What Sparks Poetry is a series of original essays that explores experiences and ideas that spark the writing of new poems. In our series Reading Prose, we’ve asked poets to write about how the experience of reading prose, fiction, non-fiction, criticism, theory, has sparked the writing of poetry or affected how they read poetry.
David Ferry

  —from The Lives of the Poets
He was protuberant behind, before;
Born beautiful, he had grown up a spider;
Stature so low, he could not sit at table
Like taller men; in middle life so feeble
He could not dress himself, nor stand upright
Without a canvas bodice; in the long night
Made servants peevish with his demands for coffee;
Trying to make his spider’s legs less skinny,
He wore three pair of stockings, which a maid
Had to draw on and off; one side was contracted.
But his face was not displeasing, his eyes were vivid.
He found it very difficult to be clean
Of unappeasable malignity;
But in his eyes the shapeless vicious scene
Composed itself; of folly he made beauty.
from the book OF NO COUNTRY I KNOW / University of Chicago Press
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Cover image of David Ferry's book, Of No Country I Know
What Sparks Poetry:
Robert Pinsky on David Ferry's "Johnson on Pope"


"Tell all the truth but tell it slant—. The moment I begin saying to myself Emily Dickinson’s first line, my tongue flicks rapidly to the roof of my mouth for the first sound in the first word 'Tell.' The same exact little movement happens at the end of the line’s last word, 'slant.' In this pre-industrial, bodily way the reader becomes the poet’s instrument. In a way, it is as though they were one. But in another way, the bodily nature of the line enacts the double solitude: the reader’s body absolutely itself, utterly separate from the equally solitary poet who made the line: solitaria. Ferry’s poem is about the empathic loneliness Johnson’s prose suggests but cannot embody."
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A Conversation between Elina Katrin and Sofija Popovska

"As this project was coming together, I was thinking about the curiosities and complexities of language—its beauty, pliability, and failures. Language is what ultimately connects us, it’s the center of any relationship, no matter what shape or lack thereof that language takes. I wanted to explore that in If My House Has a Voice, so I’m delighted to hear this chapbook reads like a homecoming."

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