{"id":43409,"date":"2016-10-05T13:46:14","date_gmt":"2016-10-05T18:46:14","guid":{"rendered":"http:\/\/news.medill.northwestern.edu\/chicago\/?p=43409"},"modified":"2016-10-05T13:46:14","modified_gmt":"2016-10-05T18:46:14","slug":"poet-ellen-bryant-voigt-composes-the-music-of-poetry","status":"publish","type":"post","link":"https:\/\/news.medill.northwestern.edu\/chicago\/poet-ellen-bryant-voigt-composes-the-music-of-poetry\/","title":{"rendered":"Poet Ellen Bryant Voigt composes the music of poetry"},"content":{"rendered":"

By Lauren Ball<\/strong><\/p>\n

Ellen Byrant Voigt smoked and hugged a light coat to her chest outside the Poetry Foundation<\/a> in the crisp air on a recent autumn evening. Casually studying the cars as they passed by, she appeared poised, yet relaxed. Her reading was scheduled to begin in 20 minutes, and visitors began to crowd into the building\u2019s clean, geometric courtyard, its beauty hidden in the details.<\/p>\n

She radiated an undeniable sense that she’s accustomed to such performance rituals and relishes them. Writing poetry and sharing\u00a0 it are, to Voigt, as seemingly organic as taking drags of the cigarette that rested between her fingers. From an onlooker\u2019s standpoint, it all appeared second nature.<\/p>\n

<\/p>\n

Yet Voigt projects a subtle and unassuming presence for such a renowned success in the literary world. The former poet laureate of Vermont, she founded America\u2019s first low-residency MFA program (which doesn\u2019t necessarily operate on-campus) at Goddard College in 1976 before receiving prestigious grants and fellowships from the Guggenheim Foundation, the NEA, and the MacArthur Foundation. From\u00a0her humble tone and laid-back posture, her face resting in the palm of her hand as she read at the podium, one might never know it.<\/p>\n

Though the room\u2019s atmosphere initially felt tense — solo poetry-goers rigidly sitting one seat apart — the ambience melted into a congenial\u00a0gathering as Voigt began \u201cThe Art of Distance, VI,\u201d \u201c\u2026Whereas my friend ‘in nature’\/ takes his glasses off <\/em>so he\/ ‘can think.’ When he says\/ he thinks with his body \u2013 body\/ grown substantial over the years,\/ as has his thought \u2013\/ I don\u2019t know what he means; or,\/ if I do, I think thinking is not\/ the body\u2019s job,\/ that the body gets in the way\u2026\u201d<\/p>\n

Growing up on a small farm in Chatham, Virginia, her imagery traces back to the underbelly of the rural South.<\/p>\n

\u201cI don\u2019t think the natural world is idyllic. It\u2019s a fierce place. I grew up on a farm so all of that was present. Farm life is dependent on an awareness of the seasons, as well as the creatures and the demands of what that world is that you\u2019re trying to conquer sufficiently. I don\u2019t think of it as dark or gothic. I just think of it as realistic,\u201d she said over a hotel landline\u00a0the day before her reading.<\/p>\n

Voigt\u2019s poem, \u201cBright Leaf\u201d (from The Lotus Flowers <\/em>collection), also reveals her pragmatic outlook on nature and survival, describing the physical and psychological impact of a day of hard labor from the perspective of a farmer. \u201cHis crew is quiet in the pickup truck\u2014did you think\/ they were singing? They are much too tired to even speak,\/ can barely lick salt from the back of a hand, brush at flies,\/ hush a baby with a sugartit\u2026\u201d<\/p>\n

After leaving the unforgiving world of farm life behind, Voigt studied music at Converse College in Spartanburg, SC, before her roommate introduced her to the work of four people who would end up changing the course of her life \u2013 Rainer Maria Rilke, E.E. Cummings, William Butler Yeats, and John Keats. Through her initial studies, music became a pivotal component of her writing.<\/p>\n

\u201cI\u2019ve said before that poetry is truth set to music,\u201d Voigt recalled before her reading. \u201c(With music) you don\u2019t have to worry about what something means or if it\u2019s making sense. You just have the experience of listening to it. Poetry is also musical. For me, it\u2019s the sound of it that\u2019s a very generative and useful guide.\u201d<\/p>\n

As Voigt read her work in the Poetry Foundation\u2019s glass-walled reading gallery downtown, blinding passing car lights left distorted shadows on the dimly-lit walls, and the musical rhythm of her poems echoed throughout the room. Her voice edged and swooped unexpectedly, almost as if in direct opposition to the words and lines themselves, but consistently landed on course. The avant-garde, free flowing jazz of Sun Ra and Ornette Coleman came to mind as Voigt made her way through her works \u2013 there was no set path, yet every utterance fell exactly where it needed to conclude.<\/p>\n

Though the room mostly buzzed with the thoughtful sighs of those with graying hair and reading glasses, a few college-aged faces sprinkled the back rows. “The poem that really got to me was ‘My Mother,'” said Nick Anderson, a Northwestern University sophomore, “It’s unfortunate that it was at the end because it really put me in a position where I wanted to listen to her read and talk about her poetry, or even buy her book.\u201d<\/p>\n

Voigt has seen poetry and the public\u2019s reception of the artform transform over the decades of the late 20th<\/sup> century. \u201cThe publishers of 40 or 50 years ago have changed. There\u2019re more books (being published) now and more opportunities for voices that have never been heard before\u2026which is due, in large part, to digital publishing. I think that\u2019s fabulous and full of all sorts of energy and excitement,\u201d Voigt said.<\/p>\n

\u201cSome of (modern poetry) is a reaction against what has gone before, but it\u2019s not necessarily experimental. Sometimes those pendulum swings mean going back to earlier poets who have somehow fallen out of favor,” she said. “The young poets will decide where poetry should go next.\u201d<\/p>\n

Photo at top: Ellen Bryant Voigt, former poet laureate of Vermont, and music maker. (Photo\/MacArthur Foundation)<\/div>\n","protected":false},"excerpt":{"rendered":"

By Lauren Ball Ellen Byrant Voigt smoked and hugged a light coat to her chest outside the Poetry Foundation in the crisp air on a recent autumn evening. Casually studying the cars as they passed by, she appeared poised, yet relaxed. 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