By — Ashira Morris Ashira Morris Leave your feedback Share Copy URL https://www.pbs.org/newshour/arts/poetry/weekly-poem-thomas-dooley-dramatizes-family-pain-passed-generations Email Facebook Twitter LinkedIn Pinterest Tumblr Share on Facebook Share on Twitter Weekly Poem: Thomas Dooley dramatizes family pain passed through generations Poetry Dec 29, 2014 2:38 PM EDT Thomas Dooley’s debut collection of poems, “Trespass,” published in September, deals with the duality of vulnerability and forgiveness. “I think that sometimes going into a very vulnerable place, or a place where the unsayable is trying to be said, that is really what felt like an exciting moment of creation,” Dooley told Art Beat. “That’s where I wanted my poems to live: in that space of possible danger, possible confusion.” Coming from a theater background, Dooley was intrigued by the drama of family. The story of “Trespass” plays out in three acts. The first third sets the scene: the narrator’s father was abused by a priest as a child; then as a teenager, the father abuses his niece. The final act reckons with the repercussions of those moments in the family’s history. Sandwiched within the broader family story is a narrative of the protagonist’s first love — specifically, the end of that love. Using that structure, Dooley presents multiple levels of separation: between the narrator and his lover, between personal narrative and family narrative and between reality and desire. The poems in the collection draw on episodes from Dooley’s life, but he shies away from forming a definitive line between fiction and reality. While some experiences may be reflected in the poems, he is more interested in the nature of memory itself. The collection explores how different members of the family perceive their shared history through their own unique lenses, what he calls the “polyvocal quality of family.” “I think memory is such an interesting part of this story,” he said. “It allows for this real/unreal, said/unsaid, seen/unseen quality of our lives.” Playing with those dichotomies, the poem “Maybe In An Atlas” explores minute hypotheticals that could have prevented the father from being abused and becoming an abuser. Listen to Thomas Dooley read “Maybe In An Atlas” from his debut collection “Trespass.” Maybe In An Atlas Maybe another New Jersey somewhere. Linden wood as cash cow. And a way out. If my father grew taller that year, sudden. Reached the high altar wicks, a Moses in Egypt. Bigger than the priests. What if deus ex machina. Or a catcher. No rye. Rye watered down. Rocks to mean rocks. Not glacial. Not a cold hand anywhere. A siren sounds on skin. Maybe a pie in the window. Adults made big gestures with giant hands. He wasn’t soft. Boney, but not folded like egg whites, hankies. In his yearbook: “Aspiration: farmer.” Tall as corn, as noon sun. Only if he grew taller, sudden, he wouldn’t be lightweight linden, maybe a hundred proof. She was proof. Girls were softer. Maybe his hand looked giant. And she lay down softly. Like he was made to, maybe. When the collection was selected as a winner in the 2013 National Poetry Series competition, “Maybe In An Atlas” wasn’t in it. Dooley was suddenly struck by the missing voice of “what if” in his collection, and he wrote the poem to fill that void. “The idea of ‘maybe’ is very powerful to me,” he said, “because it’s full of doubt, it’s full of consequence. Maybe if the consequence, or maybe if the situation was different, the actual events would have changed.” To write the poems, Dooley allowed himself to be vulnerable to the different voices wanting to heard as part of the story. In the case of the opening poem, “Cherry Tree,” that voice comes from the titular character, a tree. As the surrounding lawn is mowed, the tree becomes vulnerable and exposed, themes that continue to play out for the human characters across the collection. Listen to Thomas Dooley read “Cherry Tree” from his debut collection “Trespass.” Cherry Tree My father mows tight squares around her, she rains pink on him a rock cracks inside the blades she beats down flurries I’ve grown too lush don’t leave me with him From the book Trespass: Poems by Thomas Dooley. Copyright © 2014 by Thomas Dooley. Reprinted courtesy of Harper Perennial, an imprint of HarperCollins Publishers. Editor’s note: This article originally stated that the father in “Trespass” abuses his niece as an adult, not a teenager. It was updated on Dec. 30, 2014. We're not going anywhere. Stand up for truly independent, trusted news that you can count on! Donate now By — Ashira Morris Ashira Morris
