In Favor of Waiting, Poetry’s Best Revision Tool

I play any number of editing games with my work (including that game of believing it’s absolutely perfect right out of my head onto the page): chopping things up, turning things upside down, tossing things away, changing articles and personal nouns and verb forms. But there is no more exacting revision tool than time. A “perfect” poem put away for a while will, once brought back to the light, reveal its skin tags and moles, its sagging belly, its misshapen feet. Yes, it can be gruesome. Don’t get me wrong, some poems do come out of the head fully formed and pretty solid. But the thing is, you can’t really know that until some time has elapsed.

What is a poem? A made thing — poured onto the page, nudged onto the page, spat onto the page…and then worked: carved, smoothed, questioned, made exact. I’m not sure anything that does not undergo that process should be called a poem, but rather some other word: a thing, a whatsit, a lump of something that might be something.

When someone shambles up to the microphone at an open mic night with phone clutched in hand to read a “poem” they “just wrote this morning” — that noun and that phrase should not appear in the same sentence — they do a disservice to themselves as a maker and to the made thing, not to mention the long-suffering audience.

How much time does it take? I wish I knew. I often get tired of waiting, often think “oh, it’s fine, just get it out there.” Sometimes I’m right. Sometimes I’m wrong. Only time will…well…you know.

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