Professional Documents
Culture Documents
Elizabyth Ladwig
Elizabyth Ladwig
Elizabyth Ladwig
Ladwig
Seminar
Dr. Armstrong
20 October 2015
In Writing the Australian Crawl, William Stafford describes how he writes and why
he writes the way he does. In an interview, Stafford uses log rolling as a metaphor for
writing poetry: I look at it this way: you can run across a log pondyou know, where
theyre floating the logs at a sawmillby stepping on one log at a time. And if you dont
stay on a given log very long, you can go hopping clear across the pond on these logs. But if
you stop on one, itll sink (124). You cant stand on one poem too long, or itll sink. One of
his poems, Level Light, adheres to this idea of his. The poem first appeared in William
Staffords daily writing on March 20, 1955. There are only two drafts of the poem: a first
draft and a documentary copy. Level Light had a very quick turnaround for Stafford. He
revised the poem once and finished it on the same day. Stafford sent it to only one
magazine, the Colorado Quarterly, before it was accepted on August 1, 1955, about four
months later.
Level Light was originally published in West of Your City in 1960. It is situated
between the two poems Boom Town and Two Evenings. Boom Town is about
Staffords hometown, which has seen better days. The first two stanzas of the poem
describes how the town was during its heyday. Stafford describes how active the night used
to be: the oil well engines would make noise, and the snakes at the edge of the town would
listen
all
night.
The
last
two
stanzas
describe
the
town
after
the
oil
was
all
pumped
out:
2
Ladwig
theres
only
one
solitary
pump
that
still
stands,
and
its
very
old.
The
snakes
have
forgotten
about the oil pumps that used to be there and go about their business during the night. The
town may be failing, but the animals are thriving again. The poem that comes after Level
Light, Two Evenings, is in two sections. The first section describes how Stafford saw a
herd of antelope from the car one evening but wasnt able to watch them. The car drove on
because they were going somewhere. The second section describes a different evening
when Stafford sees bats flying about. Their chaotic flying patterns remind him of watching
people coming out of an office building when work is done. While the bats seemed to have a
With Level Light situated between these two poems, Stafford seems to be stressing
the need for humans to make a connection with the world. In Boom Town, the town
thrived only because people were able to pull resources from the earth. When the
resources were gone, so was the town. The town failed because it didnt establish a
sustainable relationship with the earth. In Two Evenings, people are always in a rush and
dont seem to have any greater purpose than getting work done. The people have failed in
creating a connection with the earth here as well and are left standing like deer in
headlights at the end of the poem. Level Light is different than these poems, though.
Stafford takes time to watch the sunset and is able to create a connection with the world.
By placing Level Light between Boom Town and Two Evenings, Stafford seems to be
showing us what we could experience if we truly stopped every once in a while and just
Theres a chance that while writing Level Light, Stafford was responding to Emily
Dickinsons
poem
Theres
a
Certain
Slant
of
Light.
Stafford
was
a
known
fan
of
Dickinsons
Ladwig
3
poetry.
In
an
interview
published
in
Writing
the
Australian
Crawl,
Stafford
confesses
his
love for Dickinson: I dont think there is any poet writing today, man or woman, who is as
great as Emily Dickinson (90). In Theres a Certain Slant of Light, Dickinson is bemoaning
In Level Light, Stafford seems to be telling Dickinson that winter isnt so bad as she
thinks. When the days start to shorten in the shift from fall to winter, the light of the sunset
isnt really slanting over the world, like Dickinson thinks, its really level with the world.
The two drafts of Level Light are fairly different, with only a few lines transferring
from the first draft to the final draft. The first draft is longer than the final, by about two
stanzas and is fairly disjointed. Stafford begins by reflecting on a man he once knew, Smitty
Baker:
The second stanza seems to describe the way Smitty and Stafford spent their time:
They would stare at parts of counties west of here (l. 6). The next lines describe how they
would travel and only stop for a picnic or a flat tire (l. 8). Stafford implies that they were
looking for something in the counties to the west of themwhat, specifically, isnt
mentioned. The next few lines describe a phenomenon Stafford and Smitty would
sometimes witness right before the sun set and night took over:
light
when
4
w ith
a
kind
1
Sometimes
the
shadow
where
evening
fails
of
a
color
ing
escaped
from
corn
2
stains
all
haystacked
country,
and
hills;
3
runs
the
cornrows
and
clasps
the
barn.
