Summary of “Kevin Young and Deborah Garrison Discuss ‘A Century of Poetry in The New Yorker’”

Release Date: January 29, 2025 | Podcast: The New Yorker: Poetry | Host: Kevin Young

Introduction

In this episode of The New Yorker: Poetry, Kevin Young, the poetry editor of The New Yorker, engages in a thoughtful and expansive conversation with Deborah Garrison, an editor at Knopf and former editorial staff member at The New Yorker. Together, they delve into the newly released anthology, A Century of Poetry in The New Yorker, 1925-2025, celebrating the magazine’s 100th anniversary by showcasing nearly a century's worth of poetic excellence published within its pages.

Origins and Structure of the Anthology

Kevin Young opens the discussion by sharing the genesis of the anthology, reminiscing about his longtime admiration for the 1969 Yellow Paperback Anthology: The New Yorker Book of Poems, which initially drew him to The New Yorker. He recounts how David Remnick, the magazine’s editor, entrusted him with editing the new anthology, a task that had been a dream since his youth.

“Many of Deb's own poems have been published in the magazine, a few of which appear in the anthology,” Young notes ([00:59]). He highlights the anthology’s unique structure, which eschews a simple chronological arrangement in favor of thematic sections that mirror the progression of a day—from morning to midnight—and intersperse various decades, allowing different poetic voices and eras to interact in unexpected and meaningful ways.

Deborah Garrison praises the innovative structure, explaining how it creates a dynamic interplay between poets across different times, much like different voices overlapping within the passages of a single day. “Just reading the table of contents that you proposed was like reading a song that went both through the century, but also through a sense of a day dawning and a day ending in just our life in poetry,” she reflects ([03:10]).

Preservation and Accessibility of Poetry

The conversation shifts to the challenges of archiving poetry before the digital age. Garrison reminisces about the tangible scrapbook archives used in the mid-80s to 1990s, contrasting them with today’s digital accessibility. She appreciates the anthology’s effort to surface and preserve these poetic treasures, enabling modern readers to access and appreciate works that might otherwise remain forgotten.

Young echoes this sentiment, emphasizing the anthology’s role in capturing the “keepsake quality” of poetry—“Some people will come up to me and say, I've been carrying this poem in my wallet... It has that same quality, I think, of a keepsake” ([05:53]). He also discusses the anthology’s reflection on the magazine’s historical lack of diversity, noting that only a handful of Black poets were published over the decades, a gap that the anthology seeks to address and contextualize.

Diversity and Representation in The New Yorker’s Poetry

A significant portion of the discussion centers on the anthology’s examination of diversity within The New Yorker’s poetic canon. Young acknowledges the magazine’s historical shortcomings in publishing Black poets, pointing out that after Langston Hughes, there was a long hiatus until Derek Walcott began contributing. This absence informed their selection process, compelling them to include a broader range of voices to better reflect the diverse tapestry of American poetry.

Garrison concurs, highlighting the anthology as a “reckoning” that not only celebrates but also critically examines the magazine’s poetic journey over the century. “When you look at 100 years, it's a celebration... but it's important to also stop and say, what were we not doing 40, 50 years ago that we are doing now?” she asserts ([08:05]).

Exploration of Selected Poems

The heart of the episode features an in-depth analysis of several standout poems from the anthology, each illustrating different facets of poetic expression and historical context.

1. Elizabeth Bishop’s “Filling Station” ([10:18])

   Young reads and dissects Bishop’s “Filling Station”, exploring its vivid imagery and nuanced portrayal of everyday life. He appreciates the poem’s blend of wry humor and tender observation, encapsulating the beauty found in mundane settings.

   “Somebody loves us all,” he notes ([12:11]), emphasizing the poem’s underlying message of universal love amidst the gritty backdrop of a family-run filling station.

   Garrison adds that Bishop’s class consciousness and the poem’s enduring appeal lie in its ability to reveal humanity and beauty within a seemingly unremarkable scene. “There’s such a class Consciousness in this poem... all attempts to make beauty in this kind of greasy world are actually commendable and lovable,” she remarks ([12:35]).

