Finding Poetry in Narrative Nonfiction
October 9, 2017 § 7 Comments
By Amanda Avutu
I was 21 and the worst kind of poet. By which I mean, I wore black dresses and had silver cat eye glasses. So, when a poet came to speak to my undergraduate poetry class about her novel, you can well imagine the twist my black knit stockings were in.
“How do you move back and forth between poetry and fiction??” I inquired during the Q & A session. It was not so much a question as an indictment.
Baseball players don’t play football! Ballerinas don’t dance tap! Hip Hop artists don’t sing Country! Poets don’t write fiction! So went my absolutist 20-something Poet logic.
Poets made each word justify not only its existence, but its placement, musicality, and visual appeal.
Poets were Allison from my fifth-grade class, nibbling tiny bites out of a bologna and cheese sandwich.
Other writers were competitive eaters, swallowing bologna and cheese sandwiches whole, not caring about the white bread stuck to the roofs of their mouths.
After the seminar, the visiting writer graciously signed copies of her book. In mine, she thoughtfully inscribed, “To Amanda, Wishing you luck navigating seamlessly between fiction and poetry.” I remember thinking—rather uncharitably— that I would never need her “luck,” because the only thing I wrote and the only thing I would write was poetry.
I’m 40, and while I still wear black dresses and glasses, I no longer consider myself a Poet or even a poet. I’ve written plays and short stories, novels and essays. I’ve also had brief—dark moments—where I was completely wordless. My god, those were terrifying. Generally, though I’ve become, quite simply, omnivorous where words are concerned. I consume them and produce them with vigor, regardless of their classification. What I’ve learned is that each form allows me to explore, and to expose, different pieces of myself. When I was writing poetry, my truth bobbed just below the surface of abstractions; bits of cereal swimming in the plausible deniability of milk. In my fiction, I anchored my tiny truth and then launched my readers and myself into an alternate reality. These days, I primarily write narrative nonfiction and I tell my truth as my truth. Nothing, however opaque, protects me from my reader’s gaping maw. And as much as my younger self might scoff at the idea, I’ve learned that my truth is my truth is my truth, which becomes my art, regardless of how I tell it.
There was a sense, over these last two decades, of betrayal. My husband fell in love with the poet, my degree proclaimed my proficiencies as poetry centric, since junior high—when I began writing awful rhyming verse—poetry was my identity. Now, though, I realize my poet self is there, making sure there is room for catharsis and that there is the strength to be a conduit. Making sure each word in each sentence justifies its existence. She buries tiny, delicious, moments for my readers to happen upon and savor. She has always been there and will always be there to make sure that whatever I write, it sings.
Amanda Avutu’s nonfiction appears or is forthcoming in the New York Times’ Modern Love column, O, the Oprah Magazine, Atlanta Magazine, Bitter Southerner, and the New York Times’ Family Ties column.