Thomas Dooley’s debut collection of poems, “Trespass,” published in September, deals with the duality of vulnerability and forgiveness. “I think that sometimes going into a very vulnerable place, or a place where the unsayable is trying to be said, that is really what felt like an exciting moment of creation,” Dooley told Art Beat. “That’s where I wanted my poems to live: in that space of possible danger, possible confusion.” Coming from a theater background, Dooley was intrigued by the drama of family. The story of “Trespass” plays out in three acts. The first third sets the scene: the narrator’s father was abused by a priest as a child; then as a teenager, the father abuses his niece. The final act reckons with the repercussions of those moments in the family’s history. Sandwiched within the broader family story is a narrative of the protagonist’s first love — specifically, the end of that love. Using that structure, Dooley presents multiple levels of separation: between the narrator and his lover, between personal narrative and family narrative and between reality and desire. The poems in the collection draw on episodes from Dooley’s life, but he shies away from forming a definitive line between fiction and reality. While some experiences may be reflected in the poems, he is more interested in the nature of memory itself. The collection explores how different members of the family perceive their shared history through their own unique lenses, what he calls the “polyvocal quality of family.” “I think memory is such an interesting part of this story,” he said. “It allows for this real/unreal, said/unsaid, seen/unseen quality of our lives.” Playing with those dichotomies, the poem “Maybe In An Atlas” explores minute hypotheticals that could have prevented the father from being abused and becoming an abuser. Listen to Thomas Dooley read “Maybe In An Atlas” from his debut collection “Trespass.” Maybe In An Atlas Maybe another New Jersey somewhere. Linden wood as cash cow. And a way out. If my father grew taller that year, sudden. Reached the high altar wicks, a Moses in Egypt. Bigger than the priests. What if deus ex machina. Or a catcher. No rye. Rye watered down. Rocks to mean rocks. Not glacial. Not a cold hand anywhere. A siren sounds on skin. Maybe a pie in the window. Adults made big gestures with giant hands. He wasn’t soft. Boney, but not folded like egg whites, hankies. In his yearbook: “Aspiration: farmer.” Tall as corn, as noon sun. Only if he grew taller, sudden, he wouldn’t be lightweight linden, maybe a hundred proof. She was proof. Girls were softer. Maybe his hand looked giant. And she lay down softly. Like he was made to, maybe. When the collection was selected as a winner in the 2013 National Poetry Series competition, “Maybe In An Atlas” wasn’t in it. Dooley was suddenly struck by the missing voice of “what if” in his collection, and he wrote the poem to fill that void. “The idea of ‘maybe’ is very powerful to me,” he said, “because it’s full of doubt, it’s full of consequence. Maybe if the consequence, or maybe if the situation was different, the actual events would have changed.” To write the poems, Dooley allowed himself to be vulnerable to the different voices wanting to heard as part of the story. In the case of the opening poem, “Cherry Tree,” that voice comes from the titular character, a tree. As the surrounding lawn is mowed, the tree becomes vulnerable and exposed, themes that continue to play out for the human characters across the collection. Listen to Thomas Dooley read “Cherry Tree” from his debut collection “Trespass.” Cherry Tree My father mows tight squares around her, she rains pink on him a rock cracks inside the blades she beats down flurries I’ve grown too lush don’t leave me with him From the book Trespass: Poems by Thomas Dooley. Copyright © 2014 by Thomas Dooley. Reprinted courtesy of Harper Perennial, an imprint of HarperCollins Publishers. Editor’s note: This article originally stated that the father in “Trespass” abuses his niece as an adult, not a teenager. It was updated on Dec. 30, 2014. We're not going anywhere. Stand up for truly independent, trusted news that you can count on! Donate now