Relationships, resistance, AWP

This year’s Association of Writers & Writing Programs Conference vibrated with emotional content, resistance, persistence, and truths through facts and lived experiences–a host of perspectives and a sense of excitement enhanced by the host city: Washington, D.C., where the recent transition to a new government administration has been controversial, particularly among citizens who value social justice, education, the environment, and the arts. Some citizens feel that they are themselves outsiders, outliers, critical observers of the social norm, square pegs, immigrants, misfits, name your descriptor here:_______.

Maybe no surprise, but many of those who are not-quite-the-social-norm also happen to be writers.Adversaries 1

About 15,000 writers, teachers of writing, publishers of writing, promoters of writing, and lovers of writing showed up in D.C.; and I’m guessing a very large percentage of us feel we have, in one way or another, a little trouble “fitting in” with society and social expectations. We happen to write, also. What gives good writing its jazz is that there are zillions of fascinating, off-beat, marvelously creative perspectives a human being can write on just about anything.

One sense that came through to me as I listened to authors and teachers is that writing is almost automatically resistance. Resistance usually connotes against, as against a “negative” behavior, objective, rule, law, or person, for example. We can resist silence, though, and silence on its own is not negative; it is only something to resist in relation to an event or law that might be better spoken about. We write in relation to, and often that looks like against. But it isn’t that black and white (of course). Even when the ink is near-black and the page is near-white and the resistance feels like “writer’s block”–resisting the very act of revealing, speaking, communication.

Relation makes resistance and writing happen. Relationships make community and communication develop. Relationships connect the virtual world, and relationships link the long-dead writer to the living reader in a quiet room or on a crowded train.

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This past week, thousands of (largely introverted) writers convened in a convention center in the nation’s Capitol; several square blocks hummed with interconnections that spanned far beyond those city streets, those bland conventional multi-storied buildings…into the social world and social media, into the range of the arts, the hearts of fellow human beings. The crowds could be overwhelming, but the energy was palpable and exciting (even to this introvert, who did need to retreat from the throngs now and then–thank goodness for “quiet lounges” and hotel rooms).

Did I mention the slightly off-the-cuff passion and stirring intensity of Azar Nafisi‘s speech, and the resonant coincidence of how relevant it was to have a naturalized American citizen, born and educated in Iran, as a keynote speaker? [The decision to have her speak was made over a year in advance of the conference.] Did I mention the honest and often amusing conversation between Ta-Nehisi Coates and Chimamanda Adichie, who is a dynamic one-person cultural ambassador, much as Nafisi is? What about poet Terrance Hayes‘ brilliant alliterative rhythmic sonnets that were sometimes-brutal take-downs of a president whose motives and values he mightily questions? Did I mention Rita Dove‘s transcendent reading? My discovery of a hugely famous Pakistani writer, Intizar Husain? Marvelous writing on The Body Electric, in three excellent essays–why, yes, I could say more, but I’m tired now and “still processing,” and post-conference life resumes…

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Given some long-running, almost chronic adversity the beloveds and I are facing, before I close I want to give a thumbs-up to Emily McDowell. Emily McDowell’s line of Empathy Cards are really worth looking at when you have no words.

Sometimes, there isn’t a card for that.

Moment for beauty

Bill Lantry over at Peacock Journal has been endeavoring to continue our appreciation for the beautiful. I’m pleased that the editors chose three of my poems for the journal, which is a rotating online site, well-archived, and quite lovely.

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Dirk Van Nouhuys–photo

Here are the poems:

Peacock Journal–Ann E. Michael poems

Please explore the site further. Yours, in beauty.

Revisiting

Read more poems, I advised myself. At first, I thought I might scout around for some writers whose work I am unfamiliar with–writers new (say, Ocean Vuong) and less new (say, Alberta Turner). I have the week off from university work, however, and am lazing about at home…no trips to the library.

I do have my own library, though, much of which consists of poetry collections and much of which I have not read in some time. I chose Audre Lorde off the shelf–her 1986 book Our Dead behind Us. Lorde’s work was pivotal to my early interest in writing poems; I encountered her in a Women’s Literature Studies class in 1978 and was deeply moved by her poems of rage and political awareness, the sensuousness of her imagery.

I chose to re-read some late Plath and one of Adam Zagajewski‘s books, Canvas. What I’m hoping is that some of these re-reads will connect me to areas in poetry I have not explored much recently. Also, I will expand into the works of writers whose poetry I’m less familiar with.

Not to mention the recent work of friends-in-poetry, whom I have let down by not buying their books (yet…I will get to it). So many excellent and thought-provoking writers out there, many of whom I know personally or have at very least met in person and connected via social media platforms. I hope to purchase some of those books at this year’s AWP Conference in Washington, D.C., and thus to keep to my commitment to read more poetry.

Meanwhile, I turn the pages and rediscover “old friends” and their voices, stories, moods. That is a pleasant task, and a fruitful and useful one.

