{"id":16445,"date":"2022-04-06T08:33:37","date_gmt":"2022-04-06T12:33:37","guid":{"rendered":"https:\/\/www.kzoo.edu\/news\/?p=16445"},"modified":"2022-05-10T09:52:37","modified_gmt":"2022-05-10T13:52:37","slug":"diane-seuss","status":"publish","type":"post","link":"https:\/\/www.kzoo.edu\/news\/diane-seuss\/","title":{"rendered":"Alumna, Professor Emerita, Poet Diane Seuss Garnering Recognition"},"content":{"rendered":"\n

Update: Diane Seuss was announced the winner of the Pulitzer Prize in poetry on May 9, 2022, for her work <\/em>frank:sonnets. <\/em><\/p>\n\n\n\n

\"Diane
Diane Seuss ’78 (Photo credit: Gabrielle Montesanti)<\/figcaption><\/figure><\/div>\n\n\n\n

April is National Poetry Month, an especially busy time for Diane Seuss \u201978, a Kalamazoo College alumna and professor emerita who taught in the English<\/a> department and served as writer in residence for three decades. With accolades rolling in for her latest book and a new collection of poetry on the horizon, Seuss is marking the month with virtual readings across the country and reflecting on the successes and challenges of the past two years, including a Guggenheim Fellowship, the John Updike Award and the COVID-19 pandemic.<\/p>\n\n\n\n

As a 2020 Guggenheim Fellow, Seuss joined a prestigious group of scholars and artists who have received grants from the Guggenheim Foundation to help provide fellows with blocks of time to work with creative freedom. The Foundation receives about 3,000 applications each year and awards about 175 fellowships.<\/p>\n\n\n\n

In 2021, Seuss received the John Updike Award from the American Academy of Arts and Letters. The biennial award recognizes a mid-career writer who demonstrates consistent excellence.<\/p>\n\n\n\n

The Guggenheim and Updike awards have helped Seuss, who grew up in rural schools and earned a master\u2019s degree in social work rather than an M.F.A. in creative writing, feel a hard-won sense of authority as a poet.<\/p>\n\n\n\n

\u201cThey\u2019re both very prestigious,\u201d Seuss said. \u201cWhile you would hope that you could feel that you have a right to be heard without that recognition, it sure helps. It\u2019s amazing that I was this kid with a single mom in Niles, Michigan, writing poems in typing class, and truly, through sheer persistence and a lot of luck, I have managed to be here.<\/p>\n\n\n\n

\"Book
Diane Seuss ’78 published her fifth collection of poetry,
“frank: sonnets,” in 2021.<\/figcaption><\/figure><\/div>\n\n\n\n

\u201cFor me and others like me, people in the margins for whatever reason, such recognition is an encouragement. It\u2019s saying, your work has worth. It makes all the difference to be seen and heard and acknowledged.\u201d<\/p>\n\n\n\n

Seuss published her fifth collection of poetry, frank: sonnets<\/em>, in 2021. The book, from Graywolf Press, is currently a finalist for the Los Angeles Times Book Prize in Poetry, was named a finalist for the Kingsley Tufts Poetry Award, and won both the PEN\/Voelcker Award for Poetry and the National Book Critics Circle Award.<\/p>\n\n\n\n

Prior to frank: sonnets<\/em>, Seuss published four other poetry collections: Still Life with Two Dead Peacocks and a Girl\u202f<\/em>(Graywolf Press, 2018), a finalist for the National Book Critics Circle Award and the Los Angeles Times Poetry Prize;\u202fFour-Legged Girl\u202f<\/em>(Graywolf Press, 2015), a finalist for the Pulitzer Prize;\u202fWolf Lake, White Gown Blown Open<\/em>\u202f(University of Massachusetts Press, 2010), recipient of the Juniper Prize; and It Blows You Hollow<\/em>\u202f(New Issues Press, 1999).<\/p>\n\n\n\n

frank<\/em> got its start during a writing residency at Willapa Bay Artists in Residence near Oysterville, Washington.<\/p>\n\n\n\n

