the atlantic poetry editor

But the custom of running poems in periodicals edited for a general readership reminds us that poetry hasn’t always been thought of as something lofty or rarefied: the poems weren’t just there to lend a veneer of genteel sophistication (though I suppose that might have been the motive in some cases) but as a recognition that they were another kind of reading material that intellectually curious folks took an interest in. In one poem, for example, you directly address Williams Wells, a Victorian scientist who wrote a treatise on dew. But I also think poets don’t do themselves any favors when they get drawn into thinking that intelligibility is some sort of imaginative copout, as if the only way to be profound is to confound. Otherwise, you might as well be writing in sentences. There’s just no telling, and I think it’s a mug’s game to speculate along those lines. It was the headline that grabbed me: “Brother Adam, Benedictine monk; Transformed beekeeping, at 98.” Now, that struck me as practically a found poem all by itself, and as it turned out, I wound up weaving the headline right into the measure of the lines and using it as a kind of tuning fork for the poem’s speaking voice. I’d like to think that readers of all stripes will regard The Atlantic’s poetry not as some ceremonial or ornamental sop to tradition but rather as reliable leavenings of pleasure, stimulation, and surprise. A sampling of writing from The Atlantic's past offers a range of views on the many contradictions of Rudyard Kipling. He’s the editor of a wide range of award-winning and bestselling authors, including Bryan Stevenson, Ta-Nehisi Coates, Jill Leovy, Trevor Noah, Nikole Hannah-Jones, Ibram X. Kendi, Valarie … Her poems have appeared in The New Yorker, The Atlantic, Poetry… So why write a ballade? You may send up to six poems (in a single document) per submission. Many of these poems are “formal”; some use famously difficult received forms like the ballade and terza rima, and others use forms you seem to have invented. Editor Ann Hulbert Email fiction@theatlantic.com Address The Atlantic 600 New Hampshire Ave., NW Washington, 20037 Established 1857 ISSN 1072-7825 Circulation 400,000 monthly readers Website www.theatlantic.com Submission Guidelines Both Lincoln and Obama dabbled in poetry as young adults. It all depends. Highly respected magazine, The Atlantic publishes both big names and emerging writers in fiction, nonfiction, and poetry. Poet Bio. A poem by David Barber, from his new book Wonder Cabinet, In The Atlantic's early years, he was the poet of the age, introduced by David Barber, with readings by Peter Davison, Philip Levine, and Richard Wilbur. The supple density of the haiku stanza struck me as a handy means to that end. What must it have been like to flip open the page to that magisterial piece of work? — Clint Smith, author of the poetry collection Counting Descent and incoming Atlantic staff writer “HELIOCENTRIC” BY KEITH S. WILSON Keith S. Wilson’s poem “Heliocentric” is … All forms were nonce forms, once upon a time, and I want to see if I can kindle a spark of that original sense of discovery and immediacy in a way that won’t seem dutiful or mechanical: ideally, the occasion and the expediency will come off as a seamless whole. David Barber, The Atlantic’s current poetry editor, has been at the magazine since 1994.  I was hoping you’d ask that. April is National Poetry Month, which makes it a good time to celebrate The Atlantic ’s literary heritage. I’m leery of making any grand pronouncements about the state of the art, though I suppose it’s true that the fifteen or twenty thousand poems that pass through our mailroom over the course of a year make for as reliable a core sample as any. I’m beginning to see signs that a taste for humorous and satirical verse might be making a comeback, and that’s an altogether welcome development for those of us given to lamenting over the lost art of keeping an uncivil tongue in one’s head. Grove Atlantic has created a six-person executive committee to help CEO Morgan Entrekin run the publisher and increased the entry-level salary to $40,000. But it’s an especially compelling question to ponder under this roof because poets were key players in the founding of The Atlantic: James Russell Lowell was the first editor and Emerson and Longfellow were sort of the godfathers of the braintrust. What’s your sense of the place of poetry in The Atlantic? In terms of recent work, I’d single out several poems by Linda Gregerson that later appeared in her collections The Woman Who Died in Her Sleep and Waterbourne, and a couple of beguiling numbers “for children and others” by Richard Wilbur, “The Disappearing Alphabet” and “Some Words Inside of Words.” It’s a moveable feast. I have my blind spots and my soft spots like everyone else. He was an American physician who had a practice in London in the early 1800s and dabbled in natural history on the side—or as it was often called then, “natural philosophy.” I happened upon a reference to a scientific paper he presented to the Royal Society in a Loren Eiseley book called Darwin’s Century—in a footnote, naturally!