New Addresses to Life From a Master Poet

Sorry guys, I forgot to post my completed Individual Poetry Project! Here it is...

Individual Poetry Project

        Life is an inscrutable and unknowable thing, and yet humans have searched through the ages for the meaning to our existence.  Sometimes, the best way to discover truths about life is through the lens of someone else’s life.  In his last book before his death, New Addresses, Kenneth Koch explores his life in a semi-chronological order through the medium of poetry.  The book captures a perspective on the essence of being human through both sardonic wit and mature analysis, along with skillful and beautiful language. 

        To begin, New Addresses speaks to its audience through a refreshing new style: the apostrophe.  The apostrophe, or letter poem, is a poem written in the form of a letter to a person, place, thing, or idea.  Most of Koch’s poems are written to an abstract concept, although some are written to an object which may be a symbol for a broader idea.  For example, some of the 50 poems in the book are addressed to fame, to “my fifties,” to the Italian language, to life, and to stammering.  The poems in the book loosely parallel the author’s life.  The book begins with “To Yes,” a complex poem that digs into the meaning of human existence, and what happens at the end of life.  The following poem, “To Life,” follows the same theme, speaking to and personifying the state of living.  The book then switches from the abstract to the more personal, as Koch explores his childhood in the next few poems, “To the Ohio,” “To My Father’s Business,” “To Piano Lessons” and “To Stammering.”  Both subtle and bold opinions about these topics appear in the poems. The speaker gently praises the Ohio, revealing that he once kept a scrapbook about the river, but the speaker strongly reacts to his father’s business, saying “I thought I might go crazy in the job.” 

The tone of the book changes throughout, and the next few poems demonstrate this especially well. These poems deal with Koch’s young adult years, as in “To My Twenties” and “To World War II.”  This set of poems combines lovely language, cultural references, and personal experiences to create a beautiful and distinctive mix of words. Koch comments on more general themes in his and others’ lives, including poems that deal with sexuality, like “To Testosterone,” as well as identity, like in “To Jewishness” and “To My Old Addresses.”  The author’s life in poems progresses into middle age, as seen in “To My Fifties,” and his attention turns to more practical concerns.  These letters are sent to the fallible body, such as “To My Heart as I Go Along” and “To Breath.”  As the author delves into more spiritual territory once more, his poems showcase fears and wonderings about the end of life, seen in poems like “To the Unknown.”  As Koch eloquently outlines his own feelings and doubts, he intuitively gives words to the whole human experience. He closes the volume with “To Old Age,” a poignant take on the nature of getting old. 

        In New Addresses, Koch’s style is markedly mature, yet playful, as he wrestles with multi-faceted themes.  He works within a simple style, the letter poem, which provides stability and ties together the poems with a common theme.  Starting with this common foundation, Koch has room to cover many topics and use unusual styles of address.  The letter poems, written in first and second person, draw the reader into a more intimate embrace of language.  Since they use the pronoun “you” to speak with the topic of the poem, the reader may feel like she is being addressed.  Nearly all of these poems are a page long or less, so they are bite-sized for a reader.  However, this does not mean that they are easy to understand.  The poems about childhood present their language and content in a fairly straightforward manner, mirroring the simplicity of a child.  The poems set in Koch’s young adult life use more angst and stream of consciousness, as he had to face problems that were more complicated, sometimes even life-threatening. Changes in tone such as these help ease the reader through Koch’s different stages of life. Koch distinguishes his poems from others by their organization as well.  All of the poems in this collection are written in one long stanza, except for two poems, both of which have two stanzas.  On the page, the poems look like a splat of a solid idea, and the short, dense poetry is a joy to read.  The poems are written in free verse, but they hide rhythm and rhyme in their depths. 

