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Blizzard Voices: Stories from the Great White Shroud

July 27, 2018 1 comment

One of the more interesting opera programs I’ve seen is the oratorio, Blizzard Voices, with words by poet Ted Kooser and music by composer Paul Moravec.  The dramatic template for the program was The Blizzard of 1888, often referred to as The Children’s Blizzard because of the large number of youths who lost their lives in the great white blow out that smothered the Great Plains.  Years before the opera program Kooser used survivors’ accounts of the natural disaster to create a book of poems called The Blizzard Voices, which was eventually given a dramatic reading at the Lincoln Community Playhouse.  Kooser adapted his work for the oratorio.  The concert used orchestral music, solo and chorus singing, spoken words, lighting, and projected images created by artist Watie White to transport the audience into what I called the great white shroud.  My story for The Reader (www.thereader.com) was written before I saw the oratorio, based on interviews I did with Kooser and Moravec.

If you’re a Ted Kooser fan or want to know more about the poet, this blog contains stories I’ve written about him.  Just click on his name in the category roll on the right hand side o

 

Blizzard Voices: Stories from the Great White Shroud

©by Leo Adam Biga

Originally published in The Reader (www.thereader.com)

 

January 12, 1888 began much like any other winter day. A tad warm for the season perhaps. A brisk breeze swirled about and a bank of low lying clouds to the north suggested a change brewing. Yet except for a strange electric current in the air and the odd behavior of pets, no real portent warned of the fury to be unleashed on the Great Plains. Nebraska would not be spared.

When the blizzard hit terrible wind and snow spewed forth from the sky and didn’t let up. The temperature plummeted, dropping far below zero. The big blow cut through the land like a giant scythe swung in unrelenting anger. The enveloping storm smothered everything in its path — humans, animals, houses, barns, fences, fields, roads, bluffs, gullies, creeks, rivers. Anything caught unprotected was soon frozen or buried in the great white shroud. Drifts reached 20 feet high.

So concentrated was the storm that day turned to night. Visibility reduced to nothing in the blinding, numbing white-out conditions. Many souls died from exposure across a several state region, among their number — children. It was a school day and some students perished trying to reach their farm homes. Thus, it came to be known as The Children’s Blizzard.

 

©Illustration by Dick Taylor

 

Pulitzer Prize-winner and former U.S. Poet Laureate Ted Kooser of Garland, Neb. grew up hearing stories of this storm of the century. In the 1980s he wrote a slim book of poems under the title The Blizzard Voices inspired by recorded reminiscences of survivors. His blizzard poems were given dramatic readings by the Lincoln Community Playhouse.

Now, Opera Omaha’s mounting an original oratorio, The Blizzard Voices, based on his poems. The concert hall production integrates orchestra, chorus and soloists on stage. The music is by Pulitzer Prize-winning composer Paul MoravecStewart Robertson, making his swan song as Opera Omaha artistic director, conducts. The premiere performances, Sept. 12 at the Holland Performing Arts Center and Sept. 13 at Iowa Western Community College’s Arts Center, are both at 7:30 p.m.

Kooser’s spare poems, each from the perspective of an actual survivor, describe awesome, gruesome, tragic, heroic events of that surreal experience, one whose extremes still resonate today. “Stories of suffering and survival go back to our deepest origins, I think, and we never tire of them,” Kooser said.

Moravec said by phone from Manhattan he admires how Kooser’s lean poems communicate the intimate human dimensions of this natural disaster in the language of every day rural people, many of them immigrants.

In an artist’s statement, Moravec wrote, “Part of the power of Mr. Kooser’s adaptation derives from his wise decision to allow the ordinary, plain-speaking historical accounts come through their simple, rough-hewn eloquence. The music is similarly clear and direct in its emotional impact.”

The composer’s chosen a selection of Kooser’s blizzard poems that best dramatize the sequence of events. His own research included poring through Nebraska state historical archives and reading David Laskin’s book The Children’s Blizzard. Given that the storm victims were mainly Lutheran he felt it appropriate to write an original chorale that suggests the lamentations of familiar Protestant hymns.

Religious themes are used by Moravec throughout. There’s an excerpt from the Book of Job in the prologue. A psalm. Plaintive prayer-like pleas for mercy. Who could blame people for ascribing the storm to God’s wrath? Moravec incorporates Mary Elizabeth Frye’s poem “In Remembrance” to speak to the everlasting spirit of those that died and those that commemorate their loss. He said his composition draws on historical sources, but is thoroughly contemporary.

For the Lincoln dramatization Kooser found skip rope rhymes he used as bridges between the spoken poems and as counterpoints to the raging blizzard.