\u201cA lot of people had said, \u2018You should write a memoir because you\u2019ve had quite a life,\u2019\u201d Seuss said. \u201cYou know what is beneath the surface when folks say you should write a memoir! I took that idea with me to the residency, but I just couldn\u2019t hear the memoir in prose.\u201d<\/p>\n\n\n\n

During the residency, Seuss took a day trip to Cape Disappointment, where visitors can hike to a lighthouse on a cliff. The drive was beautiful, but when she arrived, Seuss felt exhausted and took a nap in the backseat of her rental car before simply returning to her cottage.<\/p>\n\n\n\n

\u201cOn the drive back, I started narrating what had just happened,\u201d Seuss said. \u201cI had this line in my mind: I drove all the way to Cape Disappointment, but didn\u2019t have the energy to get out of the car. It\u2019s past tense, but it\u2019s just-happened past tense. Then it came into my head, I\u2019m kind of like Frank O\u2019Hara.\u201d<\/p>\n\n\n\n

A prominent poet who died in 1966, O\u2019Hara wrote kinetic, lively poems encompassing his present thoughts and actions, which he called \u201cI do this, I do that\u201d poems. \u201cBy the time I got back to my little cottage, I had these lines jotted down on a pad. I saw, this could be divided into 14 lines; this could be sonnet length. Then I thought, Wow, I could write a memoir in sonnets, and they could be composed under the influence of Frank O\u2019Hara, who was so improvisational and spontaneous.\u201d<\/p>\n\n\n\n

The poems in frank<\/em> are contemporary American sonnets, Seuss said, mostly unrhymed but with some vestige of rhyme and meter and a couplet at the end. She employs the tension between the high-end poetic form of the sonnet and her working-class language and storytelling. At the same time, she draws on parallels between the working-class mentality of being economical and the economy of language inherent in the sonnet\u2019s 14-line limit. As one of the poems says, \u201cThe sonnet, like poverty, teaches you what you can do \/ without.\u201d<\/p>\n\n\n\n

The title references poet Frank O\u2019Hara as well as serving as an homage to Amy Winehouse and her first studio album, Frank<\/em>. It also refers to frankness itself, a quality omnipresent in the sonnets.<\/p>\n\n\n\n

\u201cI\u2019m not writing like I\u2019m a role model,\u201d Seuss said. \u201cI talk a lot about really tough mistakes in my life. I own my stuff. I see myself pretty clearly. I hope that people who read it feel that their lives, too, have value, and that they can be honest about who they are without shame.\u201d<\/p>\n\n\n\n

frank<\/em> is a memoir, but not a traditional or linear one. \u201cIt tells the story of my life and my interior, but from shifting perspectives and with a range of approaches to language,\u201d Seuss said.<\/p>\n\n\n\n

One section is in the voice of the rural town where Seuss grew up; one is transcribed from text conversations with her son. Several sonnets involve a dear friend, pictured on the cover, who died of AIDS in the \u201880s. Her father, who died when she was 7, appears in some poems, and her mother, a single mother from then on, features prominently. One poem, on the back of a center fold out, is written by her son.<\/p>\n\n\n\n

\u201cI think of the book in a lot of ways as a collaboration,\u201d Seuss said. \u201cThe book, especially its cover photo, has received attention in countries throughout the world. Maybe especially during the pandemic, readers responded to a collection that values a single life, but also the communities and individuals that contribute to any one life.\u201d<\/p>\n\n\n\n

The COVID-19 pandemic hit shortly after Seuss received the Guggenheim fellowship, scrapping her original plans for a fellowship project involving in-person research and interviews in her hometown of Niles. Post-frank<\/em>, the roots of that project have grown into her forthcoming sixth collection of poetry.<\/p>\n\n\n\n

\u201cMy intention was to be able to go back to my hometown for considerable periods of time and do research, specifically around a legal case that happened in the town involving abuse at a daycare center that really cut the town in half,\u201d Seuss said. \u201cThe roots of that project are still there, but I ended up opening the book up to larger questions about what poetry can be up against trauma, loss and our current reality.\u201d<\/p>\n\n\n\n