Stafford describes the moment just before the sun sets over particularly flat plainsthe
sun seems to be resting on the ground, and it creates a level light for which the poem was
named after. These four lines describing this event are the only ones that Stafford kept in
the final draft. The only other phrase he keeps from the first draft is leveled shafts on the
world (l. 15), which he turns into a level shaft that tells the world (l. 6) in the final draft.
The next six lines in the first draft describe Staffords reaction to witnessing the sunsethe
These last six lines are probably the most confusing of the poem:
thing
5
Then
I
am
with
any
shadowed
and
feared.
may
be
villain
But
[If]
you
[are]
barred
and
a
terror
to
me
Ladwig
5
a
I
come
part
way,
carrying
love.
Overwhelmed,
I
see
leveled
shafts
on
the
world
but
they
broke
through
my
no,
and
found
their
weekend
goal.
orange
with
its
hope,
and
spent
for
corn
Stafford has made the most changes in this section, and the phrases he uses are confusing.
Phrases such as they broke through my no, and found their weekend goal (l. 16). The last
line is slightly less confusing, but still hard to decipher: orange with its hope, and spent for
corn (l. 17). It is unclear what is orange with [] hopeis it the land turning orange
from the sun, or Stafford being affected by the beautiful orange light? And what is spent
for corn? Is he talking about spending in the context of currency or using the verb to
describe exhaustion? Stafford must not have thought these lines were crucial to the poem,
because he didnt include the last six lines (except for the level light phrase) in the final
draft.
The final draft is much shorter than the first draft, 10 lines compared to 17:
scrapping the story of Smitty Baker and the discovery of the level light. He begins in the
middle of his story, dropping the reader directly into the scene, rather than giving any
background
information.
Stafford
didnt
make
many
changes
to
these
four
lines,
mostly
6
Ladwig
word
choice
revisions.
In
his
essay,
The
Practice
of
Composing
in
Language,
Stafford
argues that word choice and the placement of words, pauses, and punctuation is very
wordsanythingwill influence the feel of the language (54). Even though Stafford didnt
make many changes to the lines he did keep from the first draft, he understood that small
changes made a huge difference in the feel of the poem. In line one of the final draft, he
used the phrase light when, rather than shadow where (from line nine in the first draft).
This small change did indeed make a huge difference in the tone of the poem. The shadows
in the first draft cover and obscure the cornrows and the barn, creating a dark, threatening
atmosphere in the poem. The light in the final draft illuminates the cornrows and barn for a
brief moment, showing everything, before night takes over. This creates a happier, more
peaceful atmosphere.
In the fourth and fifth lines of the final draft, Stafford branches away from the
overall topic of his first draft. Rather than telling a story about an old friend and a
discovery, Stafford shifts toward talking about the change in seasons. The lines with that
kind of color escaped from corn / that brings to autumn the winter word hint at the shift
from fall to winter (ll. 4-5). Rather than using the rest of the poem to describe how the
sunset affected himself (as in the first draft), Stafford reflects on the impact the seasonal
shift has on the world. This shift in topic from the first to final draft is a shift from a
In his book, Enlarging the Temple: New Directions in American Poetry during the
1960s,
Charles
Altieri
defines
these
terms.
A
symbolist
poet
seeks
to
transform
nature
into
Ladwig
7
satisfying
human
structures,
while
an
immanentist
poet
looks
towards
the
discovery
and
disclosure of numinous relationships within nature (Altieri 17). In the first draft of Level
Light, Stafford focuses on how his relationship with Smitty Baker affected him and after
witnessing the leveled shafts on the world (l. 15), he reflects on how the experience
affected him:
thing
5
Then
I
am
with
any
shadowed
and
feared.
may
be
villain
But
[If]
you
[are]
barred
and
a
terror
to
me
a
I
come
part
way,
carrying
love.