“I modified some of the traditional ones to resonate with the blizzard experience,” he said. “Others are intact as originally used. These are a part of American folklore, and not attributable to actual writers. American folk rhymes are quite wonderful.”

One of Watie White’s images for Blizzard Voices 

 

 

Moravec’s retained these skip rhymes in his oratorio. The rhymes, in conjunction with the poems, the psalms and the prayers, express a sense of innocence lost.

The composer and poet met once during the piece’s evolution. Just as history informed Kooser’s poems, his blizzard works informed Moravec’s compositions.

“Since then we’ve exchanged a few e-mails, but early on I gave Paul complete freedom to do whatever he wanted with the poems, and the only input he’s asked me for involved minor historical information,” said Kooser.

To convey the blizzard’s power musically the costumed orchestra, chorus and soloists project full-out. To interpret its force and impact in more than purely musical terms Robertson commissioned Omaha artist Watie White to create images for projection on large screens. “I did see the drawings just the other day — and I thought they were just right.” Kooser said. Lighting will also play a role in setting moods. At the heart of it all though are the blizzard voices’ spoken and sung words. Kooser’s eager to see how the complete oratorio gives voice to his work.

“I have not seen any of it during development,” he said. “When I go to the premier it will be as fresh to me as to the rest of the audience.”

He hopes the production’s successful enough that it tours.

 

After whirlwind tenure as Poet Laureate, Ted Kooser goes gently back to the prairie, to where the wild plums grow

June 19, 2010 2 comments

Blooming Wild Plum

Image by ShaharEvron via Flickr

This is the second story I wrote about poet Ted Kooser. It followed the first one I did on him by several months. That earlier story is also posted on this site.  This second profile appeared in The Reader (www.thereader.com) and nearer the completion of his duties as U.S. Poet Laureate.  He’d enjoyed the position and the opportunities it afforded to spread the art of poetry around the nation, but as the article makes clear, he was also relieved he would soon be leaving that very public post and returning to his quiet, secluded life and the sanctuary of home.

 

After whirlwind tenure as Poet Laureate, Ted Kooser goes gently back to the prairie, to where the wild plums grow

©by Leo Adam Biga

Originally published in The Reader (www.thereader.com)

 

Late spring in Seward County will find the wild plums Ted Kooser’s so fond of in full bloom again. If he has his way, the county’s most famous resident will be well ensconced in the quiet solitude he enjoys. Once his second term as U.S. Poet Laureate is over at the end of May, he returns to the country home he and his wife share just outside the south-central village of Garland, Neb., tucked away in his beloved “Bohemian Alps.” It’s served him well as a refuge. But as a historical personage now, he’s obscure no more, his hideaway not so isolated. It makes him wonder if he can ever go back again to just being the odd old duck who carefully observes and writes about “the holy ordinary.”

When named the nation’s 13th Poet Laureate, the first from the Great Plains states, his selection took many by surprise. He wasn’t a member of the Eastern literary elite. His accessible poems about every day lives and ordinary things lacked the cache of modern poetry’s trend toward the weird or the unwieldy.

“I knew in advance there would be a lot of discontent on the east coast that this had happened. I mean — Who’s he? — and all that sort of thing,” he said. “If it had been given to me and I had failed it would have really been hard. So I felt not necessarily I have to do it better than anyone else but that I really needed to work on working it. It’s really been seven-days-a-week for 20 months now. And I think I have had a remarkable tenure.”

The fact he pledged to do “a better job than anyone had ever done before” as Laureate, said partly out of a pique of regional pride, set him up for failure. By all accounts, though, he’s been a smashing success, taking The Word with him on an evangelical tour that’s brought him to hundreds of schools, libraries, museums, book clubs, writing conferences and educational conventions.

No less an observer than Librarian of Congress James Billington, Kooser said, told him he’s “probably been in front of more people than any other Laureate, at least during his tenure. So, that counts for something.”

 

 

 

 

Kooser wanted to connect with a public too long separated from the written word. To reverse the drift of poetry away from the literay elite and return it to The People. Swimming against the tide, he’s managed to do just that with the stoic reserve and grim resolve of a true Midwesterner. No figurehead Laureate, he’s a working man’s Poet, sticking to an itinerary that’s seen him on the road more than at home for nearly two years. “I can’t remember where I’ve been and when,” he said recently.

For a shy man who “really prefers to be at home,” the thought of coming out of his shell to make the rounds as Laureate seized him with panic.