—and was instantly enchanted by its title: “Essay on Dew.” And I was all the more captivated to learn that it wasn’t some kind of metaphorical rubric but quite literally a research paper on condensation and evaporation, one that caused something of a stir in learned circles because it embodied what was just then becoming codified as the scientific method: drawing a hypothesis about the laws of nature based on first-hand observation and scrupulous field studies. It’s not likely we’re going to see a wholesale resurgence of that kind of thing, but you never know. In our editorial work today, but also in our internal practice, we are to honor and build on that work. Which Atlantic poems from the recent or distant past are your particular favorites? Marie Howe is the author of four volumes of poetry: Magdalene: Poems (W.W. Norton, 2017); The Kingdom of Ordinary Time (W.W. Norton, 2009); What the Living Do (1997); and The Good Thief (1988). Form has a strong gravitational pull on me, but I want to make sure I’m asking the fact for the form, as Emerson puts it. David Barber, The Atlantic ’s current poetry editor, has been at the magazine since 1994. He conscripts Houdini, Louis Armstrong, Babe Ruth, Audubon, and the Flying Wallendas (“the ‘first family’ of high-wire aerialists”), and quarters these luminaries alongside equally alluring minor figures: obsessed Dutch tulip-traders, Kyrgyzstani eagle trainers, and Luther Burbank,  “the most celebrated horticulturist” of the late nineteenth century. David Barber, The Atlantic's poetry editor, talks about the writing and teaching of poetry, and about his new collection of poems, Wonder Cabinet. That’s probably a byproduct of being force-fed poetry in the classroom as just so much grist for laborious interpretation and explication, rather than as this rich heritage of devices and designs for saying things artfully and memorably. The Atlantic Magazine. Form isn’t just about line counts and rhyme schemes, of course. All Rights I’m with Frost: the sound is the gold in the ore. Robert Hass says it another way: a poem is a proposal about listening. As for the place of poetry here at the The Atlantic, I have fair hopes that it will continue to occupy the niche it’s always had, marginal but honorable and vital. I suspect that’s a pretty common story: getting turned on by poetry before realizing that it’s Poetry, if you know what I mean. All in all, then, I’m inclined to take a leaf from E. M. Forster’s sensible appraisal of democracy—two cheers for contemporary poetry. I guess I’ve also developed a yen for channeling tutelary spirits as a way of getting beyond the cramped confines of personal history. Description: The Atlantic Monthly is designed for the literate reader with an interest in current events. The Atlantic is an American magazine and multi-platform publisher. When people find out I write poems, they almost invariably tell me that they don’t understand poetry. To be fixated on anything implies an abiding devotion to exacting detail, and trusting in the details to deliver the goods. They were introduced by former Chancellor Richard Howard. And let’s not forget that there are purely expedient reasons for including lines of verse in the editorial mix—to serve as filler for rounding out columns of type. Eliot once wrote that poetry can communicate before it’s understood, but that still assumes that the poet has something to communicate that ultimately justifies a certain degree of mystification. And when it comes to an intricately interwoven stanzaic form, there’s no beating terza rima. Then again, isn’t it one of the touchstones of modernism that it’s the particulars that matter at the end of the day? As a longtime enthusiast of aphorisms, epigrams, and the like, I couldn’t resist updating this concept a bit, and I was further emboldened by the fact that sutras took all kinds of eclectic forms as they evolved into one of the principal modes of Buddhist and Hindu scripture. Is that convention living on borrowed time? My poems have become more peopled, more inhabited, over the years, and I think that’s because I’ve gravitated toward elegies and apostrophes for the sense of narrative and dramatic occasion they provide. See what they're looking for in submissions and get statistics on acceptance rates, response times, and more. As the late Stanley Kunitz once wrote, the true vocation of the poet is to be a generalist, “a person speaking to persons.”