Overwhelmed,
I
see
leveled
shafts
on
the
world
but
they
broke
through
my
no,
and
found
their
weekend
goal.
orange
with
its
hope,
and
spent
for
corn
Stafford is overwhelmed. Not just from the beauty of the scene, but from the sunsets ability
to break through his barriers. Stafford shows the reader that he has made a connection to
the world in these last few lines. He is looking inward at the effect the sunset has had on
him, taking a symbolist view with this poem. Without this reaction from Stafford in the final
draft, the reader doesnt know how he felt about the sunset, or the connection he made.
Instead, Stafford opens the poem up to the world and allows the reader to interpret it and
make his or her own connection. By doing this, he takes an immanentist view and looks
The revisions Stafford made from his first draft of Level Light to his final draft
demonstrate one of the ideas about writing he laid out in Writing the Australian Crawl: the
idea that he needed to write to discover what he was writing about. In his essay A Way of
Writing, Stafford states to get started I will accept anything that occurs to me (17). He
continues
to
write,
just
letting
his
thoughts
guide
him,
not
analyzing
anything
just
yet.
8
Ladwig
Stafford
explains
that
if
he
just
lets
this
process
continue,
things
will
occur
to
[him]
that
were not at all in [his] mind when [he] started (18). In the case of Level Light, the first
thought that occurred to him was Smitty Baker, a man he once knew. Stafford kept writing
until he discovered what he really wanted to talk aboutthe unique sunset he experienced
with Smitty. This is shown through his choices while revising this poem. He only kept the
Staffords ideas about revision also transfer to his choice of form for the final
version. In the first draft, there are two distinguishable stanzas: the first quatrain talking
about Smitty Baker and the family of musicians, and 13 line stanza that makes up the rest
of the poem. Stafford seemed to have a focused idea or topic he wanted to talk about at
first, which could be why he defaulted to his preferred stanza length, the quatrain. The
ideas within the quatrain in his first draft of Level Light are fairly organized: Stafford is
remembering Smitty Baker, then describes Smitty and the place Stafford probably met him
and spent time with him, the company house. The ideas and word choice in the 13 line
stanza are much more scattered than those of the quatrain, signaling Stafford was trying to
discover what he wanted to write about. The thoughts and ideas in this longer stanza
wander, from travelling across the country, to sunsets, and then feelings about the sunset
and how it affected Stafford. The transitions are connected, but not as organized as the
previous stanza.
In the final draft, Stafford focuses these ideas, cutting Smitty Baker and the company
house out, and develops the sunset. The final draft of Level Light is much more organized
-
/
-
/
-
/
-
/
Sometimes
the
light
when
evening
fails
Ladwig
9
/
-
/
/
/
-
-
/
stains
all
haystacked
country
and
hills,
/
-
/
/
-
/
-
/
runs
the
cornrows
and
clasps
the
barn
-
-
/
-
/
-
-
/
-
/
with
that
kind
of
color
escaped
from
corn
-
/
-
-
/
-
/
-
/
that
brings
to
autumn
the
winter
word
-
/
-
/
-
/
-
/
a
level
shaft
that
tells
the
world:
-
-
/
/
/
-
/
-
/
/
It
is
too
late
now
for
earlier
ways;
-
/
-
/
-
/
/
-
/
now
there
are
only
some
other
ways,
-
/
-
/
/
-
/
/
/
and
only
one
way
to
find
themfail.
-
/
/
/
-
/
-
/
In
one
stride
night
then
takes
the
hill.
The non-italicized sections are mostly iambic tetrameter, with a couple deviations
within the lines. The only line in the non-italicized sections that isnt iambic tetrameter is
line four, which is mainly iambic pentameter. The italicized tercet is very irregular. The
first line has five beats, and the other two have four beats with an extra beat at the end of
each line. This explains why the italicized section reads much less fluidly than the rest of
the poem. The irregular meter also sets this section apart further from the rest of the poem,
making these few lines seem more like an omniscient voice speaking, rather than Stafford.
Perhaps this is the world speaking, warning the plants and animals that winter is coming.