“At first, I didn’t think I could do it. Looking down the line right after it happened I thought, No way are you going to be able to be that public a person. I’ve always been kind of an introvert and it’s always been very difficult for me to get up in front of groups of people,” he said. “But I decided I would throw myself into it and make myself do it. I learned how to do that and I’m much more comfortable now after doing hundreds of things, although I’m still nervous.”

He estimates he’s appeared before some 30,000 people as the Laureate.

Much as a post-Sideways Alexander Payne expressed a desire to immerse himself in the unseen depths of a new film, a process he likens to “scuba diving,” Kooser craves a time when he can once more lose himself on the road less traveled.

“Now of course my impulse is, as of the end of May, to start retreating back into that very comfortable introversion that I’ve always loved,” he said.

His 2004 Laureate appointment and 2005 Pulitzer Prize for Poetry brought the world to his quiet country home, if not literally to the doorstep, then virtually there via requests for interviews, readings and appearances of one kind or another. He still gets them. The fact he’s obliged many of these entreaties says much about the man and his avowed mission to bring poetry to the masses.

“My principal goal is to show as many people as I can who are not now reading poetry that they’re missing out on something,” he’s said.

His honest, pinched, Presbyterian face, set in the detached, bemused gaze of a portrait subject, is familiar as a result of his weekly newspaper column, “My American Poetry.” The column, the primary vehicle he chose to promote poetry, appears in hundreds of papers with a combined readership of some 11 million. Not that the townies in and around Garland didn’t already recognize him. He’s only reminded of his celebrity when he puts on a tie for some fancy event or is spotted in a public place, which happens in Omaha, Lincoln or more distant spots, like Washington, D.C., the home of the Laureate’s seat, the Library of Congress, where a 3rd floor office is reserved for him. Not that he uses it much.

Besides the phone calls, e-mails and letters he wades through, there’s the more mundane perhaps but still necessary chores to be done around his acreage. Fallen branches to pick up. Dead trees to bring down. Repairs to make. Dogs to feed and water. Distractions aplenty. It’s why he must get away to get any writing done. Yes, there’s sweet irony in having to find an escape from his own would-be sanctuary.

“We have a lovely place and all that, but the problem’s always been that when I’m sitting there in my chair at home with my notebook I’m constantly noticing all the things that need to be done” he said. “So getting away from that is going to be nice. I’ve bought an old store building in Dwight (Neb.). It’s about 10 miles from where we live. It’s a thousand square feet. One story. It’s been a grocery store and various things and I’m fixing it up as a sort of office. In the front room I have a desk and bookshelves and in the second room I have a little painting studio set-up.

“Nobody in Dwight’s going to bother me. I’m really going to try and figure out having a work day where I would go up there at eight in the morning and stay till five and see what happens. Paint, write, read books. And then go back.”

 

 

 

The demands of his self-imposed strict Laureate schedule have seriously cut into his writing life. With a few weeks left before he can cut the strings to the office and its duties, he’s resigned to the fact his writing output will suffer “for awhile” yet, but confident his return to productivity “is gradually going to come about.”

He’s already whetting his appetite with the outlines of a new project in his head. “I’ve been thinking about a little prose book I might like to do in which I would go to my building in Dwight and sit there in the middle of that little town of 150 or 200 people and read travel literature and write about armchair travel all over the world from Dwight, Neb. It’d be a book like Local Wonders (his 2000 work of prose), but I’d be sitting there daydreaming about Andalusia, you know. I don’t like to travel, but that might be a sort of fun way of doing it…learning about the world.”

He may also keep busy as general editor of an anthology of poems about American folklore to be published by the Library of Congress. Kooser originally broached the project with the Library soon after being installed as Laureate.

Then there’s his ongoing column, which he’s arranged to have continue even after he’s out of office. The column, offered free to newspapers, supports his strong belief poetry should be inclusive, not exclusive. He hit upon the idea for it along with his wife, Lincoln Journal Star editor Kathleen Rutledge.

“Kathy and I talked for years and years about the fact poetry used to be in newspapers and how do you get it back,” he said.

A column made sense for a poet who describes himself as “an advocate for a kind of poetry newspaper readers could understand.” Making it a free feature got papers to sign on. He said the number of papers carrying “My American Poetry” is “always growing” and one paper that dropped it was pressured to resume it after readers complained. He’s most pleased that so many rural papers run the column and that perhaps schools there and elsewhere use the poems as teaching tools.

 

 

Karl Shapiro, center, with students in Nebraska nearly a half century ago. Left is Poet Ted Kooser .(Reprinted with permission from Reports of My Death by Karl Shapiro, published by Algonquin Books of Chapel Hill, a division of Workman Publishing.)