. In this capacity he worked closely with the man who previously held this post, legendary poet and editor Peter Davison, who shaped the magazine’s poetry offerings for more than thirty years. If you make up your mind that poems are too cryptic or inscrutable to bother with, then you’re bound to be left in the dark. I’ve never known anyone who combined such an exquisite literary sensibility with such savvy horse sense about the hard labor and exacting craft that goes into making good poems. He lives in the Boston area. Wonder Cabinet provides a surprisingly inclusive picture of human experience and approaches its subjects with humor, fellow-feeling, and a rueful appreciation of the predicament of being a strange creature in a world of strangeness. {US Poet Laureate Robert} Pinsky likes to say that poetry is built on a column of breath, and I agree with him absolutely. But I wonder if it’s also a self-fulfilling prophecy. TheAtlantic.com Copyright (c) 2020 by The Atlantic Monthly Group. Poems by This Poet. Most people who read poetry see only published poems, which are a tiny fraction of all the poems being written. In his new book, Wonder Cabinet, he takes as a model the late-Renaissance curiosity cabinet, an object described by Francis Bacon as a “goodly huge cabinet,” useful for exhibiting any combination of items produced by man, nature, or “singularity, chance, and the shuffle of things.” In this curatorial spirit, Barber displays a kangaroo, the library at Alexandria, a lewdly named flesh-eating flower, a reality TV show starring falcons, the La Brea tar pits, and a hunchbacked tennis whiz. David Barber is the poetry editor at The Atlantic. Along with empathy toward underdogs, the poems profess an infectious admiration for unusual achievements, and an implicit faith in their importance. Historically speaking, poetry has only had a scant toehold in general-interest magazines, even back in their heyday when there were a lot more of them than there are now. Do you try to counteract it through the poems you select for The Atlantic, and if so, how? Emily Akhtarzandi. Brute productivity is one kind of vitality, I guess, but you have to wonder if the supply is really being driven by demand. Submissions to The Atlantic Submit a piece for editorial consideration at The Atlantic; Submit a Letter To The Editor; Submit a letter to the Dear Therapist column His acceptance letters were often suitable for framing, but so were those that dispensed tonic advice to younger poets or offered a piece of his mind on bugbears like wobbly prosody, wayward grammar, or period mannerisms like the rampant use of the first-person indicative. There are inevitably lots of other factors in play—subject matter, formal aptitude, ideas, originality, verve—and I’m not saying that subjective taste has nothing to do with it. I’d love to see the cream of those letters published some day: they’re wonderfully edifying and entertaining, and they’d read like a kind of running symposium on the vicissitudes of contemporary poetics and the vagaries of editing poems for public consumption. But as Peter Davison once reckoned, The Atlantic has published at least a little poetry in just about every issue over those 150 years, and that’s a pretty remarkable track record. He had mindboggling quantities of poetry in his head, and an indomitable faith in poetry’s powers. It gave me a fixed unit of measure to work with, and I got drawn into the technical challenge of using syllabics as a kind of stealth prosody, a notational pattern that insinuates itself surreptitiously in the flexing of syntax rather than in the pulse of accentual stresses. Who really knows how the switch gets thrown? "Robert Frost—The First Three Poems and One That Got Away", “Birches” and “The Road Not Taken”. The Polish poet, who died this week, published several poems in the magazine. The Atlantic 2. submit to this publisher. A relationship does not necessarily indicate a personal connection. Barber also applies this omnivorous appreciation for variety to his own poems, which combine deep erudition with a magpie eclecticism. I wanted to see what would happen if I tried creating my own kind of hybrid, an amalgamation of East and West, Old World and New World, the ancient and the modern, the sacred and the profane. David Barber’s first book, The Spirit Level, won the Terence des Pres prize. Talk about furthering one’s education! Most of the poems in this book are about historical figures or events, but some seem more autobiographical. I don’t cotton to the notion that poets have an obligation to speak for collective experience, but it’s an honorable tradition worth preserving and I think it can be a welcome corrective to the claustrophobic solipsism that’s an occupational hazard of so much testimonial writing. Following Davison’s death in December 2004, Barber took on the position of poetry editor, and on his watch the world of Atlantic poetry has remained true to its longstanding philosophy: rather than defining an ideal Atlantic poem or endorsing a particular House aesthetic, he has aimed to publish poems, in any style, that, as he puts it, strike him with their “inflected intensity… ideas, originality, verve.”