A confession: I gave The Voice That Is Great Within Us: American Poetry of the Twentieth Century a four-star rating as an act of blind faith. That is, I am aware that Hayden Carruth was a respected poet and critic, and his large (770 pages) anthology is a respected collection of American poetry that has weathered the test of time. But having said all that, I also (full disclosure here) must admit that a large percentage—indeed, a sizable majority—of the poems included still remain opaque to me.
This is an uncomfortable admission, as I was a high school English teacher for 36 years, and I absolutely loved teaching poetry to my students. And when I would present a new poem to my class, and some students would complain that the poem was “stupid” because they didn’t get it, I would always tell them this: None of the poems we examined, both the ones in the literature textbook and the ones that I would bring in on my own, were written to vex and confuse high school students, nor were they written specifically for inclusion in a textbook. Rather, all had passed the test of time, and the test of commercial success (I also used a lot of song-lyrics-as-poetry in my lessons). So if the student didn’t get anything out of the poem, then either (A) there wasn’t anything to get (that is, the student’s assessment of the poem as “stupid” was correct), or (B) there was something of value in the poem, and the student just needed to work harder at it to mine the gold or silver that was there. I would then conclude by telling my students that since all the poems we read and listened to were poems that society by general consensus had deemed worthwhile, then it was probably more productive to assume there was something in the poem to “get,” rather than assume the poem was empty and meaningless.
What’s more, I reassured my students that many—most, actually—of the poems we read in class were poems which I myself did not “get” the first time I read them. Clarity and understanding generally came after repeated readings and pondering. I told them if they understood everything about a poem after just one reading, then it wasn’t very deep – it was the equivalent of a Hallmark greeting card.
Having said all that, I now come back to The Voice That Is Great Within Us, and I am chagrined to confess that I do not understand most of the poems. For me, too many of them are like William Carlos William’s “A Red Wheelbarrow,” reprinted here in its entirety: “So much depends/ upon/ a red wheel/ barrow/ glazed with rain/ water/ beside the white/ chickens.” It sounds like a Zen koan. I began reading The Voice That Is Great Within Us way back on February 6, 2022, and it’s taken me this long to read the entire collection because (A) it’s 722 pages of poetry, and (B) I wanted to take my time because so many of the poems required a lot of thought. But for too many of the poems, chewing them slowly and carefully and taking my time to digest them just didn’t work. I don’t mean to sound immodest, but I know I have a fairly high I.Q. and fairly well-developed powers of literary analysis, so I found reading The Voice That Is Great Within Us largely a frustrating experience. But as I also prefer my visual art – paintings, sculpture, photography – to be more on the representational side than the abstract side, maybe that’s just how my brain works.
The bottom line is, The Voice That Is Great Within Us: American Poetry of the Twentieth Century gets a four-star rating on the premise that the anthology’s reputation is deserved and I just don’t “get” many of the poems – i.e., the problem is with me and not with the poetry. I considered giving the book five stars, but I’m holding one star back just in case the Emperor really doesn’t have any clothes.