 

 

 

 

 

 

 

 

 

 

 

 

Besides the feedback he gets from readers, the poets whose work he features also get responses. “And, of course, the poets are tremendously excited. They’re in front of more readers than they’ve ever been in front of in their lives,” he said. It’s all part of breaking down barriers around poetry.

“The work that is most celebrated today is that work that needs explaining…that’s challenging. The poetry of the last century, the 20th century, was the first poetry ever that had to be taught. That had to be explained to people,” he said in an April 24 keynote address before the Magnet Schools of America conference at Qwest Center Omaha. It began “when the great Hiroshima and Nagasaki bombs of contemporary poetry fell upon poetry in the persons of Ezra Pound and T.S. Eliot.”

This drift toward a literary poetry of “ever-more difficulty” and “elitism” continues to this day, limiting its appeal to a select circle of poets, academics and intellectuals. “The public gets left out,” he said. He has a different audience in mind. “I’m more interested in reaching a broad, general audience. I’m in the train of those poets (in the tradition of William Carlos Williams) who always believed in wanting to write things that people could understand.” Rather than a focus on form, he said, “I believe in work that has social worth.”

As a missionary for a common poetry that really speaks to people, his newspaper column amounts to The Ted Kooser Primer for Poetry Appreciation. “I have felt like a teacher all through it,” said Kooser, a poetry instructor for select graduate students at the University of Nebraska-Lincoln. “Basically with the column I’m doing what a teacher would do. I’m trying to teach by example…what poetry can offer.”

He realizes his insistence on realism and clarity rankles the established order.

“I try pretty hard to make it understandable,” he’s said of his own work. “That sort of thing runs against the grain in poetry right now. I’m very interested in trying to convince people that poetry isn’t something we have to struggle with.”

Kooser harbors no allusions about making a sea change on the poetry scene.

“I think by the time I’m done at the end of May, when my term as Poet Laureate is over, I will have shifted American poetry about that far,” he said, his clamped hands moving ever so slightly to mimic those of a clock. “And the minute I’m out of office there’ll be a tremendous effort to get back where it was.”

Still, he feels emboldened by the response he gets. “Everywhere I go doing poetry readings throughout this country I run into people who have felt excluded from poetry almost all their adult lives,” he said. “Invariably after one of my readings a man who was drug there by his wife will come shambling up to me and say, ‘I had a pretty good time and I think I’m going to try this poetry stuff a little bit,’ which is wonderful for me. It’s exactly what I want to happen.”

It’s all about making converts. “Yeah, and, you know, they’re only one at a time. but for the one person that comes up there are others in the audience that are feeling the same way,” he said. “I don’t know that it’s my poetry that’s making the difference. This is not something I’m doing intentionally, but in looking at myself from over on the side I think have de-mystified the process. You know, it’s really about working hard and learning to write. There’s no magical thing I have that nobody else has. It’s just the fact I’ve been writing poetry for 50 years and I’ve gotten pretty good at it. And I think people like to hear there’s nothing really mysterious about it.”

Part of the exclusion people feel about poetry, he said, stems from how it’s taught in schools. It’s why soon after getting the Laureate he made a point of speaking at the National Conference of Teachers of English, “an organization on the front line for expanding the audience for poetry,” yet one ignored by his predecessors.

“I wanted to go there because I thought, Here are the people who have all the experience teaching poetry and usually where poetry goes wrong is in the public schools. It’s taught poorly. It discourages people, and so they never know to read it. And so I figured these teachers are really the prime teachers — any teacher who will pay his or her own way to a convention is pretty serious about teaching — and would have the really good ideas about how to teach poetry. And, as a matter of fact, there were a lot of ideas that came out of it. Mostly enthusiasm, really, and encouragement and that sort of thing.”

 

 

 

 

He never underestimates the power of “a great big dose of encouragement, no matter how bad the students’ work is, because I was one of those students,” he said. Growing up in his native Ames, Iowa, his earliest champion was his mother, the woman who taught him to see and to appreciate the world around him — the local wonders so to speak, and to not take these things for granted. Another early influence was an English teacher named Marian McNally. In college, teachers Will Jumper and Karl Shapiro, the noted poet, inspired him.

As Laureate Kooser’s embraced diversity in poetry. A 2005 program he organized in Kearney, Neb. saw him share the stage with an aspiring poet, a cowboy poet, a romantic poet, a performance poet and a fellow literary poet. Whatever the form or style, he said, poetry provides a framework for “expressing feelings,” for gaining “enlightenment,” for “celebrating life” and for “preserving the past.”