The original project and title, \u201cLittle Epic,\u201d ended up as a single, longer poem in the new collection. Seuss had been interested in developing a connection to Latin poet Catullus and his longest poem, Catullus 64, an epyllion or \u201clittle epic.\u201d<\/p>\n\n\n\n

\u201cIt tells the story of a wedding among the gods by reading the images on a coverlet that is given to the bride,\u201d Seuss said. \u201cI loved that idea and wanted to pull it forth into the story of my town.\u201d<\/p>\n\n\n\n

K Professor of Classics Elizabeth Manwell proved a \u201cfantastic resource\u201d for Seuss\u2019 efforts to learn more about Catullus and classical poetry in the process of writing \u201cLittle Epic.\u201d<\/p>\n\n\n\n

The new book is tentatively titled Modern Poetry<\/em>, \u201cwhich is kind of an audacious claim in itself for a book of poems,\u201d Seuss said. The title poem is about her first poetry class at K with her mentor, Conrad Hilberry, who sought her out after giving honorable mention to a poem she wrote in high school typing class, entered into a contest for Michigan poets by Seuss\u2019 guidance counselor. Hilberry encouraged her writing, helped her do readings in classes and eventually supported her in finding the resources to attend K.<\/p>\n\n\n\n

\u201cThat class at K in 1974 also opened the pathway to what the rest of the book is, in quotes \u2018about,\u2019 if books are about, and that is poetry itself,\u201d Seuss said. \u201cI lived through the ongoing pandemic, aware of so much loss and suffering, of course, and for me, experienced in isolation. I\u2019m divorced; my son is in the upper peninsula. My mom and the rest of my family are all still in Niles. My dog was my soulmate and he died during the pandemic. Through most of the pandemic, I have been in my house, right across from campus, with nobody.<\/p>\n\n\n\n

\u201cI kept asking myself this question, what can poetry be now? What is poetry now? That really is the defining question of this next book. To explore that, I went back to the roots of my education in poetry.\u201d<\/p>\n\n\n\n

Seuss also forced herself to abandon the sonnet and take a different formal approach in Modern Poetry<\/em>.<\/p>\n\n\n\n

\u201cYou can only do one thing so long,\u201d Seuss said. \u201cI\u2019m writing the longest poems I\u2019ve ever written, in free verse. The new work takes a certain kind of authority, a willingness to take up that much space and to think through some things about poetry itself, and to weigh in. Authority has always been an issue for me as it is for so many people who come from the margins, whether it\u2019s race, class, gender, orientation or identity. I think some of the best teachers come from marginal realities; eventually, you may come to that place where you realize that your perspective has value.\u201d<\/p>\n\n\n\n

\u201cIn my teaching at K, in my teaching since leaving K as well as in my writing, I have wanted to communicate the value of individual realities.\u201d<\/p>\n\n\n\n

From\u202ffrank: sonnets<\/em>, copyright \u00a9 2021 by Diane Seuss. Used by permission of Graywolf Press. <\/strong><\/p>\n\n\n\n

There is a certain state of grace that is not loving. <\/p>\n\n\n\n

Music, Kurt says, is not a language, though people  <\/p>\n\n\n\n

say it is. Even poetry, though built from words,  <\/p>\n\n\n\n

is not a language, the words are the lacy gown,  <\/p>\n\n\n\n

the something else is the bride who can\u2019t be factored  <\/p>\n\n\n\n

down even to her flesh and bones. I wore my own  <\/p>\n\n\n\n

white dress, my hair a certain way, and looked into  <\/p>\n\n\n\n

the mirror to get my smile right and then into my own  <\/p>\n\n\n\n

eyes, it\u2019s rare to really look, and saw I was making  <\/p>\n\n\n\n

a fatal mistake, that\u2019s the poem, but went through  <\/p>\n\n\n\n

with it anyway, that\u2019s the music, spent years in  <\/p>\n\n\n\n

a graceful detachment, now silence is my lover, it does  <\/p>\n\n\n\n

not embrace me when I wake, or it does, but its embrace  <\/p>\n\n\n\n

is neutral, like God, or Switzerland since 1815. <\/p>\n\n\n\n

From the forthcoming Modern Poetry<\/em>, Graywolf Press, 2024.
Originally published in Chicago Review\u2019s <\/em>Memoir Dossier, January 28, 2022.<\/strong><\/p>\n\n\n\n