Stafford seems to be personifying the natural instinct living things have that tells them to
Staffords final draft of Level Light focuses on the natural, never-ending cycles that
govern the planet. The first cycle he introduces is one we experience every daythe shift
from day to night and night to day. He opens the poem with the line Sometimes the light
when
evening
fails
(l.
1)
and
ends
the
poem
with
the
line
In
one
stride
night
then
takes
10
Ladwig
the
hill
(l.
10),
creating
a
frame
for
the
story
hes
telling.
Stafford
personifies
day
and
night
as soldiers fighting a battle. In the first line, the light from the sun makes one last stand as it
slips under the horizon, fighting for a couple more moments before the world goes dark.
The light succeeds when evening fails (l. 1) and stains all haystacked country and hills
(l. 2) creating a beautiful moment where the sun seems to sit on the edge of the horizon,
level with the cornfields. The day can only hold on for so long, though, and at the end of the
poem, night then takes the hill plunging the cornfields into darkness. To use a clich,
night has won the battle, but not the war. Night will have its turn to rule, but in a couple of
hours, day will win the next battle. Its a continuous cycle.
The other cycle Stafford describes is the shift from season to season. The poem is set
in early fall, maybe September. Stafford mentions that the light runs the cornrows (l. 3)
and brings to autumn the winter word (l. 5)since the corn has yet to be harvested, it
couldnt be later than mid September, and his phrase in line five places the time firmly in
fall. The kind of sunset he describes could only happen in fall. As winter approaches, the
days grow shorter and shorter and sunsets seem to last only a brief moment. This is one of
The italicized lines are the worlds warning that winter is coming. In the context of
harvesting, it is too late now for earlier ways (l. 7) suggest it is too late to plant, and now
there are only some other ways (l. 8) suggests now there is only time to harvest and
prepare for winter. The last italicized line and only one way to find themfail seems
harsh when its first read (l. 9). As humans, we think negatively of failure. If this line is
thought of in terms of harvesting, its very negative. Failed crops mean people will starve
once
winter
hits.
But
Stafford
isnt
talking
only
about
crops
failing
in
this
linehes
talking
Ladwig
11
about
the
natural
cycle
of
summer,
fall,
winter,
and
spring.
As
fall
begins,
the
leaves
on
trees start dying, but we dont think of this negatively because the process is so beautiful.
As fall progresses, the process is less and less beautifulthe leaves turn brown and fall,
and the weather gets colder. When he uses the word fail, Stafford is talking about nature
failing and dying. But its not really failureall plant life will resume once winter gives
Staffords use of the word winter goes beyond just the season, though. In her book
Writing the World: Understanding William Stafford, Judith Kitchen addresses Staffords
word usage. Throughout his poems, certain words mean more than just their textbook
definition. Kitchen states that Stafford built a language, or linking vocabulary, through
which to enter his imaginative spaces (102). For Kitchen, winter is the snowy interior
where fear and cold are inseparable and beyond winter lies the cold territory of the
unknown and unknowable (102). With this deeper meaning for the word winter, the poem
gains a darker significance. We no longer just think of the sunset as something pretty to
observe, but as some unknown part of nature we could never understandit is unknown.
The short length of the poem parallels the hasty movement of the sun. Stafford
doesnt go into much detail describing the scenehe chooses his words carefully to convey
the situation as quickly and efficiently as possible. The scene is set in the first two lines: the
time is twilight and the place is the countryside. In line one, Stafford sets up conflict
between the day and the night. In lines two, three, and four, the reader is given color:
haystacked, cornrows, and with that kind of color escaped from corn all describe a
bright yellow. Stafford introduces a new conflict in line five with the changing in the
seasons
and
builds
on
and
resolves
it
in
the
three
italicized
lines.
The
conflict
created
in
12
Ladwig
line
one
is
resolved
in
the
last
line.
Even
though
the
lines
are
short,
making
the
reader
read
slowly, the poem is over quickly. The brevity of Level Light mimics the brief sunset and
allows the reader to experience the few beautiful moments Stafford based the poem on.