When he battled cancer eight years ago he didn’t much feel like celebrating anything. “And then…I remembered why I was a writer. That you can find some order and make some sense of a very chaotic world by writing a little poem. People need to be reminded there are these things out there that they can enjoy and learn from — and there might be something remarkable in their own backyard — if they would just slow down and look at them. To really look at things you have to shut out the thinking part and look and just see what’s there. It’s reseeing things”

True to his openness to new ideas, he’s agreed to let Opera Omaha commission a staged cantata based on his book The Blizzard Voices, a collection of poems inspired by real-life stories from the 1888 blizzard that killed hundreds of children in Nebraska, Iowa and Kansas. Adapting his work is composer Paul Moravec, winner of the 2005 Pulitzer for Music. The March 2008 production will premiere at the Holland Performing Arts Center and then tour. Recording rights are being sought.

For Kooser, who once adapted his Blizzard poems for a Lincoln Community Playhouse show, the possibilities are exciting. “I met with him (Moravec) and I liked him immensely and so I decided I would trust him to do anything he wanted to do. I think the idea of a blizzard and the kind of noise you could associate with it could be really interesting.”

Music-poetry ties have long fascinated Kooser, who hosted a program with folk musician John Prine. The March 9, 2005 program “A Literary Evening with John Prine and Ted Kooser,” was presented by the Poetry and Literature Center at the Library of Congress in D.C.  The program included a lively discussion between the songwriter and the poet as they compared and contrasted the emotional appeal of the lyrics of popular songs with the appeal of contemporary poetry.

“I’ve been following John Prine’s music since his first album came out and have always been struck by his marvelous writing: its originality, its playful inventiveness, its poignancy, its ability to capture our times,” Kooser said. “For example, he did a better job of holding up the mirror of art to the ’60s and ’70s than any of our official literary poets. And none of our poets wrote anything better about Viet Nam than Prine’s ‘Sam Stone.’ If I could write a poem that somebody could sing and make better for being sung, that would be great.”

In anticipation of the Opera Omaha cantata, the University of Nebraska Press has reprinted Kooser’s Blizzard Voices in paperback.

Whoever’s named the next Laureate will get a letter from Kooser. If his successor asks for advice he will say to be sure to avoid talking politics. If Kooser had responded to a national reporter’s question two years ago about who he voted for in the presidential race, he’s sure he’d still be dogged by that admission now. “Instead,” he said, “I’ve gotten to talk about poetry…the job I was hired to do.”

Keeper of the Flame: Poet Laureate and Pulitzer Prize winner Ted Kooser

June 19, 2010 2 comments

ted-kooser.jpg

Ted Kooser was already well into his term as U.S. Poet Laureate and had recently been awarded the Pulitzer Prize when I wrote two stories about him. This is the first.  It appeared in the New Horizons, and it ‘s based on an interview I did with him at his home in Garland, Neb.  Whenever I interview and profile a writer, particularly one as skilled as Kooser, I feel added pressure to get things right. He helped make me feel comfortable with his amiable, homespun way, although I never once forgot I was speaking to a master.  The subsequent piece I did on him is also posted on this site.

 

Keeper of the Flame: Poet Laureate and Pulitzer Prize winner Ted Kooser

©by Leo Adam Biga

Originally published in the New Horizons

 

Forget for the moment Ted Kooser is the reigning U.S. Poet Laureate or a 2005 Pulitzer Prize winner. Imagine he’s one of those quixotic Nebraska figures you read about. A bespectacled, bookish fellow living on a spread in the middle of nowhere, dutifully plying his well-honed craft in near obscurity for many years. Only, fame has lately found this venerable artist, who despite his recent celebrity and the rounds of interviews and public appearances it brings, still maintains his long-held schedule of writing each morning at 4:30. Away from the hurly-burly grind, the writer’s life unfolds in quiet, well-measured paces at his acreage home recessed below a dirt road outside Garland, Neb. There, the placid Kooser, an actual rebel at heart, pens acclaimed poetry about the extraordinariness of ordinary things.

Once you get off I-80 onto US 34, it’s all sky and field. Wild flowers, weeds and tall grasses encroach on the shoulders and provide variety to the patches of corn and soy bean sprawled flat to the horizon. The occasional farm house looms up in stark relief, shielded by a wind break of trees. The power lines strung between wooden poles every-so-many-yards are guideposts to what civilization lies out here.

Kooser’s off-the-beaten-track, tucked-away place is just the sort of retreat you’d envision for an intellectual whose finely rendered thoughts and words require the concentration only solitude can provide. More than that, this sanctuary is situated right in the thicket of the every day life he celebrates, which the title of his book, Local Wonders, so aptly captures. In his elegies to nature, to ritual, to work, and to all things taken for granted, his close observations and precise descriptions elevate the seemingly prosaic to high art or a state of grace.