        Under analysis, the poems in the book use language in surprising ways to address interesting topics, which appeals to a wide audience with their artistry and simple humanity.  The book begins with “To Yes,” a poem about the nature of words and of the world beyond the physical world.  The poem is one stanza and is written in free verse.  It is far from prose, however.  It begins directly addressing the concept of “yes” in the second person, but digresses from this.  What follows is a long middle section that explores the many uses of the word yes, and comes full circle in the end by addressing the concept “yes” personally once again.  The central theme of the poem appears through questions, emerging eventually as a celebration of the affirmation and mystery of “yes.”  Linguistic devices help energize the poem.  Though it is written in free verse, the poem still has rhythm incorporated.  In the lines “Pamela bending before the grate/…I will meet you in Boston/At five after nine,” a distinct hint of anapest rhythm comes through.  The repetition of “yes” throughout the poem, besides contributing to rhythm, adds a sense of expectation, of waiting for the positive response to the multiple questions posed.  The personification of the word “yes” seems at once to bring the poem within reach, and yet take some things out of the realm of comprehension. 
       A poem that is set in the middle of Koch’s life is the poem “To the Roman Forum.”  The speaker of the poem invites the reader into his moment of intense joy, as his wife has just given birth to a baby, Katherine.  Feeling spellbound and a bit disoriented, the speaker in this poem speaks in short, confused bursts, such as “Oh my, My God, my goodness, a child, a wife.”  The sheer joy of the moment comes through in the unrefined words that abandon convention.  While this poem is not heavy with figurative language, as befits the moment, the speaker does make an effective implied simile, comparing his excitement level to drinking 25 espressos.  The poem ends with a comment on the timelessness of moments of wonder and great joy, saying “I am here, they are here, this has happened./ It is happening now, it happened then.”  In a poem toward the end of the collection titled “To Scrimping,” Koch uses line lengths and enjambment to communicate his experiences with scrimping.  The shorter line lengths communicate strong emotion, as the reader’s eyes jump to the next line quickly.  For example, the lines “I need to have engraved in my cerebrum/as in a library wall” communicate frustration.  Sentences take up between two and four lines, as Koch expertly varies the pace and the mood of the poem.  The enjambed line “I am a tire with my wheel dependent on you, Scrimping,/Then.” highlights the time qualifier “then” to show that the speaker intends to resort to Scrimping only in his most desperate times. 

        The formal elements of this poem were fairly subtle but contributed much to the overall effect of the poem.  While this poem was written without a regular meter, rhyme weasels its way into the poem.  The last four lines, wrapping up the poem, have an aabb rhyme scheme, with “all,” “wall,” “way,” and “away.” As the poem transitions into a more solid rhyme scheme, it reaches for resolution. 

        New Addresses is important in the poet’s works and life because it is his last work, and in many ways, it is the pinnacle of his poetry career.  Kenneth Koch was born on February 27, 1925 in Cincinnati, Ohio.  Ohio and Koch’s childhood there make an appearance in this book, along with his military service, which he served from 1943 to 1945 in the Philippines.  Koch lived in New York City for a time, where he became friends with John Ashberry, another famous poet.  Together, they and other poets made up what came to be known as the New York School of Poets.  Koch’s first book, Poems, was published in 1953.  Many of Koch’s early works were humorous, a theme that continued throughout his career.  He relished farce and satire, as his mock epic, Ko; or A Season on Earth, demonstrates.  No classic was too good to be touched by Koch, as he also imitated “This is Just to Say” by William Carlos Willams.  In New Addresses, Koch covers new ground in his own life, such as his childhood and his military service.  As Koch stated in an interview, “I was very surprised to find myself writing about these subjects.  I was happy to find a way to write them.” (“New Addresses”).

        In conclusion, New Addresses is a pinnacle in Kenneth Koch’s career, incorporating good-natured humor with astute observation about life, wrapped in beautiful language to create art. Through poem analysis and biographical information, a reader can better delve into the glittering sea of words. In some way, this book has improved the human condition, by touching the reader or by simply bringing more beauty into the world.

        

A topic worth revisiting: What is Poetry?

