{"id":171584,"date":"2025-09-05T10:00:42","date_gmt":"2025-09-05T14:00:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=171584"},"modified":"2025-10-03T10:27:22","modified_gmt":"2025-10-03T14:27:22","slug":"making-of-a-poem-yongyu-chen","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/09\/05\/making-of-a-poem-yongyu-chen\/","title":{"rendered":"Making of a Poem: Yongyu Chen on \u201cOutpost\u201d"},"content":{"rendered":"
\"\"

“This was my desk. Below the window is a children\u2019s playground.”<\/p><\/div>\n

For our series Making of a Poem, we\u2019re asking poets and translators to dissect the poems they’ve contributed to our pages. Yongyu Chen\u2019s \u201cOutpost<\/a>\u201d appears in our new Summer issue, no. 252.<\/em><\/p>\n

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

I started this poem in late September in Cambridge, Massachusetts. I came back from a long trip in Asia and was waking early because of the time difference. I felt good! I was writing a lot.<\/p>\n

I wrote the first draft after a sequence of experiences that felt like experiences already while I was inside them\u2014starting with meeting, for the first time, a friend\u2019s close friend and ending with a walk home on a gray day, after rain, looking at the oak branches on the ground.<\/p>\n

It felt like the feeling of wanting to pick up the oak pieces\u2014and noticing it, then making myself do so\u2014did something to the previous experiences. When I came home, I started writing the poem.<\/p>\n

<\/p>\n

\"\"<\/p>\n

How about the second draft? The third? How many drafts were there, and what were the primary differences between them? <\/strong><\/p>\n

There was one continually evolving draft, which became shorter. Over two months, I also started new poems, and a few layered into this one.<\/p>\n

I went to a claire rousay concert\u2014it reminded me of an Ichiko Aoba concert I didn\u2019t go to. The title of one of Aoba\u2019s songs, \u201cImperial Smoke Town,\u201d became a scene with an ironsmith and feathers and an outpost\u00a0\u2026<\/p>\n

I saw my friend, and we sat on the stairs\u2014there were no seats in the caf\u00e9. People walked between us, up and down. We read a poem by Celan together\u00a0\u2026<\/p>\n

H\u00f6lderlin was the last, sudden addition to the poem. I was learning about his walk through the mountains and the gun under his pillow in the cold\u00a0\u2026<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

While editing, the word free<\/em> became important. I was writing a lot, and freedom was what writing felt like to me. I was reading Alice Notley, which freed me to write about more things I notice. I thought that there was something photographic about this loosening, which to me meant writing a lot, just writing what happens, and knowing a lot of it won\u2019t work and that what works will work not because of technique, mainly, but through the assemblage of real things indexed in the poem.<\/p>\n

The photographer Moyra Davey once wrote that \u201caccident is the lifeblood of photography.\u201d And \u201cMy ratio these days is perhaps one usable frame for every five or ten rolls of film.\u201d In the same text, she quotes Garry Winogrand\u2014\u201cThat\u2019s really what photography\u2014still photography\u2014is about. In the simplest sentence, I photograph to find out what something will look like photographed.\u201d<\/p>\n

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

When I put H\u00f6lderlin in, the poem felt finished because doing so felt\u00a0\u2026 like it broke a rule, or inner pattern. He is so historical, graspably real and concrete. That texture finished the poem for me.<\/p>\n

The last set of edits were done with the Paris Review<\/em> poetry editor Chicu Reddy\u2019s suggestions, which tightened the poem. Some of these edits changed or reversed meanings\u2014\u201cNo longer remembering\u201d became \u201cRemembering.\u201d Others removed objects which I couldn\u2019t imagine removing, like the hand at the end, on the thigh. I admired those edits because I couldn\u2019t have made them, from within the logic of making the poem. They work on the poem and let its meaning change, if necessary. Or maybe the meaning itself needed to be developed for the poem to work, better. These edits were easy to accept because they were sharp, difficult, and not me.<\/p>\n

Are there hard and easy poems?<\/strong><\/p>\n

Yes. This one was easy.<\/p>\n

 <\/p>\n

Yongyu Chen<\/span>\u2019s first book of poems, a winner of the 2023 Nightboat Poetry Prize, is forthcoming from Nightboat in spring 2026.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cJust writing what happens, and knowing a lot of it won\u2019t work and that what works will work not because of technique, mainly, but through the assemblage of real things indexed in the poem.\u201d<\/p>\n","protected":false},"author":2616,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68811],"tags":[67827,68828,68619],"class_list":["post-171584","post","type-post","status-publish","format-standard","hentry","category-making-of-a-poem","tag-featured","tag-issue-252","tag-making-of-a-poem"],"acf":[],"yoast_head":"\nMaking of a Poem: Yongyu Chen on \u201cOutpost\u201d by Yongyu Chen<\/title>\n<meta name=\"description\" content=\"September 5, 2025 \u2013 \u201cJust writing what happens, and knowing a lot of it won\u2019t work and that what works will work not because of technique, mainly, but through the assemblage of real things indexed in the 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