Recently I’ve been rejected. A lot. As in, even the Armpit of Nowhere Review won’t publish my work.
I’m a veteran writer, and as such, I’m used to getting my fair share of rejections. In looking over my Submittable queue recently, it was revealed to me that roughly 10 percent of my poetry submissions have been accepted over the years that I’ve been using the service. So, it stands to reason I’ve got a pretty thick skin — that kind of pathetically slim acceptance rate necessitates one.
But here’s the part that has me concerned: This latest round of rejections comes after a sort of evolution in my poetic style. Such diction alterations happen every once in a while — a poet decides that the old way or the old materials have grown stale, and so a few shiny new features begin to assert themselves in his or her work. Sometimes these changes can be good; other times, they denote the death-knell of the artist’s career.
My suspicions about this latest round of rejections have me speculating about possible causes. The poems themselves, by all measures of quality and integrity, are fine pieces. They are well put-together, and would receive workshop table praise from people whose voices I respect. And I understand that often, rejections are not so much a comment on one’s work as they are a byproduct of space constraints and other factors. Still, I sense the culprit must be something abstract, something subterranean.
My first suspect: Disingenuous fervor. I have written about things that I should care about (and deeply), but on a more subconscious level, I am distantly apathetic. That apathy could translate into an energy vacuum in the poems. Much like the snake-oil salesmen of old, I may be trying to muster interest in ideas about which I am (earnestly) less than enthralled. To quote Frost, “No passion in the writer, no passion in the reader.”
Suspect number two: Divergent interests. I have been spending much of my time recently pursuing excellence in other areas of my life. I’ve dabbled in nonfiction, I’ve made my teaching more robust, and I’ve even started doing a young adult novel podcast with my oldest son. More on that later. These other pursuits, while valuable, could easily be sapping the creative juice from my poetry, however, and I’m wondering about the effects of laurels from other non-poetic enterprises — are the rewards from these endeavors silencing my usual muses?
Third and final suspect: Age. I’ve found myself becoming more curmudgeonly toward the opinions of “experts” in the literary realm, and more disparaging of modern poetry. Maybe I’m becoming that weird old guy in the poetry world who yells “Get off my lawn!” to the avant-garde. I’m over 40, and let’s face it, that’s the age when a lot of poets have made their greatest contributions. I know, I know: There’s a whole cadre of people who didn’t really come onto “the scene” until their twilight years. Good for them. There’s also a vast wealth of people who were bright and shining stars in their youth, though, and for yours truly, that ship has sailed. My only “over the hill” option is to stick around and hope that perseverance pays off, as my mentors have often assured me it will.
In the meantime, I fear that one or more of the above-mentioned factors has resulted in some loss of my stylistic “touch:” the intangible characteristic that sets apart the work of memorable authors. I’d like to try reverting to my MFA-minded self — that individual who sees inspiration everywhere and burns to make people feel the pleasant vertigo of poetic rapture. I’m not sure I can find him again, or that it would be at all appropriate to do so. Perhaps these latest rejections signal that it’s time to call in the dogs and turn out the lights, as the old saying goes. The first part of Marianne Moore’s “Poetry” could have been right: “…there are things that are important beyond/ all this fiddle.” I recall how the rest goes, and I draw inspiration from her conclusion, but maybe a respite of sorts is in order. Stepping back from the page could be just the thing that my writing needs; call it a brain break from heartbreak. Farewell for now, poetry. I’ll be back when I just can’t possibly stay away any longer.
3 thoughts on “On Losing One’s Touch”
Dear John Davis, You ponder your divergent pursuits in the gift you share with us and you mention silence. Silence reduces pain, and also helps your brain to become more interactive, thus you work with more of your brain… leading to higher cognitive abilities.Silence is important if it’s inside or outside, sometimes you have more chatter going on inside than you have noise outside. Close the door… take a few deep breaths… and sit some where for a while and just watch the chatter slow down… and one more thing don’t turn out the light!