"Do I trust that poem?"  Peter Fallon, an Irish poet, asks himself this question every time he writes poetry.  As I have wandered my way through Intro to Poetry, I have learned much about what makes  a poem, such as form, imagery, creativity, and an interesting view of the world.  By reading poetry, I have been guided into someone else's life through the vessel of language.  To me, poetry searches for a way to tell truth about life, uses language to create beauty, and reaches into the social space to speak the language of the heart.

As a poem lays out what it has to say or the image it has, it exposes a new way of looking at the world.  In Dulce Et Decorum Est, Wilfred Owen draws on experiences from the war, using horrible, desperate images to communicate what the war was like to the reader.   Soldiers trudge past exhaustion in the poem, only to be pushed to their limits once more by a gas attack. This time, one man hesitates a moment too long and dies an awful death, and Owen adds his own interpretation of the event:  if everyone would watch this death, they would no longer tell lies about the glory of dying for one's country.   Something I realized in this course was that a poem does not have to be historically accurate to speak the truth, and that may be the case in this poem.  Wilfred Owen may never have experienced a man dying from gas himself with all this vivid detail, but he can still communicate the terror and helplessness of other men.  Whether or not he was drawing on personal experience in the poem, it is powerful and raw, and it tells the world a truth about war and the lies we tell ourselves about it.

While Wilfred Owen told the world a section of truth about a very large event, World War I, through poetry, poetry can also be a very intimate snapshot of someone's life and resonate with us. In Fadwa Tuquan's poem "Behind Bars,"  she describes her forced separation from her mother, using vivid imagery of roses growing in blood in the middle of the poem.  The reader may have a harder time figuring out the exact situation the speaker is in and what the roses represent, but the empty, lonely image of her mother staring at Tuqan's old school things effectively reaches across barriers.

Next, poetry experiments with language and pushes boundaries, while still using form to bring the cold text on the page to life.  In the beginning of the class, I was oblivious to the valuable part that rhythm and rhyme had to play in poetry, as I associated them with nursery rhymes and hymns.  However, my mind began to open after looking at some of Emily Dickinson's more complex poetry, such as "Volcanoes be in Sicily."  This poem effectively utilizes form such as slant rhyme to draw the reader into the poem, instead of pushing the reader out.  Paul Celan pushed language to the limit in his poem "Todes Fuge," written in German.  He spins a poem that is a testament to what language can do, creating a feast for the reader's ear with a pulsing beat and hidden rhyme.  The poem tests boundaries of language in both German and English, as the translation by John Felstiner stretches and molds language, just as the original did.

To me, one of the most mysterious and wonderful things about poetry is that it captures some of the essence of humanity and brings them into the light of the social space.   In the anthology Against Forgetting:  Twentieth Century Poetry of Witness, Carolyn Forche describes social space as "the space between the state and the supposedly safe havens of the personal" (Forche 31). By establishing a place between these two extremes, Forche helps to visualize a type of poetry that can provide a witness to human events.  Georg Trakl wrote in this space of the social, as seen in his poem "A Romance to Night."  Trakl juxtaposes contradicting images, both disturbing and serene, such as a mother and child sleeping, while laughter echoes from the whorehouse.  This poem only hints at its context of World War I, referring to the hands of the dead, but it draws these personal experiences and the political idea of war together into a place they can both inhabit:  a poem.  Poems that deal more traditionally with the personal also illumine the nature of life and humanity.    In Sharon Olds' poem, "To my parents," evaluated and appreciated by Kate Stoltzfus, "I Go Back to May 1937,"  Kate expresses the way Olds can take an everyday occurrence and make the mundane beautiful.  In this particular poem, I found something different, sensing some of the heaviest regret a person can carry, and yet the human desire to live and thrive seeps through as well.  Like music, poetry trolls the unseen depths of the human soul, and pulls up mossy objects hidden there.  We may only catch a glimpse of  these things out of the corner of our eyes, or we may be forced to stare at something head on, but either way, beneficial, malignant or benign, true poetry will not shrink from the mystery of what it is to be human.  