Poetry <\/p>\n\n\n\n

There\u2019s no sense  <\/p>\n\n\n\n

in telling you my particular <\/p>\n\n\n\n

troubles. You have yours too.  <\/p>\n\n\n\n

Is there value <\/p>\n\n\n\n

in comparing notes? <\/p>\n\n\n\n

Unlike Williams writing <\/p>\n\n\n\n

poems on prescription pads <\/p>\n\n\n\n

between patients, I have <\/p>\n\n\n\n

no prescriptions for you. <\/p>\n\n\n\n

I\u2019m more interested  <\/p>\n\n\n\n

in the particular <\/p>\n\n\n\n

nature and tenor of the energy  <\/p>\n\n\n\n

of our trouble. Maybe <\/p>\n\n\n\n

that\u2019s not enough for you. <\/p>\n\n\n\n

Sometimes I stick in <\/p>\n\n\n\n

some music. I\u2019m capable <\/p>\n\n\n\n

of hallucination  <\/p>\n\n\n\n

so there\u2019s nothing wrong <\/p>\n\n\n\n

with my images.  <\/p>\n\n\n\n

I\u2019m not looking for wisdom. <\/p>\n\n\n\n

The wise don\u2019t often write  <\/p>\n\n\n\n

wisely, do they? The danger <\/p>\n\n\n\n

is in teetering into platitudes. <\/p>\n\n\n\n

Maybe Keats was preternaturally  <\/p>\n\n\n\n

wise but what he gave us <\/p>\n\n\n\n

was beauty, whatever that is, <\/p>\n\n\n\n

and truth, synonymous, he wrote, <\/p>\n\n\n\n

with beauty, and not the same <\/p>\n\n\n\n

as wisdom. Maybe truth <\/p>\n\n\n\n

is the raw material of wisdom <\/p>\n\n\n\n

before it has been conformed <\/p>\n\n\n\n

by ego, fear, and time, <\/p>\n\n\n\n

like a shot <\/p>\n\n\n\n

of whiskey without <\/p>\n\n\n\n

embellishment, or truth lays bare <\/p>\n\n\n\n

the broken bone and wisdom  <\/p>\n\n\n\n

scurries in, wanting <\/p>\n\n\n\n

to cover and justify it. It\u2019s really  <\/p>\n\n\n\n

kind of a nasty <\/p>\n\n\n\n

enterprise. Who wants anyone  <\/p>\n\n\n\n

else\u2019s hands on their pain? <\/p>\n\n\n\n

And I\u2019d rather be arrested <\/p>\n\n\n\n

than advised, even on my <\/p>\n\n\n\n

taxes. So, what   <\/p>\n\n\n\n

can poetry be now? Dangerous <\/p>\n\n\n\n

to approach such a question, <\/p>\n\n\n\n

and difficult to find the will to care. <\/p>\n\n\n\n

But we must not languish, soldiers, <\/p>\n\n\n\n

(according to the wise)  <\/p>\n\n\n\n

we must go so far as to invent <\/p>\n\n\n\n

new mechanisms of caring. <\/p>\n\n\n\n

Maybe truth, yes, delivered <\/p>\n\n\n\n

with clarity. The tone is up <\/p>\n\n\n\n

to you. Truth, unabridged, <\/p>\n\n\n\n

has become in itself a strange <\/p>\n\n\n\n

and beautiful thing. <\/p>\n\n\n\n

Truth may involve a degree <\/p>\n\n\n\n

of seeing through time. <\/p>\n\n\n\n

Even developing a relationship <\/p>\n\n\n\n

with a thing before writing,  <\/p>\n\n\n\n

whether a bird <\/p>\n\n\n\n

or an idea about birds, it doesn\u2019t <\/p>\n\n\n\n

matter. But please not only <\/p>\n\n\n\n

a picture of a bird. Err  <\/p>\n\n\n\n

on the side of humility, though <\/p>\n\n\n\n

humility can be declarative. <\/p>\n\n\n\n

It does not submit. It can even appear <\/p>\n\n\n\n

audacious. It takes mettle  <\/p>\n\n\n\n

to propose truth <\/p>\n\n\n\n

and pretend it is generalizable. <\/p>\n\n\n\n

Truth should sting, in its way, <\/p>\n\n\n\n

