A big part of what I learned in my MFA program was how to emotionally detach myself from my poems and see them as my readers would so that I could better revise them. When I was writing lyrics about museum visits and mockingbirds, this worked. By my third year in the program, I chafed in workshops, receiving critique that pointed to problems I already saw or that were informed by a different aesthetic. I had already seen the reflection of my poem that was going to be offered to me by eyes that I had internalized or rejected. And then I had a miscarriage. And then I had kids. And then my marriage matured out of its now-uncomplicated-seeming first few years. And then I started to become estranged from part of my family. The emotional detachment that I had learned to apply to my work—an art product crafted out of visual stimulus and some kind of feeling of insight from my lyric self—I could not apply to my life. My poetry began to flesh out and give voice to the parts of myself I ...
Feminism, poetry, poetics.