In conclusion, poetry is a form of art which searches for truth in life,  which births beauty into the world through language, and explores the whole human experience.  Poetry lives, as it sets a part of the author onto the page, which is picked up by the reader and made into a new creation.  Poetry helps us to begin to reach into the unknowable, unspeakable parts of life, carving the simple vessel of language into ships, schooners, dinghies, and ocean liners that sail us out of ourselves, and then back.  In the words of Bertolt Brecht, "In the dark times, will there also be singing?/ Yes, there will be singing./ About the dark times."  

Vienna Wagner's Esther

After going to the Mennonite Church USA convention this  summer, I had the impression that Mennonite creative writing in an organized form was nearly nonexistent.  However, I read some stellar writing on the website for the Center for Mennonite Writing.  

I especially enjoyed the poem Esther by Vienna Wagner.  With Esther as the main character, the poem expertly explores the alienation and sensations that Esther feels as the king's wife.  The speaker feels out of place, as her husband's servants try to scrub her heritage out of her.  She still longs for her people and her homeland, even though she is now in a place of power and privilege.  

Imagery is central to the poem, as it begins with descriptions of Queen Vashti's presence lingering in the palace, in the scallop of the spoons and the scent of jasmine.  The speaker describes the honey and myrrh she has bathed during her "stillborn" year, and compares herself to a straw clinging to a camel's back.  

Rhythm plays a part in the poem, as seen in the lines   

"I never climbed those olive trees

or planted chickpea toes in promised soil."

The first line is written in iambic tetrameter, and the second is written in iambic pentameter.  Buoyed by rhythm, these lines emphasize the longing in the poem for a homeland and identity. 

This poem displays complexity and nuance and breathes new life into a old story.

“To Yes:” Kenneth Koch Affirms What is Good in the World

Kenneth Koch’s book New Addresses follows a fresh blueprint, a road that is rarely followed in the world of poetry.  His book’s memorable organizational style emphasizes the distinctive poem that it contains. As the reader catches on to the repetitive style of the letter poems in New Addresses, the beauty of the work exposes itself – as can be clearly seen in the complexity of the poem “To Yes.” 

            To begin, “To Yes” reveals some of itself only if the reader digs deep into the poem.  When reading the poem, the reader may experience varied feelings, including confusion, along with considering new concepts. However, if the poem is broken down, the unfathomable can be partially converted into the fathomable.   “To Yes,” the first poem in the book, is a letter poem.  This poem is an apostrophe, addressed and written to the concept of “yes,” which is personified in the process.  The poem is one stanza and is written in free verse.  It is far from prose, however.  It begins directly addressing the concept of “yes” in the second person, but digresses from this.  What follows is a long middle section that explores the many uses of the word yes, and comes full circle in the end by addressing the concept “yes” personally once again.  The central theme of the poem appears through questions, emerging eventually as a celebration of the affirmation and mystery of “yes.” 

            The poem begins with a description of the word yes, and adds question that can be answered with a yes or no.  Throughout the poem, first and second person is used.  This mode of address adds a feeling of familiarity with the reader, since it almost seems to put the reader into the shoes of the personified “yes.”  The poem consists of 27 lines, and while it is not the longest poem in the book, it is convoluted yet elegant.  The rapid-fire questions with unexpected answers keep the reader off-balance and searching for more explanation.  For example, the line “Are you a Buddist? Maybe.  A monsoon? Yes.” leaves one puzzled but enjoying the music of the language. 

            Linguistic devices help energize the poem.  Though it is written in free verse, the poem still has rhythm incorporated.  In the lines “Pamela bending before the grate/…I will meet you in Boston/At five after nine,” a distinct hint of anapest rhythm comes through.  The repetition of “yes” throughout the poem, besides contributing to rhythm, adds a sense of expectation, of waiting for the positive response to the multiple questions posed.  There is also a hint of rhyme, as “guess” and “yes” finish lines close to one another.