2. Nikki Giovanni’s “Love in Place” ([15:27])

   Giovanni’s “Love in Place” is presented as a poignant reflection on love and memory. Garrison reads the poem, capturing its conversational tone and emotional depth.

   The poem’s exploration of personal history and affection resonates deeply with both speakers. Young connects it to Giovanni’s broader body of work, highlighting its lyrical quality and the way it encapsulates long-term love and commitment.

   “The End of Poetry,” Garrison states, “a mysterious title... she’s just letting you in on a little bit of snobbery of the speaker. But then the speaker comes to, Somebody loves us all,” she explains ([17:50]).

3. W.S. Merwin’s “To the Words” ([21:20])

   Merwin’s “To the Words” is discussed as an elegy to language itself, particularly poignant in the aftermath of the September 11 attacks. Garrison interprets the poem as a plea for words to capture the ineffable grief and chaos of tragic events.

   Young reflects on the poem’s urgency and its embodiment of the poet’s struggle to express the inexpressible. “It's the crying out... begging the words as these ancient, precious, kind of like runic thingies,” he observes ([24:08]).

4. Langston Hughes’ “Wake” ([26:58])

   Hughes’ brief yet impactful poem “Wake” is lauded for its blues-inspired rhythm and succinct expression. Young draws parallels between Hughes’ work and contemporary poetry, noting its ability to convey profound emotion in minimal lines.

   “Can you hear me? Enough,” Garrison emphasizes, highlighting the poem’s directness and emotional resonance ([28:05]).

5. Louise Bogan’s “At Midnight” ([29:34])

   Bogan’s “At Midnight” is celebrated for its concise depiction of sorrow. The speakers appreciate its universal relatability and the masterful economy of language that captures the essence of despair.

   “We've all experienced it,” Garrison remarks ([29:54]), underscoring the poem’s timeless relevance.

6. Ada Limón’s “The End of Poetry” ([31:15])

   Concluding with Limón’s “The End of Poetry”, the anthology presents a modern reflection on the role of poetry in times of crisis, such as the COVID-19 pandemic. Garrison describes the poem as a “significant” piece that encapsulates the collective longing for human connection amidst isolation.

   The poem’s repeated use of “Enough” serves as both a lament and a plea, encapsulating the tension between verbal expression and the need for tangible human touch.

   “It's a terrible attempt as much as the solution,” Young interprets, highlighting the poem’s dual role as both an invocation and a farewell to the limitations of language ([34:24]).

Concluding Thoughts

As the conversation wraps up, both Young and Garrison reflect on the anthology’s significance in honoring The New Yorker’s poetic legacy while acknowledging and addressing its historical gaps. They emphasize the anthology’s role in preserving diverse voices and illustrating the evolving landscape of American poetry over the past century.

Young wraps up by inviting listeners to explore the poems discussed and others in the anthology, available through The New Yorker’s website and bookstore.

Notable Quotes with Timestamps

• Kevin Young ([05:53]): “Some people will come up to me and say, I've been carrying this poem in my wallet. It has that same quality, I think, of a keepsake.”

• Deborah Garrison ([08:05]): “When you look at 100 years, it's a celebration... but it's important to also stop and say, what were we not doing 40, 50 years ago that we are doing now?”

• Kevin Young ([12:11]): “Somebody loves us all.”

• Deborah Garrison ([15:27]): “Love in Place. Enough of osseous and chickadee and sunflower and snowshoes... I'm asking you to touch me.”

• Kevin Young ([24:08]): “It's the crying out... begging the words as these ancient, precious, kind of like runic thingies.”

• Deborah Garrison ([29:54]): “At midnight, tears run into your ears.”

• Kevin Young ([34:24]): “It's the crying out. I mean, this poem was the purest cry that any poet came up with in that moment.”

Final Remarks

This episode serves as both a tribute and a critical examination of The New Yorker’s century-long relationship with poetry. Through their insightful dialogue, Kevin Young and Deborah Garrison illuminate the anthology’s role in celebrating poetic milestones, fostering diversity, and preserving the rich tapestry of voices that have graced the magazine’s pages.

For those interested in exploring the full breadth of A Century of Poetry in The New Yorker, 1925-2025, the anthology is available for purchase through The New Yorker store and various booksellers.