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Further shifts

Shifts are necessary now and again. Here are a some I am undergoing.

For example, readers of this blog will notice that the writer’s focus tends to move from interest to interest, month to month, year to year. And yet there’s poetry to consider, always. During the past year, I have read more non-fiction books than poetry books. More history. More memoir. More science. I have been pursuing the consciousness and neurology and physiology texts.

I have learned a great deal from all of this reading, and it is inspiring. I find, however, that it’s taken its toll on my writing poetry.

My shift now: Read more poetry.

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But what about my love for difficult books?

Well, there is no doubt in my mind that poetry can be difficult. Difficult to write, difficult to read, difficult to understand. Time to go there, further and deeper.

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Another shift: in the spring semester, I will be teaching a more advanced course in writing comp and rhetoric, one that will be more challenging for the students and especially for me. One of the arguments I will be making to them is that they recognize the need for credibility in the sources they use as evidence.

Making that case runs rather counter to the way US society operates. We shall see how well I can make my argument to these young people.

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One further shift–certainly not the last. There’s my constant inquiry into consciousness…because sentience and human beings–and their brains, and their mind-body problems, and their relationships, and their stories and metaphors and art forms and pains–intrigue me endlessly, I turn to books and art for understanding. I do not expect to learn what consciousness is, where it originates, or how it came to be. But I ask because asking is interesting.

The reading has been enlightening. Philosophy, yes, and neurology and cultural anthropology. Oh, and evolution, religion, and medicine. Not to mention texts on death and dying (and the unanswerable “is that the end of consciousness?”).

My shift here lately has been to read less and to encounter more. I have been volunteering as a hospice companion/caregiver relief assistant, sometimes in the home but most often at the inpatient hospice unit at a nearby hospital.

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There are bodhisattvas among us, and I have met them on the ward floor. This particular shift does not mean I will never read another book on consciousness, but it has reminded me that kindness is a constant act and that kindness is conscious and aware. It does not reside in a book but in the daily world, which is all we have.

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I have to work on that in my own relationships, the ones that don’t take place on the hospice wing.

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May I prove resilient to these shifts. The days are incrementally longer now. Time to read poems.

 

 

Shift

This past weekend, I decided it was time to submit to some changes in the way I have been submitting.

Submitting manuscripts, that is.

I have sent out a full-length collection of poetry, my second manuscript of over 60 poems, for three or four years now and the time has come to re-assess. On the spur of the moment Saturday I sent out a chapbook-length collection of poems in a completely different vein, on another topic.

Sometimes, a writer just needs to shake things up, shift direction–whether she wants to or not. It is far too easy to get comfortable in a routine (in this case, easy to send the same manuscript file through various online submission portals, at regular intervals depending upon motivation and spare time). Submittable has become the most common software portal for submissions in the poetry world; but I recall vividly the days when I had to print everything out and photocopy the manuscript, then send it by postal mail to each prospective publisher.

So everything shifts, and we adjust.

Alas, The Red Queen Hypothesis and other poems has had no takers. Maybe I need to tear the manuscript apart, rearrange and update it. Maybe the poems just are not as strong as I thought they were, even though more than half of them have been published individually; maybe there is simply no audience for that particular collection of poetry.

I do not consider this giving up on the collection or on the poems in it. I merely aim to make transition, to move along to something a little different for awhile. Wake myself up to the work I have been composing more recently, concentrate on those pieces instead.

Submit to change, and make the best of that change, and allow the change to change the writer. I think I learned that in my MFA program at Goddard.  🙂

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Face to face

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The physical, corporal power of poetry; the need for language and expression to originate in the body–these are concepts that resonate with me as a poet and that make poetry such a difficult art. For how can one be in the body through words? Words remove the physical language of the body which is so important a component of communication. That is why tweets and social media posts and email often work to the detriment of genuine understanding.

What follows are three rather diverse chunks of thinking concerning the corporal and the intellectual.

Ren Powell writes in her blog:

And it made me more certain than ever that the separation of the corporal and the intellect is truly the root of every evil. It’s why all the studies show that getting people to talk face-to-face, breaks down bigotry in a way nothing else ever will. A linguistically relayed concept has to be replaced by a body that we experience in the sensual world.

It brings me to Orr’s phrase to describe poetry: “the eros of language”. I think poetry is necessary because it bridges the gap between the corporal and the intellectual in a way no other writing can. Why we say novels that tell the truth are “poetic”. When we speak poetry, sing it, it becomes corporal. It’s funny that when we sing the word “love”, we are not supposed to sing “luhv”, with its stingy and clenched vowel, but we’re supposed to open the mouth, sing “lahv”- with a wide-open palate. Because it hits us in the gut with its beauty then. Openness.

And counter-wise (which should be a word),  we can infect our minds with the routine that reinforces ugliness: I believe writing or drawing words and images of hate can infect the body.