            The personification of the word “yes” seems at once to bring the poem within reach, and yet take some things out of the realm of comprehension.  The speaker of the poem even asks, “But what, Pamela, does that mean? Am I a yes/To be posed in the face of a negative alternative?”  The mystery of the poem deepens through the search of the speaker for truth.

Kenneth Koch again

I picked up Kenneth Koch's book New Addresses from my teacher, and I was so glad she helped me to discover his work!  I really enjoyed reading it.

a young Kenneth Koch

Kenneth Koch writes a letter to "Scrimping"

In his poem “To Scrimping,” Kenneth Koch creatively personifies a problem that many people can relat to: tightfistedness.  As the reader is immersed in the imagery of the poem, an auto-biographical situation, a battle with the self, emerges.

            New Addresses, the volume of poems in which “To Scrimping” appears, utilizes the style of apostrophe, or letter poems.  All the poems in this book are addresses to either physical objects or abstract ideas, such as scrimping.  As a result, all of the addressees of these letters are personified concepts.  In the volume, Koch chooses to write in first person, as he does in all of the poems that appear in this book New Addresses.  This gives a sense of intimacy to the reader, and helps to create the illusion that the speaker is conversing with the reader.  While multiple stanzas are absent in this poem, the chunk of text still has a very intentional structure.  Koch uses line lengths and enjambment to subtle but discernible ends.  The shorter line lengths communicate strong emotion, as the reader’s eyes jump to the next line quickly.  For example, the lines “I need to have engraved in my cerebrum/as in a library wall” communicate frustration.  As the speaker states, “I have my eye on you,” the short line length draw the eye, signaling the wariness of the speaker.  Enjambment also plays a part in this poem, as many of the sentences are fairly long.  The sentences take up between two and four lines, as Koch expertly varies the pace and the mood of the poem.  The enjambed line “I am a tire with my wheel dependent on you, Scrimping,/Then.” highlights the time qualifier “then” to show that the speaker intends to resort to Scrimping only in his most desperate times. 

            The formal elements of this poem were fairly subtle but contributed much to the overall effect of the poem.  While this poem was written without a regular meter, rhyme weasels its way into the poem.  The last four lines, wrapping up the poem, have an aabb rhyme scheme, with “all,” “wall,” “way,” and “away.” The author also includes slant rhyme, with “sod” and “not.”  Lines four through seven display an abcb rhyme pattern, with the rhyme appearing in the pair “law” and “wall.” As the poem transitions into a more solid rhyme scheme, it reaches for resolution.  There is one instance of clear alliteration, as Koch writes “emotionally exhausted,” which rings nicely in the ear.  All of these devices give the free verse energy and makes it a delight to read.

            Linguistically, besides structuring the poem around a drawn-out personification of stinginess, Koch also implements a metaphor in line 11. Introducing it in the line before with “completely blown out,” the speaker compares himself to a tire dependent on Scrimping to avoid a complete crash.  Imagery drives the poem, as one envisions the speaker dragging Scrimping along shopping, the speaker directing a law to be engraved inside of his skull, and the speaker attempting to shake Scrimping off of “My hand, my chest, my wrist.”  The most striking image is that of the speaker being walled up with Scrimping and left to die. 

            As I read this poem first for enjoyment, then critically, I discovered more ideas that spoke to me.  I picked this poem because scrimping is a relevant issue to me.  Monetarily, I tend to scrimp because I learned this habit form by parents as they tried to get by.  I also tend to scrimp with my time, often devoting more time to myself then I should.  I would like to change this habit and shake off scrimping for the most part, so that I may give most of my time to other people.  I could feel how the speaker struggled with Scrimping and the joy the speaker would experience by dying when he had given everything he had to give.  Reading this, I too wanted to strive to give everything I can.