The acreage he shares with his wife Kathy Rutledge includes a modest house, a red barn, a corn crib, a gazebo he built and a series of tin-roofed sheds variously containing a shop for his handyman work, an artist’s studio for his painting and a reading salon for raiding bookcases brimming with volumes of poetry and literature.

The pond at the bottom of the property is stocked with bluegill and bass.

His dogs are the first to greet you. Their insistent barking is what passes for an alarm system in these rural digs. Kooser, 66, comes out of the house to greet his visitors, looking just like his picture. He’s a small, exact man with a large head and an Alfred E. Newman face that is honest, wise and ironic. He has the reserved, amiable, put-on-no-airs manner of a native Midwesterner, which the Ames-Iowa born and raised Kooser most certainly is.

Comfortably and crisply outfitted in blue jeans, white shirt and brown shoes, he leads us to his shed-turned-library and slides into a chair to talk poetry in his cracklebarrel manner. A pot-bellied stove divides the single-room structure. The first thing you note is how he doesn’t play off the lofty honors and titles that have come his way the last two years. He is down to earth. Sitting with him on that June afternoon you almost forget he’s this country’s preeminent poet. That is until he begins talking about the form, his answers revealing the inner workings of a genuine American original and master.

Kooser, who teaches a graduate-level tutorial class in poetry at the University of Nebraska-Lincoln, patiently responds to his visitors’ questions like the generous teacher he is. His well-articulated passion for his medium and for his work, a quality that makes him a superb advocate for his art, are evident throughout a two-hour conversation that ranges from the nature of poetry to his own creative process.

 

 

 

 

So, what is poetry?

“I like to think it is the record of a discovery. And the discovery can either be something in your environment or something you discover in the process of writing, like in new language. You basically record that discovery and then give it to the reader. And then the reader discovers something from it,” he said. “There’s a kind of kaleidoscope called a taleidoscope. It doesn’t have the glass chips on the end. It has a lens and I turn it on you and however ordinary the thing is it becomes quite magical because of the mirrors. And that’s the device of the poem. The poet turns it on something and makes it special and gives it — the image — to the reader.”

There is a tradition in poetry, he said, of examining even the smallest thing in meticulous detail, thereby ennobling the subject to some aesthetic-philosophical-spiritual height. It’s one of the distinguishing features of his own work.

“The short lyric poem very often addresses one thing and looks at it very carefully. That’s very common. I guess I’m well known for writing poems about very ordinary things. There’s a poem in my latest book about a spiral notebook. Every drug store in the state has a pile of them. Nothing more ordinary than that. I’ve written poems about leaky faucets and about the sound a furnace makes when it comes on and the reflections in a door knob. They’re all celebrations in some sense. Praise” for the beauty and even the divine bound up in the ordinary.

His Henry David Thoreau-like existence, complete with his own Walden’s Pond, feeds his muse and gives him a never-ending gallery to ponder and to convey.

“I like it out here. I like being removed from town. I like it because it’s quiet. For instance, I have a poem in my book Weather Central about sitting here and watching a Great Blue Heron out here on the pond. And there are many poems like that. There’s another one in that same book called A Hatch of Flies about being down in the barn one morning very early in the spring and seeing a whole bunch of flies that had recently hatched behind a window.”

The rhythms of country living complement his unhurried approach to life and work. He waits for inspiration to come in its own good time. When an idea surfaces, he extracts all he can from it by finding purity in the music and meaning of language. Words become notes, chords and lyrics in a kind of song raised on high.

“I never really have an idea for a poem,” he said. “I’ll stumble upon something and it kind of triggers a little something and then I just sort of follow it and see where it goes. I always carry a little notebook. If I see something during the course of the day I want to write about, I make a note of it.”

Another element identifying Kooser’s work is the precision of his language and his exhaustion of every possible metaphor in describing something. The rigor of poetry and of distilling subjects and words down to their truest essence appeals to him.

“I think there’s a kind of polish on my metaphors. I’m extremely careful and precise in the way I use comparisons. I wrote about that in my Poetry Repair Manual. How you really work with a metaphor. You just don’t throw it in a poem and let it go. You develop it and take everything out of it you can. With a poem, once it’s finished or it’s as finished as best as I can finish it, there isn’t anything that can be moved around. You can’t substitute a word for its pseudonym or its synonym. You can’t change a punctuation mark or anything like that without diminishing the effect,” he said. “Whereas, with prose, you can move a word around or change the sentence structure and it really doesn’t have that much of an effect on the overall piece. I like the fact poetry has to be that orderly and that close to perfect. I tend to be a kind of orderly type guy.”

