringing where you have been. Shelley Reece, Portland Life,” which begins with the line: Time offers this gift in its millions of ways, Dennis Schmidling, Tualatin “Talking along in our not quite prose turning the world, moving the air, calling Helen Schmidling, Tualatin way, we all know it is not quite prose every morning, "Here, take it, it's yours." Ann Staley, Portland that we speak…” Both pieces have Rich Wandschneider, Enterprise William Stafford invited us to trust ourselves, to Nancy Winklesky, Oregon City become fully engaged in the give and Patty Wixon, Ashland take of real communication, and to write! write! write! The poem chides us about Ann Staley, NWI instructor and fellow FWS board NATIONAL ADVISORS: time and how we choose to use it, and the lecture member, is leading the group, along with another Marvin Bell warns of the hidden pitfalls and bonuses in both teacher and poet, Wendy Swanson. Describing Robert Bly the language of poetry and in ordinary life. “When herself, not as a Stafford scholar, but as one whose Kurt Brown you make a poem,” Stafford tells us, “you merely teaching and writing have been deeply affected by Lucille Clifton speak or write the language of everyday life. You the work of William Stafford, Ann designed and James DePreist always fail to some extent, since the opportunities developed the curriculum in collaboration with Donald Hall are infinite.” He invites us to “lower our stan- Wendy, as well as Kim Stafford and the William Maxine Kumin dards” and lets us know on the first page that he Stafford archivist, Paul Merchant. She looks for- Li-Young Lee “is willing to be judged unorthodox.” ward, she tells us, “to discovering and celebrating Ursula K. LeGuin more about the quiet river of the world mapped by Chris Merrill The required text will be The Way It Is, Stafford's this remarkable writer.” W.S. Merwin collected poems published in 1998, but we will be Naomi Shihab Nye receiving other materials as we go along, all of During the week, we will watch a series of videos Gary Snyder which we are instructed to read with pen in hand, and pore over copies of a sampling of Stafford’s marking anything we might puzzle over or dis- handwritten journal entries. We will learn new agree with. ways to play with poetry and language, engage in conversation with Paul Merchant and Kim and Dorothy Stafford, and spend our evenings reading Continued on Page 3 Friends of William Stafford is a non-profit organization dedicated to raising awareness of poetry and literature in the spirit of the legacy, life and works of the late award-winning poet William Stafford. 2 Stafford’s Early Writings Showed Promise of Poetry to Come Report from the Archives the war year 1942 to 1945, followed by a steady average of fifty or sixty poems a year for the rest of the decade. By Paul Merchant If the camps sharpened his perceptions and moral awareness, A poet’s formative years are always of and taught him the lifetime discipline of early morning writing, interest. William Stafford has written elo- it was at Iowa that William Stafford became a poet of profes- quently (in the autobiographical first essay sional habits. Here he began to preserve his daily writing in in You Must Revise Your Life, and in manuscript (over twenty thousand surviving pages between 1950 “Sometimes, Reading” in Crossing and 1993) and to type and send out his poems according to an Unmarked Snow) about his family’s love of ingenious tracking system. Of the twenty thousand or so daily literature, and about the magnetic pull of poems, he typed and submitted about six thousand–now readable libraries for a young Kansan filled with for the first time in chronological order at the archives–of which curiosity. His first poem, however, “White Pigeons,” a sad medi- the majority were published in a variety of journals, from the tation composed in the spring of 1937, is set outdoors, opening most prestigious to the most fugitive. Of these published poems, and closing with an image of migration: around two thousand were gathered in his fifty or so collections. It was a juggling act, keeping track of the submissions and pub- The trumpet call, the haunting cry of aching land lications (“an average of fifty were in the mail to editors all -A wild goose passing? through the fifties, sixties, and seventies”) but few fell to the ground. One poem (titled, ironically in the circumstances, The typescript has a rare authorial annotation: “Written in study “When you go anywhere”) appeared in A Glass Face in the Rain hall, the last semester at K.U. The first time I really tried to and again in An Oregon Message, but this was a rare lapse. He express poetry. Published in a little magazine in New Mexico.” was careful about copyrights, and generous to editors, celebrated How many characteristic touches are found on this early page: and unknown. The wonder is that he had time to meditate and personification of the landscape; the prevailing mood derived write, to teach, and to manage his voluminous correspondence. from the animal world; that inimitable mix of melancholia and alert observation; and not least, the acquisition of a publisher for By the time he had served his apprenticeship in Depression-era this very first poem. Kansas, in the alienated war years, and in the gentler purgatory of graduate work, William Stafford was already forty years old. At that time, in his early twenties, his ambitions were not only in He entered the Eisenhower period as a seasoned poet, estab- poetry. He was also writing stories, alive with descriptions of lished in the best journals, and (after some academic travels) was settled as a professor at Lewis & Clark College. No one, not local characters and scenes, under the guidance of Professor even he, could have known that the door on fame was about to Margaret Lynn at Kansas. The archives contain seven stories swing open. from the 1930s, and two dozen prose pieces from the ’40s and early ’50s. Of these, the most successful (“Answer, Echoes,” and “The Osage Orange Tree”) were both published in 1959. Stafford Symposium January 22 While he never entirely abandoned the short story, by the time he had finished his doctoral work at the University of Iowa, he The Northwest Writing Institute will host the fourth annual was a poet. His 1953 thesis was a collection of poems, William Stafford Symposium from 9 a.m. to noon on Saturday, Winterward. January 22 at Albany Quadrangle in Smith Hall at Lewis & Clark College, Portland. A more radical early experience, more profound even than that of small-town libraries and classes at Kansas and Iowa, was that The program will be presented by English Department faculty of being thrown into the company of other conscientious objec- member Mary Szybist and her students; Peter Cookson, Dean of tors in Civilian Public Service camps in Arkansas and California the Graduate School; Paul Merchant and Vince Wixon, and Kim between 1942 and 1946. His book Down in My Heart (recently Stafford and Ann Staley. The symposium will consider Stafford's reissued by OSU Press with a preface by Kim Stafford) gives a writing and editing process, writing poetry in response to his vivid sense of the intellectual ferment of the camps. These poems, and writing and discussion, in the spirit of William twelve thousand men were some of the nation’s most inquiring Stafford. The symposium is free and open to the public, with minds, placed by their pacifist beliefs in an environment as attendance limited to the first 100 people who contact Patty investigative as any university.
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