. On the other hand, it’s worth recalling the disclaimer that the mother of us all, Emily Dickinson, firmly issued in her famous correspondence with Atlantic editor Thomas Higginson: “When I state myself, as the Representative of the Verse—it does not mean me, but a supposed person.” Was she just being cagey? With the large number of submissions that come to The Atlantic, you have to discriminate very quickly. Not exactly the world we now inhabit, is it? It was my good fortune to be one of the succession of Peter’s understudies during his thirty-year tenure as The Atlantic’s poetry editor—his last “Cerberus,” as he was known to quip. It waxes and it wanes. Upon learning, for instance, that a 98-year-old beekeeper “bobbed to the top of Kilimanjaro” looking for a particular strain of insects, Barber writes “It buoys me simply to think of it”—and it’s impossible not to concur. Poets still held bragging rights as the unacknowledged legislators of the world, and here in the Hub of the Universe they were all but officially consecrated as such. The Atlantic was a little behind the curve in catching onto Frost, but made up for it by publishing some of his best stuff. Title Poetry Across the Atlantic Summary U.S. There’s a “Houdini Sutra,” a “Satchmo Sutra,” a “Great Stone Face Sutra” (that’s Buster Keaton), and so forth. The germ for a poem is oftentimes something I’ve read that touches a chord and sends me off in pursuit of more facts, more details, more dirt. All that said, I don’t think it makes a whole lot of sense for an editor to select poems based on some hazy notion of popularity or accessibility. Based on that view, are there any trends you’ve noticed, anything particularly vital and exciting going on right now? There’s no going back to the days when poetry was widely seen as having a morally uplifting, even civilizing function—“the best that has been thought and said,” as Matthew Arnold put it—and most of us wouldn’t want to book a ride there in the wayback machine even if we could. At the end of the book I’ve appended several pages of what I call “Notes and Sources,” and it’s mostly a paper trail of all the stuff I’ve assembled poems out of—an inventory of all the burrs that have stuck to me, so to speak. I figure that’s what Dickinson is telling us when she says, “I Dwell in Possibility—A fairer House than Prose.”. Randall Jarrell ruefully defined a poet as someone who, in a lifetime of standing out in thunderstorms, manages to get hit by lightning seven or eight times. Sometimes the walk in the fields turns into a treasure hunt. But my starting point was discovering that the word “sutra” in Sanskrit literally means “thread” or “line”—in its original religious sense it referred to a pithy verse or aphorism, or a collection of such utterances. It’s not just sonority I’m listening for: I also like poems that kick up a fine ruckus, poems written with acerbic wit or sly irony, and ones that that make persuasive use of colloquial speech in quirky or spooky ways. Taking it on, one inherits a long tradition of distinguished contributions to American poetry—poems by Emerson, Whitman, Frost, and Robert Lowell, among many, many others—as well as famous flubs like editor Thomas Wentworth Higginson’s rejections of Emily Dickinson (“The bee himself did not evade the schoolboy more than she evaded me,” he wrote in 1891, when prompted to comment on her posthumous success). In the letter, Van Duyn writes: David Barber, a poet himself and longtime poetry editor at The Atlantic, says they are running far less poetry than in the past.“By the measure of editorial inches alone, The Atlantic simply can’t be as welcoming to poets as it once was. Something about them speaks to me, and in turn I want to see if I can speak for them. I’m certainly not ready to write off the existence of that semi-mythical creature, the common reader—unlike the unicorn or the manticore, empirical evidence suggests that there’s a population out there that still answers to that description. Frequently Asked Questions. We do not consider work that has appeared elsewhere. Well, first I tried going down to the crossroads with my pawn-shop guitar, but the devil never showed, so I had to opt for Plan B. Is it important to do both? As for the terza rima, the motive there was almost purely mimetic: I was looking for a way to animate my treatment of those ancient Inca artifacts known as quipus, which were intricate woven objects employed for record-keeping and storytelling in place of written language. What made you want to adopt and Americanize such a non-English form? The most striking trend from where I sit might simply be the sheer abundance of the stuff. It’s true that a good many poems deliberately resemble puzzles or riddles (“dark sayings” is one of the dictionary definition of a riddle, after all), but it seems to me that the