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Reading Ren Powell’s words, I thought immediately of two poems of Gregory Orr‘s, from his book Concerning the Book that Is the Body of the Beloved. Here they are:

How small the eyes of hate.
I’m not making this up
Or being metaphorical.
A man held a gun against
My head and I saw how
Small his eyes were
With what they refused
To take in of the world.
This happened beside
A small highway
In Alabama in 1965.
What history called
The Civil Rights
Movement; what I call
The tiny eyes of hate.

~

How large the eyes of love.
How the pupils dilate
With desire (I’m not
Making this up: science
Has proved it’s true).

Those eyes wide
And glistening: gates
Thrown open. What’s
Inside, free to flow
Out as feeling,
And the whole world
And the Beloved
Welcome to enter.

~~

I just saw the movie “The Arrival,” a science-fiction film based on Ted Chiang’s short story “The Story of Your Life.” Any movie whose main character has a PhD in Linguistics sounds intriguing to me. The narrative uses the Sapir-Whorf hypothesis as a kind of plot point: the theory that language molds culture. An underlying possibility in the movie is that perhaps it is language that gives us consciousness, transforms us into sentience, and–possibly–has the capacity to unite and heal us.

But it needs to be face-to-face, as in the movie, wherein Amy Adams encounters aliens in person, insisting that in order to interpret any new language she must experience the process of “speaking” personally, to judge body language, movements–not just sounds or written “text.” How we communicate teaches us who we are. In order to understand one another truly, we need authentic encounters, not slogans.

We need to bid each stranger as Beloved, “Welcome to enter.”

 

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Writers. Groups.

Untitled-writerCreative writers, who are often solitary creatures given the kind of work we do, nonetheless must communicate with the wider world: that is, after all, the purpose of poetry. It is a form of artistic communication using words as medium. I do not know much about the (possibly long?) history of writers offering feedback, critique, encouragement or collaboration with one another aside from the more well-known spats and criticisms of Some Famous Authors. I do know that during the 20th century, evolving from artistic and literary salons of the 1800s, there arose the idea of writers’ groups and writers’ retreats, seminars, getaways, workshops…culminating in the MFA program, I suppose. Despite the popularity of the concept, I have had people ask me about writers’ groups and whether or not I recommend joining one.

First, I think we must ask: What is the purpose of a writers’ group? What do writers gain by meeting regularly and discussing their work, sharing their drafts, listening to feedback, and offering one another advice on publishing or goals or career moves? Is the writing group a place for jealousies and competition, or an environment of encouragement and networking? A bit of both? Is it good for friendships? Is it useful?

Then, we can ask: For how long can one expect a writers’ group to run? Months? Years? Decades? And how committed to the group is it necessary for members to be; and what number of members works best? How does it work, assuming that it does benefit the members? What happens if someone gets hurt, or angry, at the group or at a member in the group?

And where do we put the apostrophe? Writers’ group, or writer’s group? Or do we ignore the apostrophe? (Sorry. Had to make a punctuation observation.)

Full disclosure: I have been a member of writers’ groups for most of my writing life. I joined my first group in 1980 in Brooklyn, NY. I joined a loose coalition of poets when I moved to Philadelphia and some of us met for critique, though mostly we participated in readings. When I moved to my current region, I was invited to a feminist writers group; my spouse and I purchased our first house from one of the member poets! After that, I was invited to two other groups. One of the groups “clicked” for me. I have met with this core group of poets and writers for nearly 25 years now, and the experience has changed me.

The artistic question here is: Has the experienced changed my work for the better?

The personal question is: Have I benefited from the experience?

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Redbud leaf in fall

I could perhaps write a book on these questions, but I am far too lazy. As to whether my work is better because of the discussion and critique, I’m pretty sure the answer is yes. Even though my colleagues are not famous writers, they are excellent and thoughtful readers–and that is what one most requires from this sort of group. If you want to improve your writing, you must have readers who can tell you whether or not they “get” your work.

Or make you reflect carefully upon why it is they don’t.

Have I benefited personally? That one is an easy and certain yes. I have a community, a very small community, devoted to creative writing and willing to read and think about that sort of work. I have learned–from their writing itself and from our discussions surrounding ideas pertinent to the process of writing and revision–much about their daily lives, backgrounds and fears and hopes, their cultures and their passions, their careers, their health, their homes (in which we meet). We have shared recommendations on which books to read, which poets to learn more about. Often, we disagree. Without conflicting opinions, no forward momentum. We are passionate, we are gentle, we are probing. Sometimes we probe too deeply. We learn to back off when necessary. We also embrace.

During 25 years, there have been serious losses, real tragedies, that our members have lived through, written about, survived. Such strength. Such humility. Such proof of the ways art can help people to express to others that in their grief they are not alone. That in their love and in their confusion they are not alone. That others feel the weird varieties of joy, the ambiguous sensations, the coincidences, the empty hours, the gladness in small things that human beings experience.

And also…might you consider a different line break here? It might heighten the punch of that phrase, and function as stronger alliteration in the following line.

Just a suggestion.  😉