{"id":170195,"date":"2025-03-28T10:00:29","date_gmt":"2025-03-28T14:00:29","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=170195"},"modified":"2025-09-22T11:36:36","modified_gmt":"2025-09-22T15:36:36","slug":"making-of-a-poem-nora-fulton","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/03\/28\/making-of-a-poem-nora-fulton\/","title":{"rendered":"Making of a Poem: Nora Fulton on \u201cLa Com\u00e9die-Fran\u00e7aise\u201d"},"content":{"rendered":"

\"\"<\/p>\n

For our series <\/em>Making of a Poem, we\u2019re asking poets to dissect the poems they\u2019ve contributed to our pages. Nora Fulton\u2019s poem \u201cLa Com\u00e9die-Fran\u00e7aise<\/a>\u201d appears in the new Spring issue of<\/em> the<\/em> Review, no. 251<\/em>.<\/p>\n

 <\/p>\n

How did this poem start? Was it with an image, an idea, a phrase, or something else?<\/strong><\/p>\n

I wrote this poem in September 2024, but it was a reflection of a three-day seminar I\u2019d attended the month before. The seminar, organized by two brilliant friends, Matt Hare and Sam Warren Miell, was about the French film production company Diagonale, and focused on the work of its central director, Paul Vecchiali. Of the films we watched, Encore<\/em> and Corps \u00e0 c\u0153ur<\/em> were especially on my mind while writing. Both are romantic melodramas, but they undercut that tendency in lots of interesting ways\u2014I think I find them moving precisely because they undercut that part of themselves. The seminar focused on the way that Diagonale functioned as a collective of people who would take up different roles in each film, both in front of and behind the camera. This was likened to the troupe established by Moli\u00e8re, to which the title of this poem refers.<\/p>\n

Were you thinking of any other poems or works of art while you wrote it?<\/strong><\/p>\n

At the time of writing I was thinking quite closely alongside the poetry of the Swiss Francophone author Philippe Jaccottet. I had begun reading and translating his early poems during the summer, mostly just for myself\u2014I was working on them between sessions of the seminar, and continued this work into the fall. I was particularly enamored with the way Jaccottet uses hesitation as a formal device in both his poetry and his journals (the incredible translations of which, by Tess Lewis, I was devouring during these revisions). It\u2019s not easy to write hesitation without seeming either arrogant or na\u00efve. How can one hesitate in the field of language, at all, anyway? But Jaccottet finds ways to write through a reticence that manages to fully surrender to knowing that it has no idea what it is reticent in the face of, as in his journal entry for May 1971. \u201cI write exactly as I have said one should not write. I am not able to grasp the particular, the private\u2014the exact details escape me, slip away; unless it is I who shies away from them.\u201d<\/p>\n

<\/p>\n

Where did you write this poem?<\/strong><\/p>\n

In the front room of my apartment in Montr\u00e9al. Right now it looks like this.<\/p>\n

\"\"<\/p>\n

Do you have photos of different drafts of this poem?<\/strong><\/p>\n

The first version of \u201cLa Com\u00e9die-Fran\u00e7aise\u201d that I submitted to the Review <\/em>went through a very heavy initial edit, to the point that that draft no longer seems relevant to the form the poem eventually took in print. The essence of that first edit was an incredibly perceptive removal of various avoidant comedic detours, which pared the poem down to central gestures I hadn\u2019t noticed on my own\u2014a pivoting away from and back into lyric transparency, and an attempt to make vernacular speech do something interesting aurally. I can supply two later drafts near the end of the editing process, where I feel like I found some solutions to the many problems I\u2019d created for myself.<\/p>\n

