October 27,
2000
Editor
Poets & Writers Magazine
72 Spring St.
New York, NY 10012
To the Editor:
In her essay
"Warning, Witness, Presence"
(P&W, Nov./Dec. 2000,
pp. 54-55), Eavan Boland laments
what she calls "the Disappearance
of the First Book," which she
describes as "an ominous change"
that she claims to have observed
"in the space of the last 10
to 15 years."
"It
works like this," she explains:
"Young poets now hardly ever
have the opportunity they need to
publish their first book when they
finish that book. Instead, they
must begin an arduous process of
submission to publishers and entries
to competitions," with the
resulting delays allowing time for
revision of the original contents
-- changes in the poems, even replacement
of some of them by newer work --
so that, if and when that typescript
does find published form, it "is
not truly a first book at all."
Boland asserts
further that "The consequences
of this widespread practice -- forced
on gifted young poets by intolerable
circumstances that have been freely
tolerated -- is that one of the
most precious registers of a poetic
era is being overwritten: The first
book . . . is dying like some beautiful,
overlooked creature whose habitat
has been thoughtlessly destroyed."
Call her
Camille -- and spare me the histrionics.
Boland's hyperbolic "Disappearance"
and "now" imply a heyday
in some presumed idyllic "then."
I haven't kept up with the research
in the field since I completed my
graduate studies in English literature
and creative writing in the mid-'60s,
but at that time we'd unearthed
no record of a Golden Age anywhere
in which "gifted young poets"
automatically got their first books
published as soon as they were finished
and exactly as written. There may
not have been as many contests around
a half-century or a century ago,
but getting books of poetry published,
especially first books, has never
come easily. The tales of major
works that had made the rounds of
dozens of publishing houses before
finally finding an outlet, or that
their authors had self-published
as a final recourse, already abounded,
starting with Whitman's Leaves
of Grass.
Moreover
-- and here I've neither done the
research myself nor examined the
literature in this regard -- I'm
willing to wager that many of the
books that we (including Boland)
think of as the "first books"
of noted poets in fact went through
exactly that process of prolonged
revision Boland laments, and instead
fit her definition of the "ominous"
result: "a second book [that]
may even have elements of a third
in it." Think Whitman again.
Here's a
fact: Today we have many more publishers
of poetry books than ever before,
including small alternative presses.
Only a small percentage of these
require entering your work into
contests -- and, from my standpoint,
anyone who pays money so that his
or her poetry can compete with other
people's poetry deserves no sympathy
for the inevitable resultant delays.
We also have more options for rapid,
inexpensive self-publishing than
ever before -- ranging from print-on-demand
systems like 1stBooks to low-cost
chapbook printers to CD-ROM, floppy
diskette, and World Wide Web options.
These enable anyone who wants to
create for the record a permanent,
distributable version of an unrevised,
just-written "first book"
to do so affordably. "Intolerable
circumstances?" Nonsense.
Undeniably,
in any case, with or without contests
we have more (and more diverse)
books of new poetry published annually
than ever before, as confirmed by
all reports, including those that
appear regularly in P&W.
Which means that, statistically,
we undoubtedly have more "first
books" that meet Boland's definition
than ever before. If at any time
we lived in a Golden Age of first
books of poetry, therefore, this
is it.
I suggest
that Boland find a way to put aside
her Miniver Cheevy-like whining,
let go of her fantasy of some better
time for young poets, and get real.
Yours,
/s/A. D. Coleman
Staten Island, NY
P.S. Though quite possibly not "gifted,"
and by some standards not "young"
(I'm turning 57), I've just published
my first book of poetry and prose
poetry -- spine, a collaboration
with the Finnish photographer Nina
Sederholm (minipress, Borgå,
Finland, 2000). It has come out
from a small foreign publisher,
exactly as written, shortly after
it was written, without ever undergoing
submission to a contest. A CD-ROM
version of it will appear shortly.
In
slightly shortened and edited form,
this letter appeared in Poets
& Writers Magazine, Vol. 29, no. 1 (January-February 2001), p. 7. © Copyright 2001 by A. D. Coleman. All rights reserved. For reprint permissions contact Image/World Syndication Services, imageworld@nearbycafe.com.)