Getting his work as close to perfection as possible takes much time and effort.

“I spend a lot of time revising my poems and trying to get them just right. A short poem will go through as many as 30 or 40 revisions before it’s done. Easily. I’m always trying to make the poems look as if they’re incredibly simple when they’re finished. I want them to look as if I just dashed them off. That takes revision itself. I’m always revising away from difficulty toward clarity and simplicity.”

So, how does he know when a poem is done?

“I think what happens is eventually you sort of abandon the poem. There’s nothing more you can do to make it better. You just give up. Rarely do you get one you think is really perfect. But that blush of success doesn’t usually last very long.”

A serious poet since his late teens, Kooser has refined his style and technique over a half-century of experimentation and dogged work.

“We learn art by imitation — painters, musicians, writers, everybody — by imitating others. So, the more widely you read, the more opportunities there are to imitate different forms and different approaches, and I tried everything I suppose,” he said. “You learn from the bad, unsuccessful poems as much as you learn from the good ones. You see where they fail. You see where they succeed. I’ve written the most formal of forms — sonnets and sestinas and ballads and so on, just trying them out, as you’d try on a suit of clothes.”

“I’ve come to my current style, which feels very natural to me,” through this process of trial and error and searching for a singular voice and meter and tone. “Somebody glancing at it would say, ‘Well, this is free verse.’ But it really is not free verse at all. I take a tremendous amount of care thinking about the number of syllables and accents in the lines. I might not have three accents in every lines, but the only reason I wouldn’t add another accent to a line of two is that it would seem excessive or redundant in a way.

“So, I never let the form dominate the poem. It’s all sort of one thing. And I think poems proceed from someplace and then they find their own form as they’re written. You let them develop. You let them fill their own form.”

Being open to the permutations and rhythms of any given poem is essential and Kooser said his routine of predawn writing, which he got in the habit of while working a regular office job, feeds his creativity and receptivity. “It’s a very good time for me to write. It’s quiet. You mind is refreshed. I’m a poet very much devoted to metaphor and rather complex associations,” he said, “and they tend to rise up at that time of day. I think what happens is as you come out of sleep your mind is trying make connections and sometimes some really marvelous metaphors will arise. By the end of the day, your head is all full of newspaper junk and stuff.”

All that sounds highly romantic, but the reality and discipline of writing every day is far from idyllic. Yet that’s what it takes to become an artist, which reminds Kooser of a story that, not surprisingly, he tells through metaphor.

“A friend of mine had an uncle who was the tri-state horse shoe pitching champion three years running and I asked — ‘How’d he get so good at it? — and my friend said, ‘Son, you’ve got to pitch a hundred shoes a day.’ And that’s really what you have to do to get good at anything. And I tell my students that, too: ‘You’ve got to be in there pitching those hundred shoes every day.’ Often times, in the process of writing, the really good things happen. That’s why you have to write every day. You have to be there, as the hunters say, ‘when the geese come flying in.’”

As most writers do, Kooser came to his art as an eager reader. He grew up in a Cold War-era home where books were abundant. He became a fixture at the local public library in Ames. His mother, who had some college and was a voracious reader, encouraged young Ted. But what really drove him, more than the Robert Louis Stevenson books he devoured, was his sense of being an outsider. He was a puny kid who didn’t mesh with the cliques at school. But in writing he found something of his own. A key book in his early formation as an aspiring writer was Robert McCloskey’s novel Lentil.

“It’s about a boy in a small town who doesn’t fit it very well. He’s not an athlete. He can’t sing. Then he teaches himself to play the harmonica. When a very important person from the town returns home, the band is all assembled at the depot, the banners are all hung out and a parade is planned down main street. But the guest has an enemy who gets up on the depot roof with a lemon, and when the band gets ready to play, he slurps this lemon and the band can’t blow their horns. But Lentil can play his harmonica and by saving the day he gets to ride with the special guest in the parade. The last line of the poem is, ‘So you never know what will happen when you learn to play the harmonica. And that really is a seminal story for me. I identified with that kid. And this poetry business is really like the harmonica. This was my thing to do. And so, for me, the lesson was, You never know what will happen when you learn to write poetry.”

Besides writing, Kooser was “into hot rods.” He built one car himself and built another one with a friend. It was inevitable he would combine both passions.

“I was writing these Robert Service-type ballads about auto races. I wrote a long one about a race and some of my friends sent it to a slick teen magazine called Dig. It was nothing I would have ever done myself. I never was one to really put myself forward in any way. But they sent it in, and it was published, much to my surprise.”

