When Adrienne Rich wrote the poem "Wait" she and many Americans and others were awaiting the start of what seemed an inevitable war in Iraq, in March 2003. The PoemTalk crew - Jessica Lowenthal, Linh Dinh, Randall Couch and your convener-host Al Filreis - couldn't wait (as it were) to get going on this terrestrial poem. Is it a personal is political poem? The soldier, after all, looks at his or her wedding ring and thinks about why s/he wasn't told...but not told what? Is it a make love, not war poem? Is it a political poem at all? The Iraqi desert is "no place for the little lyric." The gang variously wonders if the poem had something large to contend about lyric's talent for reminding us of reasons why war is inhuman? Randall thinks it isn't much of a war (or antiwar) poem; its strengths diminish as it gets more clearly into its political subject; in the end it closes off "with a click." Linh prefers a less formalistic approach. Jessica and Al riff on the 1930s-style "hobos in a breadline" genre: its reputation for conservative form carrying radical content. Is this a formally conservative poem? If so, there's an irony, for sure. The PoemTalkers can only agree that such a question is open, making the poem all the more interesting (and in that sense it's a meta-poem, a poem about the problems of political poems).
In paradise every the desert wind is rising third thought in hell there are no thoughts is of earth sand screams against your government issued tent hell's noise in your nostrils crawl into your ear-shell wrap yourself in no-thought wait no place for the little lyric wedding-ring glint the reason why on earth they never told you
PoemTalk #2 was recorded in Studio 111 at the Center for Programs in Contemporary Writing, produced by Al Filreis and Mark Lindsay. Steve McLaughlin was our sound editor and we had help from that talented soundhead, Curtis Fox. We're grateful to Adrienne Rich who agreed, when she visited in '05, to recite "Wait," a favorite of the Writers House-affiliated students.