\"\"<\/p>\n

In this draft (which I think was the third), I\u2019m revising a version sent back to me from a previous editor, so you see only my responses to their changes. The \u201cOn a day temperate \u2026\u201d line had been cut initially, and I felt that something beyond the subjective\u2014some register of external specificity\u2014was needed in such an internal piece, so I added that back in. There had also been many cuts made to the third stanza, and as a result I thought that part of the poem lacked coherence, so I restored lines there as well. I also cut articles and prepositions where I could, some of which were later reinstated\u2014maybe I got a bit zealous after how productive the paring down had been. The penultimate line of \u201cShade, that is\u201d had originally read \u201cMore shade that is\u201d\u2014it had been cut in the first edit, but was reinserted here. While the repetition of \u201cmore\u201d originally came from the spirit of self-correction the poem begins with, I no longer felt that it needed to end in that register, and wanted to temper the pull of the idea that it is the shadows that grow close, rather than anything else.<\/p>\n

\"\"<\/p>\n

A couple of drafts later, it\u2019s the fourth stanza that has become the issue. By that stanza, I wanted the gaze of the \u201cI\u201d to have traveled from tranquility and light to darkness and noise, and that movement was not easy to render without overwriting. The stanza\u2019s first line shifts from a feeling of \u201cI didn\u2019t get to\u201d to a feeling of \u201cwe didn\u2019t get to\u201d\u2014before that, it was a feeling a \u201cyou\u201d avoided, and in this draft the pronominal attribution is removed altogether\u2014the feeling is said to be impersonally \u201cavoided via musical number.\u201d In the published version, it is again a \u201cwe\u201d that is doing the avoiding. Surely there\u2019s a kernel of inane psychologism in these decisions on my part, but I also think there was a real question of where to go from the hyperfocus on the \u201cI\u201d that the poem starts with. It has to go somewhere else. In the third stanza the \u201cyou\u201d functions as a universal \u201cyou,” unmediatedly perceiving an outline and immediately knowing what it is an outline of<\/em> is said to be something \u201cone does\u201d in general. Then in the fourth stanza, the \u201cyou\u201d shifts to something more specific, but is still trying to continue talking about that universal. The \u201cI \/ you\u201d dynamic is hard to find an exit from, and probably I didn\u2019t quite accomplish that here. But neither did I feel that simply leaving out pronominal attribution would be a solution\u2014 that would feel cheap to me. So I went with a \u201cwe\u201d that could be both a container for the \u201cI \/ you\u201d and for the generality that is implicit in the idea that something like linen could be something like an index of something like women.<\/p>\n

Also, that \u201cI\u2019m not some kind of pervert\u201d line got cut. Ah, well.<\/p>\n

When did you know this poem was finished? Were you right about that? Is it finished, after all?<\/strong><\/p>\n

I revise a lot. Way too much. If I could, I think I would go back to every book and poem and essay I\u2019ve ever published and touch them all up, so they accord with where I\u2019m at in the present. Sometimes that touching-up is just alternating between two or three or four changes, and one of them occasionally strikes you as a novel solution because you\u2019ve forgotten you\u2019d already tried it, just as you had with all the others. But is the finished version then the poem, plus the oscillation around each such point of indecision? I don\u2019t think so. That\u2019s why Jaccottet\u2019s hesitation interests me\u2014revision is basically just hesitation. But the goal is to make something that\u2019s revised\/revisable and<\/em> true. I think that poems are finished when the poet\u2019s attention finally wanders away from them and onto some other revisable thing. Which means, they\u2019re finished when you don\u2019t hesitate in your looking back on them.<\/p>\n

Do you regret any of these revisions?<\/strong><\/p>\n

I do wish I could have found a way to keep some element of the \u201cI\u2019m not some kind of pervert\u201d line. The idea of popping out of this melodramatic lyrical mode to give a proviso like that still makes me laugh, and usually something that makes me laugh in a poem is something I want to preserve. When I was writing \u201cLa Com\u00e9die-Fran\u00e7aise\u201d I had in mind the limits that are placed on the possible articulations of the desires of women like me\u2014limits that we put on ourselves, too. I ended up cutting that line based on editorial feedback, and I consoled myself in thinking that the poem as a whole could be my response to that idea. But, from a certain point of view, writing this piece could be my way of putting it back in.<\/p>\n

 <\/p>\n

Nora Fulton is the author of three books of poetry. <\/i>Cuckoo\u2019s Low Reel is forthcoming from Hiding Press this spring.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

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