like a major bee, not a sweat bee. <\/p>\n\n\n\n

It may target the reader like an arrow, <\/p>\n\n\n\n

or be swallowable, a watermelon <\/p>\n\n\n\n

seed we feared as children  <\/p>\n\n\n\n

would take up residency in our guts <\/p>\n\n\n\n

and grow unabated and change us <\/p>\n\n\n\n

forever into something viny  <\/p>\n\n\n\n

and prolific and terrible. <\/p>\n\n\n\n

As for beauty, a problematic word, <\/p>\n\n\n\n

one to be side-eyed lest it turn you <\/p>\n\n\n\n

to stone or salt, <\/p>\n\n\n\n

it is not something to work on <\/p>\n\n\n\n

but a biproduct, at times,  <\/p>\n\n\n\n

of the process of our making.  <\/p>\n\n\n\n

Beauty comes or it doesn\u2019t, as do  <\/p>\n\n\n\n

its equally compelling counterparts, <\/p>\n\n\n\n

inelegance and vileness. <\/p>\n\n\n\n

This we learned from Baudelaire, <\/p>\n\n\n\n

Flaubert, Rimbaud, Genet, male writers <\/p>\n\n\n\n

of the lavishly grotesque. <\/p>\n\n\n\n

You\u2019ve seen those living rooms, <\/p>\n\n\n\n

the red velvet walls and lampshades <\/p>\n\n\n\n

fringed gold, cat hair thick <\/p>\n\n\n\n

on the couches, <\/p>\n\n\n\n

and you have been weirdly <\/p>\n\n\n\n

compelled, even cushioned,  <\/p>\n\n\n\n

by them. Either way, <\/p>\n\n\n\n

please don\u2019t tell me flowers <\/p>\n\n\n\n

are beautiful and blood clots <\/p>\n\n\n\n

are ugly. These things I know, <\/p>\n\n\n\n

or I know this is how  <\/p>\n\n\n\n

flowers and blood clots <\/p>\n\n\n\n

are assessed by those content <\/p>\n\n\n\n

with stale orthodoxies. <\/p>\n\n\n\n

Maybe there is such a thing <\/p>\n\n\n\n

as the beauty of drawing near. <\/p>\n\n\n\n

Near, nearer, all the way <\/p>\n\n\n\n

to the bedside of the dying <\/p>\n\n\n\n

world. To sit in witness, <\/p>\n\n\n\n

without platitudes, no matter <\/p>\n\n\n\n

the distortions of the death throes, <\/p>\n\n\n\n

no matter the awful music  <\/p>\n\n\n\n

of the rattle. Close, closer,  <\/p>\n\n\n\n

to that sheeted edge. <\/p>\n\n\n\n

From this vantage point <\/p>\n\n\n\n

poetry can still be beautiful. <\/p>\n\n\n\n

It can even be useful, though <\/p>\n\n\n\n

never wise.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

April is National Poetry Month, a busy time for Diane Seuss \u201978, a Kalamazoo College alumna and professor emerita who served as writer in residence.<\/p>\n","protected":false},"author":252,"featured_media":16525,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[232,3],"tags":[31,54],"post_formats":[],"class_list":["post-16445","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-alumni","category-news","tag-alumni","tag-english"],"yoast_head":"\r\nDiane Seuss: Alumna, Professor Emerita, Poet Garnering Recognition<\/title>\r\n<meta name=\"description\" content=\"April is National Poetry Month, a busy time for Diane Seuss \u201978, a Kalamazoo College alumna and professor emerita who served as writer in residence.\" \/>\r\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\r\n<link 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