most accomplished poets in that vein have the knack for getting readers to enter into the spirit of the game. Submit a Letter. Poet Laureate Donald Hall and British Poet Laureate Andrew Motion participated in a historic series of joint poetry readings in Chicago, Washington, D.C., and London, sharing the stage for the first time and reacquainting the … The short answer would have to be yes: poetry might have roughly the same editorial niche here as it always has, but reading habits have changed, the literary climate has changed, the larger culture has changed many times over. But seriously, I can’t recall any sort of scintillating conversion experience. A general familiarity with what we have published in the past is the best guide to what we're looking for. For my part, count me among those who are more in their element when exercising the option of being a “supposed person” on the page. You write: “There’s a touch of the sublime in your arcane fixation.” What is it about arcane fixations that you find sublime? 48. How is it different writing about public versus private experience? Photo by Saila Huusko. There also appears to be a happy resurgence of public interest in memorizing and recording poetry, thanks to the efforts of our recent U.S. poet laureates and the grassroots enthusiasm for so-called “spoken-word” performance. New Canadian Poetry (Fitzhenry and Whiteside, 2000) Inspiration is the natural resource we all covet, but elbow grease is a pretty good fossil fuel in a pinch. Can you talk a little bit about how form figures into your writing process? Deputy Editor at The Atlantic. TheAtlantic.com Copyright (c) 2020 by The Atlantic Monthly Group. One man’s arcana is another man’s manna, I suspect. There’s reams of poetry getting cranked out nowadays of all varieties: the profession may be a cottage industry compared with what the big-league “content providers” are doing, but lately it’s beginning to look more like this sprawling bazaar where you can find a ready supply of whatever suits your fancy. Being wordstruck from the start probably had something to do with it. It was another attempt to get inside the skin of historical figures, this time with an exclusive focus on those who left some indelible mark on the American imagination. By my lights Lowell’s “For the Union Dead” remains one of the touchstone American poems—it originally ran in The Atlantic in November 1961. That kind of thing is catnip for me. Peter and I mostly had an epistolary relationship as editors. I find it awfully hard to generalize, however. I’m also partial to Marianne Moore’s sly little proviso: “Ecstasy affords the occasion, and expediency determines the form.” I don’t think of myself as a diehard formalist—it’s not as if I keep an assorted stock of fixed forms close at hand like Julia Child’s famous particle-board kitchen wall where all her gleaming culinary paraphernalia dangled on hooks. Back in the day people had to memorize wagonloads of poetry in school, and there used to be a fairly robust tradition of composing punchy occasional and epigrammatical verse as a form of editorial punditry, like Calvin Trillin still does in his “Deadline Poet” column in The Nation, bless his forked tongue. Since 1857, The Atlantic has been challenging assumptions and pursuing truth. The Atlantic published reams of Longfellow in its first twenty-five years, and most of those poems survive only as museum pieces. During the long editorship of Edward Weeks (from FDR to LBJ), pieces by major poets like Eliot and Auden were known to run as cover stories. David Barber’s most recent collection is Wonder Cabinet (Northwestern University Press, 2006). The Atlantic covers news, politics, culture, technology, health, and more, through its articles, podcasts, videos, and flagship magazine. All Rights Reserved. Appeared in Poetry Magazine. We want to hear what you think about this article. It’s a checkered history, but how could it be otherwise? That it gets taught in workshops? Poetry in translation looks to be thriving as well, which generally speaks well for the health and vitality of the body poetic: Seamus Heaney’s version of Beowulf was a bonafide bestseller not long ago, and we’re seeing some terrific translations of modern Eastern European and Latin American poets coming down the pike. Relationships. In his great little essay “The Figure a Poem Makes,” Frost says that poets “stick to nothing deliberately, but let what will stick to them like burrs where they walk in the fields.” Courting that kind of harmonic convergence between curiosity and serendipity has always appealed to me. As our poetry editor, David Barber, wrote in … How did you train yourself to do that, and what makes a poem stand out to you? , for example, you have to ask the bewhiskered sepia portraits on the!. Take it from there, and trusting in the Atlantic, and was first. 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