W. W. Norton

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No, I’m more of an existentialist than [T.S. Eliot] is. I think everyone should have the freedom to ruin his own life, that it’s not my job to close off the possibilities. Let anyone who wishes keep at it until the work and the world instruct him one way or another. Besides, I tend to like people who like poetry. At the very least, those who try their hand at it tend to become better readers.

Stephen Dunn

From the Manifesto of the Selfish

Because altruists are the least sexy people on earth, unable
to say “I want” without embarrassment,

we need to take from them everything they give,
then ask for more,

this is how to excite them, and because it’s exciting
to see them the least bit excited

once again we’ll be doing something for ourselves,
who have no problem taking pleasure,

always desirous and so pleased to be please, we who above all
can be trusted to keep the balance.

Stephen Dunn, from Different Hours

I’m frightened of people who believe in just one story. The advantage of studying literature is that you learn many stories, philosophy, history, etc. You learn that we have commonalities of strangeness and secrets with our fellow humans. Because of many stories, we are that much more open to otherness.

conversation with Stephen Dunn

Stone Seeking Warmth

Look, it’s usually not a good idea
to think seriously about me.
I’ve been known to give others
a hard time. I’ve had wives and lovers—
trust that I know a little about trying
to remain whole while living
a divided life. I don’t easily open up.
If you come to me, come to me
so warned. I am smooth and grayish.
It’s possible my soul is made of schist.

But if you are not dissuaded by now,
well, my door is ajar. I don’t care
if you’re in collusion with the wind.
Come in, there’s nothing here
but solitude and me. I wouldn’t mind
being diminished one caress at a time.

-Stephen Dunn, from Here and Now

The Metaphysicians of South Jersey

Because in large cities the famous truths

already had been plumbed and debated,

the metaphysicians of South Jersey lowered

their gaze, just tried to be themselves.

They’d gather at coffee shops in Vineland

and deserted shacks deep in the Pine Barrens.

Nothing they came up with mattered

so they were free to be eclectic, and as odd

as getting to the heart of things demanded.

They walked undisguised on the boardwalk.

At the Hamilton Mall they blended

with the bargain-hunters and the feckless.

Almost everything amazed them,

the last hour of a county fair,

blueberry fields covered with mist.

They sought the approximate weight of sadness,

its measure and coloration. But they liked

a good ball game too, well pitched, lots of zeros

on the scoreboard. At night when they lay down,

exhausted and enthralled, their spouses knew

it was too soon to ask any hard questions.

Come breakfast, as always, the metaphysicians

would begin to list the many small things

they’d observed and thought, unable to stop talking

about this place and what a world it was.

Stephen Dunn, from Different Hours

I think it’s really important to go to your room and sit there. I couldn’t mean that more seriously. The amateur writer only writes when something big happens in his or her life. Unless you have a better life than I do, you would write only three or four poems a year. So you go to your room and you wait for something to happen. You do that regularly.

From A Conversation With Stephen Dunn

Charlotte Brontë in Leeds Point

From her window marshland stretched for miles.
If not for egrets and gulls, it reminded her of the moors
behind the parsonage, how the fog often hovered
and descended as if sheltering some sweet compulsion
the age was not ready to see. On clear days the jagged
skyline of Atlantic City was visible—Atlantic City,
where all compulsions had a home.

“Everything’s too easy now,” she said to her neighbor,
“nothing resisted, nothing gained.” Once, at eighteen,
she dreamed of London’s proud salons glowing
with brilliant fires and dazzling chandeliers.
Already her own person—passionate, assertive—
soon she’d create a governess insistent on rights equal
to those above her rank. “The dangerous picture

of a natural heart,” one offended critic carped.
She’d failed, he said, to let religion reign
over the passions and, worse, she was a woman.
Now she was amazed at what women had,
doubly amazed at what they didn’t.
But she hadn’t come back to complain or haunt.
Her house on the bay was modest, adequate.

It need not accommodate brilliant sisters
or dissolute brothers, spirits lost or fallen.
Feminists would pay homage, praise her honesty
and courage. Rarely was she pleased. After all,
she was an artist; to speak of honesty in art,
she knew, was somewhat beside the point.
And she had married, had even learned to respect

the weakness in men, those qualities they called
their strengths. Whatever the struggle, she wanted men
included. Charlotte missed reading chapters to Emily,
Emily reading chapters to her. As ever, though, she’d try
to convert present into presence, something unsung
sung, some uprush of desire frankly acknowledged,
even in this, her new excuse for a body.

Stephen Dunn, from Local Visitations

To a Friend in Love with the Wrong Man Again

It was never meant to be sensible,
fully understandable. The digger wasp,
for example, goes up to the tarantula
like a friend and the tarantula freezes,
allows itself to be inspected.
Then it digs the tarantula’s grave
while the tarantula watches. You, I bet,
would have guessed with a name
like tarantula, the tarantula would’ve been
the villain. But it is we who named
the tarantula and made the digger wasp
sound honest, hard-working.
And, of course, there is no villain,
only the scheme of things, only horror,
and occasionally the strange birth
of a butterfly and its short, gorgeous,
utterly careless season.
I should have mentioned the digger wasp
doesn’t kill its victim, but stuns it,
drags it to the grave, lays one egg
on its stomach, and closes up.
You see, the instinct is maternal.
The newborn wasp feeds
off the tarantula for weeks,
digs itself out at the right time
and enters the odd, wonderful world.
I’ve no advice for you, my friend.
You, who would take it—
as all of us would—and offer it
up to the heart, like a sacrifice. 

Stephen Dunn, from Work and Love

How to be Happy: Another Memo to Myself

You start with your own body
then move outward, but not too far.
Never try to please a city, for example.
Nor will the easy intimacy
in small towns ever satisfy that need
you have only whispered in the dark.
A woman is a beginning.
She need not be pretty, but must know
how to make her own ceilings
out of all that’s beautiful in her.
Together you must love to exchange
gifts in the night, and agree
on the superfluity of ribbons,
the fine violence of breaking out
of yourselves. No matter,
it’s doubtful she will be enough for you,
or you for her. You must have friends
of both sexes. When you get together
you must feel everyone has brought
his fierce privacy with him
and is ready to share it. Prepare
yourself though to keep something back;
there’s a center in you
you are simply a comedian
without. Beyond this, it’s advisable
to have a skill. Learn how to make something:
food, a shoe box, a good day.
Remember, finally, there are few pleasures
that aren’t as local as your fingertips.
Never go to Europe for a cathedral.
In large groups, create a corner
in the middle of the room.

Stephen Dunn, from Looking For Holes In The Ceiling

The bad lover, like the bad poet, perhaps because of a preoccupation with self, is essentially inattentive, doesn’t listen, doesn’t anticipate. Or, just as bad, proceeds by rote, first this thing and then the next, and therefore leaves no opportunity for discovery, or departure. Form to me implies an alertness to the demands of your material and an orchestration of effects. It is some happy combination of the poet’s intent and the poem’s esprit and the necessary compromises between the two. We can’t be too willful, but we must have things in mind. We don’t want to be the wimps of our own poems, but we’d be happy to be led into some lovely places. And we’d like to have some control after we lose control, at least enough to throw light on what has just happened, perhaps even to articulate what it has meant to us. And of course there are moments when we’d be better off being appreciatively silent.

Stephen Dunn, Walking Light: Essays and Memoirs