Staffords choice to shorten Level Light is what Alberta Turner would call a
surprise clich. In her essay, William Stafford and the Surprise Clich, Turner argues that
Stafford uses clich, but in a way that draws attention to the clich as clich (Turner 132).
expected context but in such a way that the meaning becomes ironic, or by changing the
phrase just enough so the expected words become even more applicable than they would
have been before the change (Turner 132). In the case of Level Light, Stafford is
surprising the reader by writing about sunsets in an unusual context. Many people have
written about the amazing colors a sunset can produce: red, yellow, orange, purple, and
pink. Stafford chooses to use only one color to describe his sunset: yellow. He also
compares the color created to things most people dont normally compare the sun to: that
kind of color escaped from corn (l. 4). He also doesnt use the poem to talk about the
sunsets beauty and glory in the natural world at its ability to create something so
magnificent, like many other writers have done before. Stafford uses the sunset to talk
about the natural cycles that govern the earth. The length and simplicity of Level Light
By tracking Staffords poem Level Light through its draft process, we can discover
more about how he went through the writing process. The ideas described in Writing the
Australian Crawl are also much more evident when looking at the drafts and revisions
Stafford
had
of
his
poems.
Stafford
didnt
want
to
hinder
his
poetry
by
forcing
a
poem
into
a
Ladwig
13
mold
that
didnt
fit.
By
allowing
himself
to
discover
what
he
wanted
to
write
about
as
he
14
Ladwig
Works
Cited
Altieri, Charles. Enlarging the Temple: New Directions in American Poetry during the 1960s.
Dickinson, Emily. Theres a Certain Slant of Light. Poetry Foundation. Web. 12 November
2015. <http://www.poetryfoundation.org/poem/174992>
Kitchen, Judith. Writing the World: Understanding William Stafford. Corvallis: Oregon State
Stafford, William. 20 March 1955. William Stafford Archives.org. Web. 29 September 2015.
< http://williamstaffordarchives.org/poem/30/>
<http://williamstaffordarchives.org/poem/30/>
---. Writing the Australian Crawl: Views on the Writers Vocation. Ann Arbor: University of
Stitt, Peter. William Stafford and the Wilderness Quest. On William Stafford: The Worth of
Local Things. Ed. Tom Andrews. Ann Arbor: University of Michigan Press, 1995. 165-
202. Print.
Turner, Alberta. William Stafford and the Surprise Clich. On William Stafford: The Worth
of Local Things. Ed. Tom Andrews. Ann Arbor: University of Michigan Press, 1995.
132-137. Print.
Ladwig
15
Level
Light:
First
Draft
When
I
knew
him
Smitty
Baker
looked
like
some
hellbent
motorcycle
rider.
Remember
the
gray
company
house
where
the
family
of
musicians
and
intellectuals
lived,
out
in
the
knee
high
saw
grass?
Why
did
we
want
to
stilt
and
yellow-stare
parts
of
counties
west
of
here?
Going
through
them
was
being
away
from
home
and
stopping
was
a
picnic
or
a
flat
tire.
light
when
4
w ith
a
kind
1
Sometimes
the
shadow
where
evening
fails
of
a
color
ing
escaped
from
corn
2
stains
all
haystacked
country,
and
hills;
3
runs
the
cornrows
and
clasps
the
barn.
thing
5
Then
I
am
with
any
shadowed
and
feared.
may
be
villain
But
[If]
you
[are]
barred
and
a
terror
to
me
a
I
come
part
way,
carrying
love.
Overwhelmed,
I
see
leveled
shafts
on
the
world
but
they
broke
through
my
no,
and
found
their
weekend
goal.
orange
with
its
hope,
and
spent
for
corn
Level
Light:
Final
Copy
Sometimes
the
light
when
evening
fails
stains
all
haystacked
country
and
hills,
runs
the
cornrows
and
clasps
the
barn
with
that
kind
of
color
escaped
from
corn
that
brings
to
autumn
the
winter
word
a
level
shaft
that
tells
the
world:
It
is
too
late
now
for
earlier
ways;
now
there
are
only
some
other
ways,
and
only
one
way
to
find
themfail.
In
one
stride
night
then
takes
the
hill.