The Ilustrious Life of Kenneth Koch

Brianna Brubaker

Ann Hostetler – Intro to Literature

Biography Sketch of Kenneth Koch



Kenneth Koch



            Kenneth Koch, and American writer, was born on February 27, 1925 in Cincinnati, Ohio.  Raised in a middle-class family, Koch was a talented student.  Despite his poor eyesight, the military conscripted him in 1943, leading to Koch’s service in the Philippines until 1945. Returning to the U.S., he attended Harvard University and graduated in 1948 with an A.B.

            Koch then moved to New York City, where he developed a style of writing that came to be categorized under the New York School of Poets.  This distinction also included his friend John Ashberry, along with the poets Frank O’ Hara and James Schuyler.  His first book of poems, Poems, was published in 1953.  According to The Scribner Encyclopedia of American Lives, “his mix of surreal imagery, slapstick humor, wide-ranging cultural allusiveness, and graceful lyricism revolted against the prevailing literary formalism of the day.” His time spent in France in the early 1950s resulted in poems mimicking the confusing wash of language he experienced there.

            Many of Koch’s early works were humorous and poked fun at more traditional and formal poetry.  His mock epic, Ko; or, A Season on Earth, was loosely modeled on the work Don Juan, and traced the path of a Japanese student pitching for the Dodgers.  Demonstrating further irreverence, Koch imitated one of William Carlos William’s most famous poems, “This is Just to Say,” creating a delightfully funny poem for his readers.

            Branching out from the world of poetry, Koch had been writing plays with some consistency throughout his carrier, and they began to receive national recognition.  Some plays appeared on Broadway, including the play One-Thousand Avant-Garde Plays.  This collection poked fun at the avant-garde plays that often appear on Broadway.  Next, he taught both children and older adults how to write poetry, resulting in two books:  Rose, How Did You Get the Red and I Never Told Anybody: Teaching Poetry Writing to Old People.  Koch experienced more critical acclaim and affirmation towards the end of this life.  His book  New Addresses was a finalist for the National Book Award.  Koch died in 2002 of leukemia. 

            New Addresses contains a style that is both humorous and serious.  By using the form of a letter throughout the book, Koch opens up new ground for himself.  Although he explores  topics he has already covered in other books, such as sexuality, he also brings his childhood into the light, which does not appear in his other books.  He also dealt with another untouched part of his life, his service in the military. As Koch said in an interview, “I was very surprised to find myself writing about these subjects. I was happy to find a way to write them” (“New Addresses”).  Koch may have sensed that his life was coming to its later days, as two of his pomes allude to the end of life, “To Breath” and “To Old Age.”  “To Breath” is especially poignant, as it entreats Breath to remain with the author until he has completed all the work that he wants to share with the world.  This book is considered one of his most complex and prestigious works, and it interacts with the reader on a deep level.

Koch’s Books of Poetry

1953: Poems

1959: Ko, or, A Season on Earth

1961: Permanently

1962: Thank You and Other Poems

1968: Poems From 1952 and 1953

1969: The Pleasures of Peace and Other Poems, Sleeping With Women, When the Sun Tries to Go On

1975: The Art of Love

1979: From the Air, The Burning Mystery of Anna in 1951

1982: Days and Nights

1986: On the Edge

1987: Seasons on Earth

1994:  On the Great Atlantic Railway: Selected Poems 1950-88, One Train

2000: New Addresses

Works Cited

“Kenneth Koch.”  The Scribner Encyclopedia of American Lives. Charles Schribner’s Sons, 2004. Gale Biography In Context.  Web. 16 Nov. 2011.

Leddy, Michael.  “New Addresses.”  World Literature Today 74.4 (2000): 819. Gale Biography in Context. Web. 16 Nov. 2011.

“NEW ADDRESSES.” Publishers Weekly 27 Mar. 200: 71. Gale Biography In Context. Web. 16 Nov. 2011.

“Selected Websites on Kenneth Koch’s Life and Works.”  Gale Biography in Context.  Detroit: Gale, 2008.  Gale Biography In Context. Web. 16 Nov. 2011.