 

 

 

 

Between the buzz of his first published story, the strokes his teachers gave him and the emerging Beat Poetry scene he embraced, Kooser was sold on the idea of being a poet despite and, indeed, because of the fact it was so far afield from his proletarian roots. Making his mark and defying convention appealed to the non-conformist in Kooser. It was his way of standing apart and being cool.

“I wanted to be a poet right from the time I was 17 or 18. That was really my driving force. It was the idea of being different and interesting. I wanted to be on the outside looking in. It had a lot to do with girls, frankly. I came from an extremely plain, ordinary, middle class background and I wanted to set myself apart from that. Who knows how that works psychologically? My mother was very devoted to me and had very conventional ideas, and it may have been my attempt to separate myself from her. And to this day, when I become sort of reabsorbed into the establishment, as if I had ascended in class to some other level, I feel slightly uncomfortable and rebellious. I think that to be successful as an artist you have to be on the outside of the general order — observing it.”

In his wife, Kathy Rutledge, whom he met in the ‘70s, he’s found a kindred spirit. A child of the ‘60s, she was caught up in the fervor of the times. Now the editor of the Lincoln Journal Star, she shares his love of writing and is his gentle reader.

“She helps me with my writing. She’s a very good reader of my work. She’s a brilliant woman. She knows terms for the English language I don’t understand.”

He finds it ironic a pair of iconoclasts have ended up in such mainstream waters. She as a daily newspaper editor and he as “a celebrated poet” speaking to Kiwanis and Rotary Club meetings and giving college commencement addresses.

Besides his poetry and his insurance job, which he retired from a few years ago, Kooser’s been on the periphery of the academic circle. He’s taught night classes for years at the University of Nebraska-Lincoln, where he earned his master’s.

Growing up in a college town, he gravitated almost as a matter of course to local Iowa State University, where he studied architecture before the math did him in. His literary aspirations led him into an English program that earned him a high school teaching certificate. He taught one year before moving onto UNL for grad studies. He was drawn by the presence of former U.S. Poet Laureate and Pulitzer Prize-winner Karl Shapiro, under whom he studied. When Kooser spent more time hanging out with Shapiro than working on his thesis, he lost his grad assistantship and was forced to take a real job. He entered the insurance game as a stop-gap and ended up making it a second career. It was all a means to an end, however.

“I worked 35 years in the life insurance business, but it was only to support myself to write. It was an OK job and I performed well enough that they kept promoting me. But writing was the important thing to me and I did it every morning, day in and day out. Writing was always with me. I’ve never not been writing.”

While his 9 to 5 job gave him scant satisfaction beyond making ends meet, it proved useful in providing the general, non-academic audience for his work he sought.

“The people I worked with influenced my poetry,” he said. “We all write toward a perceived community, I think, and I was writing for people in that kind of a setting.  I had a secretary in the last years I was there, a young woman who’d read poems in high school but had no higher education, and I often showed her my work. I’d say, ‘Did it make any sense to you?’ and she’d say, ‘No, it didn’t.’ And I’d go home and work on it, until it did because I wanted that kind of audience. I would not refer to anything that would drive anybody to stop in the middle of the poem to go look it up in the encyclopedia. The experience of the poem shouldn’t be interrupted like that. I have a very broad general audience. I get mail from readers every day.”

A less obvious benefit of working as a medical underwriter, which saw Kooser reading medical reports filled with people’s illnesses, was gleaning “a keen sense of mortality.” “Poetry, to really work,” he said, “has to have the shadow of mortality carried with it, because that darkness is what makes the affirmation of life flower.”

These days, Kooser is working hard to help poetry bloom in America, where he feels “it’s really thriving” between the literary-academic, cowboy, hip hop and spoken word poets. “It’s so important to do a good job as Poet Laureate, as far as extending the reach of poetry, that I’ve largely set my own writing aside for now.” His post, which he sees as “a public relations job for the sponsoring Library of Congress and for poetry,” has him promoting the art form as a speaker, judge and columnist. His syndicated Everyday Poetry column is perhaps his most visible outreach program. He’s considering doing an anthology of poems about American folklore. He’s also collaborating with educators to distill their ideas for teaching poetry into a public forum, such as a website. “The teachers are really on the front line here. They’re the people who make or break poetry,” he said.

Then, as if reassuring his visitors he’s no elitist, he excuses himself with, “I’ve got to run up to the house — I’ve got a pheasant in the oven.” Yes, even the Poet Laureate must eat.

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